  
ClubFloyd Transcript:
The idea behind ClubFloyd is that each
week at a pre-arranged time, a group of
people meet online to cooperatively play
a game of interactive fiction.
|
|
ClubFloyd Transcript:
The idea behind ClubFloyd is that each
week at a pre-arranged time, a group of
people meet online to cooperatively play
a game of interactive fiction.
|
|
ToyShop & Floyditorium
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#ClubFloyd Discussion
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| *** SESSION 1 *** | ||
| Jacqueline says (to ClubFloyd), "load sleepmask drhorrorhouse" | ||
| CF ] The Count's Lair 0/1 | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | At last, after so much terror and death, you have tracked the Count to | ||
| CF | his lair in the old forest. So many have fallen. Poor Alexander, | ||
| CF | drowned in the sucking mud of the moors. Geoffrey, falling into that | ||
| CF | unexpected pool of acid. Even Susan is gone - screaming in horror as | ||
| CF | the swinging pendulum chopped her into pieces. You grit your teeth - | ||
| CF | their sacrifices will not have been in vain. | ||
| CF | | ||
| CF | One thing remains. Take your stake and drive it through the very heart | ||
| CF | of the Count. But the hour is late. The undead stir restlessly in | ||
| CF | their dreams of evil. Hurry, before all is lost. | ||
| CF | | ||
| CF | | ||
| CF | The Count's Lair | ||
| CF | The gnarled, twisted trees silhouette against the lowering sky. | ||
| CF | Thunder rumbles over the howl of the wind. In the hollow something | ||
| CF | stirs and rises through the layer of mist that creeps and winds | ||
| CF | amongst the tree trunks and mossy boulders. | ||
| CF | | ||
| CF | It is the Count! With one arm he holds his cloak in front of his face | ||
| CF | and advances towards you, the other taloned hand outstretched. Behind | ||
| CF | him, the Countess, clad in revealing diaphanous white, leers and | ||
| CF | snarls and she is followed by the Count's vampire thralls, their fangs | ||
| CF | bared. | ||
| CF | | ||
| CF | "Now is the time you die, Professor," hisses the Count. "One more soul | ||
| CF | for my army, and then nothing can stop me!" | ||
| CF | | ||
| CF | > | Knight_Otu says, "Well, that's already a grim beginning." | |
| DavidW asks, "> take stake. kill Count?" | ||
| MoyTravis says, "I would, like, assume we already have it." | ||
| DavidW says, "okay" | ||
| DavidW says (to ClubFloyd), "kill Count" | ||
| CF | > | ||
| CF | > KILL COUNT | ||
| CF | | ||
| CF | "CUT!" screams an exasperated voice behind you. You turn. Behind the | ||
| CF | set, hunched like a malevolent gnome in his chair is Harry | ||
| CF | Higginbotham, the Director. "The line," he snaps at you, "is 'I will | ||
| CF | rid the world of your evil.' Do you think you can manage that? Twenty | ||
| CF | one takes so far." He sighs heavily. | ||
| CF | | ||
| CF | Across the set you hear Blake Lively mutter "Amateurs, darling, we're | ||
| CF | working with amateurs." | ||
| CF | | ||
| CF | "For heaven's sake," says Harry, "this isn't Shakespeare. Just SAY I | ||
| CF | will rid the world of your evil. And try and look like you mean it. I | ||
| CF | want to get out of here before the bar closes." | ||
| CF | | ||
| CF | He raises his megaphone. "OK you lot, back to starting positions. Take | ||
| CF | twenty two. Lights. Camera! Action!" | ||
| CF | | ||
| CF | ...Press any key........ | Jacqueline says, "hee" | |
| Roger says, "hah I like it" | ||
| Knight_Otu says, "Well, well." | ||
| Jacqueline pushes the green 'space' button. | ||
| CF ] The Count's Lair 0/1 | ||
| CF | At last, after so much terror and death, you have tracked the Count to | ||
| CF | his lair in the old forest. So many have fallen. Poor Alexander, | ||
| CF | drowned in the sucking mud of the moors. Geoffrey, falling into that | ||
| CF | unexpected pool of acid. Even Susan is gone - screaming in horror as | ||
| CF | the swinging pendulum chopped her into pieces. You grit your teeth - | ||
| CF | their sacrifices will not have been in vain. | ||
| CF | | ||
| CF | One thing remains. Take your stake and drive it through the very heart | ||
| CF | of the Count. But the hour is late. The undead stir restlessly in | ||
| CF | their dreams of evil. Hurry, before all is lost. | ||
| CF | | ||
| CF | The Count's Lair | ||
| CF | The gnarled, twisted trees silhouette against the lowering sky. | ||
| CF | Thunder rumbles over the howl of the wind. In the hollow something | ||
| CF | stirs and rises through the layer of mist that creeps and winds | ||
| CF | amongst the tree trunks and mossy boulders. | ||
| CF | | ||
| CF | It is the Count! With one arm he holds his cloak in front of his face | ||
| CF | and advances towards you, the other taloned hand outstretched. Behind | ||
| CF | him, the Countess, clad in revealing diaphanous white, leers and | ||
| CF | snarls and she is followed by the Count's vampire thralls, their fangs | ||
| CF | bared. | ||
| CF | | ||
| CF | "Now is the time you die, Professor," hisses the Count. "One more soul | ||
| CF | for my army, and then nothing can stop me!" | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "say I will rid the world of your evil" | ||
| CF | > | ||
| CF | > SAY I WILL RID THE WORLD OF YOUR EVIL | ||
| CF | | ||
| CF | The Count recoils - a look of hate and fear on his face. "Your threats | ||
| CF | are empty, Professor," he snarls. "My horde will feast on your living | ||
| CF | flesh and my Bride will take your very soul as a plaything." | ||
| CF | | ||
| CF | The Countess, his bride, shrieks with maniacal laughter and the horde | ||
| CF | continue to advance slowly. Slowly enough, perhaps, that you might | ||
| CF | have a chance to end the Count's evil forever! | ||
| CF | | ||
| CF | "Cut!" yells Harry. "That's a wrap for today." There is a brief burst | ||
| CF | of muffled sarcastic clapping from various people on set. Including, | ||
| CF | you notice with indignation, some of the extras, who, given that they | ||
| CF | are paid by the hour, ought to be thanking you. | ||
| CF | | ||
| CF | "Finally, darling," says Blake Lively, removing his cloak. "I thought | ||
| CF | we'd never get that." He turns to Charlotte Day, who plays his Bride. | ||
| CF | "You were marvellous, dear. We are too good for this film and," and | ||
| CF | here he glances at you, "some of the talent we have to work with." | ||
| CF | They link arms and walk towards the exit. | ||
| CF | | ||
| CF | "You!" shouts Harry from his chair, and you know he means you. "Me and | ||
| CF | you need to have a chat with the Boss. He's not gonna be happy that | ||
| CF | I've wasted more than twenty takes of film on your inability to say a | ||
| CF | simple line. Now march yourself over to Arnie's office and we'll see | ||
| CF | what he's got to say." | ||
| CF | | ||
| CF | Ouch. This isn't going to be much fun. | ||
| CF | | ||
| CF | ...Press any key........ | Knight_Otu says, "The stakes aren't as high - or sharp - as they appeared to be, are they." | |
| DavidW pushes the green 'space' button. | ||
| CF ] Outside Dr Horror's Office 0/1 | ||
| CF | Ah, the Boss. Arnie Mallet. Known to everyone as Dr Horror because of | ||
| CF | the many many low budget horror films Mallet Studios churns out year | ||
| CF | after year. You've never met him, but you've heard he's hard as nails | ||
| CF | and that he really really dislikes spending money. At this present | ||
| CF | time, you rate your chances of getting out of this meeting with your | ||
| CF | job and career still intact as vanishingly small. | ||
| CF | | ||
| CF | The one faint hope you have is that they seem to have forgotten about | ||
| CF | you. You've been sitting outside his office for hours. The cleaners | ||
| CF | have come and gone. The lights have gone dim. It must be nearly | ||
| CF | midnight. You've come straight from the set so the only watch you've | ||
| CF | got is a big gold pocketwatch. Given that it's only a prop and doesn't | ||
| CF | have any inner workings, it's not much use. The hands say two thirty. | ||
| CF | But, then again, they're glued in place. | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | Dr Horror's House of Terror | ||
| CF | A horrifying tale of the restless dead and their world of unspeakable | ||
| CF | evil!!! by Ade | ||
| CF | Release 1 / Serial number 211121 / Inform 7 build 6M62 (I6/v6.33 lib | ||
| CF | 6/12N) | ||
| CF | | ||
| CF | Outside Dr Horror's Office | ||
| CF | The lights of the corridor outside Arnie Mallet's office are dimmed. | ||
| CF | The only furniture is a hard wooden bench against the wall. Opposite | ||
| CF | it, to the north, is the door to the office. The corridor stretches | ||
| CF | into the shadows to the east and west. | ||
| CF | | ||
| CF | It's getting really late. Maybe if you just crept away, Harry might | ||
| CF | forget by tomorrow. Or you could knock on the door. But then again, | ||
| CF | you know that Arnie, famously, really dislikes being disturbed. That | ||
| CF | is, even if he's in there. Which, given that the frosted glass of the | ||
| CF | door is dark, you don't think he is. Or perhaps you should just keep | ||
| CF | waiting. | ||
| CF | | ||
| CF | (If you are new to interactive fiction, try typing | ||
| CF | help to get you started.) | ||
| CF | | ||
| CF | > | MoyTravis says, ""really really dislikes spending money" yea seems about right for somebody turning out tons of third-rate horror movies" | |
| MoyTravis asks, "but that's kind of the charm of it innit?" | ||
| Knight_Otu says, "Probably gets grants for "culturally valuable contributions" or however that works." | ||
| Roger says, "this is surely an allusion/homage to 'Hammer Studios', if one didn't catch that" | ||
| DavidW says (to Roger), "I still don't." | ||
| Jacqueline asks, "So, whaddowewannado?" | ||
| MoyTravis says, "He could be doing the Uwe Boll thing." | ||
| DavidW says, "I don't know a thing about any Hammer Studios." | ||
| DavidW says, "I think we should knock on the door." | ||
| MoyTravis asks, "I think they were British?" | ||
| Roger | Hammer Film Productions Ltd. is a British film production company based in London. Founded in 1934, the company is best known for a series of Gothic horror and fantasy films made from the mid-1950s until the 1970s. Many of these involve classic horror characters such as Baron Victor Frankenstein, Count Dracula, and the Mummy, which Hammer reintroduced to audiences by filming them in vivid colour for the first time.[2] Hammer also produced science fiction, thrillers, film noir and comedies, as well as, in later years, television series. During its most successful years, Hammer dominated the horror film market, enjoying worldwide distribution and considerable financial success. | ||
| Roger says, "as we're currently in an infodumpy phase" | ||
| MoyTravis says, "Nice." | ||
| Roger asks, "knock on door?" | ||
| Jacqueline says, "I am down with knocking, yeah" | ||
| DavidW says (to ClubFloyd), "knock on door" | ||
| CF ] Outside Dr Horror's Office 0/2 | ||
| CF | > | ||
| CF | > KNOCK ON DOOR | ||
| CF | | ||
| CF | You hesitantly tap on the glass. No answer. Doesn't seem like anyone | ||
| CF | is in there. | ||
| CF | | ||
| CF | > | MoyTravis says, "Yeah sure." | |
| DavidW says (to ClubFloyd), "open door" | ||
| CF ] Outside Dr Horror's Office 0/3 | ||
| CF | > | ||
| CF | > OPEN DOOR | ||
| CF | | ||
| CF | You hesitate. Perhaps this isn't a good idea. You gingerly try the | ||
| CF | handle and are relieved to find that the door is locked. | ||
| CF | | ||
| CF | > | DavidW asks, "So, we can leave, then. East or west?" | |
| MoyTravis says, "Also, Uwe Boll legit had a thing where he'd make movies that lost money, but Germany would do some sort of funding matching, so he'd make money off losses because of it." | ||
| DavidW says, "Unless the bench is something to search/take/etc." | ||
| Roger says, "I feel like we'll be back here before long, but sure, let us try to creep away" | ||
| Jacqueline says (to ClubFloyd), "x bench" | ||
| CF ] Outside Dr Horror's Office 0/4 | ||
| CF | > | ||
| CF | > X BENCH | ||
| CF | | ||
| CF | It looks like someone found an old park bench and dragged it in. You | ||
| CF | know Arnie Mallet likes to cut costs, but come on. Or maybe it's a | ||
| CF | message to the people waiting outside his office. | ||
| CF | | ||
| CF | > | ||
| Jacqueline says (to ClubFloyd), "x me" | ||
| CF ] Outside Dr Horror's Office 0/5 | ||
| CF | > | ||
| CF | > X ME | ||
| CF | | ||
| CF | After a long day on the set, your stage makeup, thickly applied, is | ||
| CF | all over the place. Your ill-fitting clothes from wardrobe chafe and | ||
| CF | itch in unexpected places, and, to be quite honest, you could do with | ||
| CF | a good lie down and a cup of tea. | ||
| CF | | ||
| CF | > | ||
| Jacqueline says (to ClubFloyd), "i" | ||
| CF ] Outside Dr Horror's Office 0/6 | ||
| CF | > | ||
| CF | > I | ||
| CF | | ||
| CF | You are carrying a wooden stake. You are wearing a gold pocketwatch, a | ||
| CF | grey suit and a jaunty hat. | ||
| CF | | ||
| CF | > | DavidW asks, "Your hat is jaunty and stylish?" | |
| MoyTravis says, "Let's stab ourself in the heart with the stake." | ||
| Knight_Otu says, "Uwe Boll, that's the guy whose name I was blanking on." | ||
| Jacqueline says (to DW), "yay" | ||
| Jacqueline says (to ClubFloyd), "x hat" | ||
| CF ] Outside Dr Horror's Office 0/7 | ||
| CF | > | ||
| CF | > X HAT | ||
| CF | | ||
| CF | Ever so slightly too small for your head. You dread to think how many | ||
| CF | other heads have worn this prop over the years. | ||
| CF | | ||
| CF | > | ||
| Jacqueline says (to ClubFloyd), "x suit" | ||
| CF ] Outside Dr Horror's Office 0/8 | ||
| CF | > | ||
| CF | > X SUIT | ||
| CF | | ||
| CF | A grey old-fashioned suit over a white shirt. Given that it's all from | ||
| CF | wardrobe, it's deeply uncomfortable to wear, managing to be both too | ||
| CF | tight and too loose in various places at the same time. | ||
| CF | | ||
| CF | > | MoyTravis says, "Unfortunately not as jaunty and stylish as one might hope." | |
| Jacqueline says (to ClubFloyd), "x watch" | ||
| CF ] Outside Dr Horror's Office 0/9 | ||
| CF | > | ||
| CF | > X WATCH | ||
| CF | | ||
| CF | This probably used to be a real watch, but now it's just a prop. | ||
| CF | There's no innards and the hands are glued in place at two thirty. It | ||
| CF | is closed. | ||
| CF | | ||
| CF | > | ||
| Jacqueline says (to ClubFloyd), "x stake" | ||
| CF ] Outside Dr Horror's Office 0/10 | ||
| CF | > | ||
| CF | > X STAKE | ||
| CF | | ||
| CF | Basically a stick sharpened at one end. It looks like it might once | ||
| CF | have been a chair leg. You're not completely sure why you're still | ||
| CF | carrying it around. | ||
| CF | | ||
| CF | > | Knight_Otu says, "And it doesn't remind us every turn." | |
| Jacqueline says (to ClubFloyd), "open watch" | ||
| CF ] Outside Dr Horror's Office 0/11 | ||
| CF | > | ||
| CF | > OPEN WATCH | ||
| CF | | ||
| CF | You open the gold pocketwatch. | ||
| CF | | ||
| CF | > | ||
| Jacqueline says (to ClubFloyd), "x watch" | ||
| CF ] Outside Dr Horror's Office 0/12 | ||
| CF | > | ||
| CF | > X WATCH | ||
| CF | | ||
| CF | This probably used to be a real watch, but now it's just a prop. | ||
| CF | There's no innards and the hands are glued in place at two thirty. It | ||
| CF | is open. | ||
| CF | | ||
| CF | > | Roger says, "now it's time to... raise the stakes" | |
| MoyTravis says, "ohohoho" | ||
| Jacqueline says (to Roger), "With jokes like that, I'm glad you had kids, dad." | ||
| Jacqueline says, "Wouldn't want you to be a faux pas." | ||
| Roger says, "oww my loins" | ||
| Roger says, "but yeah let's get this show on the road" | ||
| Jacqueline says, "Flip a coin, walk a direction." | ||
| Knight_Otu says, "Or east, first mentioned direction." | ||
| Roger says, "west is best" | ||
| Jacqueline exclaims, "Works for me!" | ||
| DavidW says, "I'd pick the direction that's listed first." | ||
| Roger says, "FINE" | ||
| Jacqueline asks, "West is best? Who are you, Bivotar & Juranda?" | ||
| DavidW says, "Because the author tends to think visiting the rooms in that order." | ||
| MoyTravis says, "Huh." | ||
| Jacqueline says, "Hm. Or maybe that line from the Zork book was, 'Right is right...'" | ||
| MoyTravis says, "Huuuuuuuuh. Clever, that. Though some authors use room listers." | ||
| DavidW says, "well, in my opinion, anyway." | ||
| Jacqueline says, "Deep." | ||
| MoyTravis says, "You've played approximately infinity more of these than I have." | ||
| Jacqueline says, "Sure, let's use psychological profiling of the author to pick which way to go." | ||
| Jacqueline says, "Or discuss it more, we could do that too." | ||
| MoyTravis says, "No, no. Pick something." | ||
| DavidW says, "Anyway, on that basis, I pick east." | ||
| Jacqueline says, "Sure" | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] Executive Offices 0/13 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | Executive Offices | ||
| CF | The corridor ends here in shadow. The darkened glass of doors in the | ||
| CF | north and south walls reflect you like a pale creeping ghost. The | ||
| CF | corridor brightens to the west. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x doors" | ||
| CF ] Executive Offices 0/14 | ||
| CF | > | ||
| CF | > X DOORS | ||
| CF | | ||
| CF | All is dark behind the glass of the doors. | ||
| CF | | ||
| CF | > | Jacqueline says, "..." | |
| DavidW says (to ClubFloyd), "n" | ||
| CF ] Executive Offices 0/15 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | The doors are firmly locked. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] Executive Offices 0/16 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | You can't go that way. | ||
| CF | | ||
| CF | > | Jacqueline asks, "East will maybe be a good choice later?" | |
| DavidW says, "looks like west was the way to go after all" | ||
| DavidW says (to ClubFloyd), "w" | ||
| CF ] Outside Dr Horror's Office 0/17 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Outside Dr Horror's Office | ||
| CF | The lights of the corridor outside Arnie Mallet's office are dimmed. | ||
| CF | The only furniture is a hard wooden bench against the wall. Opposite | ||
| CF | it, to the north, is the door to the office. The corridor stretches | ||
| CF | into the shadows to the east and west. | ||
| CF | | ||
| CF | > | Roger says, "I'm tangentially reminded of that vampire movie scene where... David Bowie? waits so long he gets old and dies. Cat People? I dunno anyway" | |
| DavidW says (to ClubFloyd), "w" | ||
| CF ] Top of the Stairs 0/18 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Top of the Stairs | ||
| CF | Here, the lights of the corridor are even dimmer, brightening towards | ||
| CF | the east. Stairs lead downward into stygian darkness. | ||
| CF | | ||
| CF | From far below, you can hear what sounds like muffled voices, but you | ||
| CF | can't make out any words. | ||
| CF | | ||
| CF | > | Knight_Otu says, "For a place we were told to go to, this is awfully deserted." | |
| DavidW says (to ClubFloyd), "d" | ||
| CF ] Dark Stairwell 0/19 | ||
| CF | > | ||
| CF | > D | ||
| CF | | ||
| CF | | ||
| CF | Dark Stairwell | ||
| CF | It is very dark. Above you, a faint light shines through the entrance | ||
| CF | to the stairs. Set into the east wall is a door, and the stairs | ||
| CF | continue down into darkness. No. Not darkness. A faint glimmer of | ||
| CF | green light shines through the gloom from far below. | ||
| CF | | ||
| CF | The voices are louder now. You can almost make out the words - but | ||
| CF | they are not in any language you know! | ||
| CF | | ||
| CF | > | Knight_Otu says, "And as soon as I say that..." | |
| DavidW says (to ClubFloyd), "listen" | ||
| CF ] Dark Stairwell 0/20 | ||
| CF | > | ||
| CF | > LISTEN | ||
| CF | | ||
| CF | The words and phrases wind around you horribly. They build to a | ||
| CF | crescendo then die away again. This is no language you have ever | ||
| CF | heard. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x door" | ||
| CF ] Dark Stairwell 0/21 | ||
| CF | > | ||
| CF | > X DOOR | ||
| CF | | ||
| CF | Just a blank faced door on the east wall. It is closed. | ||
| CF | | ||
| CF | > | Roger says, "(It's Spanish)" | |
| DavidW says (to ClubFloyd), "e" | ||
| CF ] Dark Stairwell 0/22 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | The door is firmly locked. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x green light" | ||
| CF ] Dark Stairwell 0/23 | ||
| CF | > | ||
| CF | > X GREEN LIGHT | ||
| CF | | ||
| CF | The light seems to flicker and pulsate unpleasantly. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "d" | ||
| CF ] Dank Cavern 0/24 | ||
| CF | > | ||
| CF | > D | ||
| CF | | ||
| CF | You slowly creep down the stairs. They seem to go on forever. As you | ||
| CF | approach the pulsing green light, the chanting grows louder and louder | ||
| CF | - echoing from the narrow walls of the stairwell. | ||
| CF | | ||
| CF | Dank Cavern | ||
| CF | The stairwell from above opens into a large rocky cavern, lit by a | ||
| CF | horribly organic green light that seems to emanate from a dip in the | ||
| CF | cave's floor to the east. Stalactites drip from the ceiling and | ||
| CF | eldritch things chitter and move amongst them, just out of sight. | ||
| CF | | ||
| CF | The sound of chanting is almost unbearable now! It seems to be drawing | ||
| CF | you in - the words curling horribly through air that feels almost | ||
| CF | viscous. | ||
| CF | | ||
| CF | > | Knight_Otu says, "Not in any language we know? What are the chances? Pretty good, actually, there are more we don't know than ones we do." | |
| DavidW asks, "Is the other way to go east?" | ||
| DavidW says (to ClubFloyd), "exits" | ||
| CF ] Dank Cavern 0/24 | ||
| CF | > | ||
| CF | > EXITS | ||
| CF | | ||
| CF | That's not a verb I recognise. | ||
| CF | | ||
| CF | > | MoyTravis says, "Me, listening to a pair of diners conversing in French: "This is language...but not any language that I know!"" | |
| DavidW says, "er only way" | ||
| Knight_Otu says, "Seems so." | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] Above the Temple 0/25 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | You creep to the edge of the dip in the floor, your heart pounding in | ||
| CF | your chest. | ||
| CF | | ||
| CF | Above the Temple | ||
| CF | The cavern continues to the west and below you, to the east, the floor | ||
| CF | ramps down to a large open space. It seems to be a Temple of some | ||
| CF | sort. A circle of standing stones surrounds serried ranks of benches | ||
| CF | and at the far end, an altar pulses with a hideous green light. | ||
| CF | | ||
| CF | The benches are full. A crowd of people, all in hooded robes of deep | ||
| CF | crimson, sit at them. It is from these robed figures that the chanting | ||
| CF | is emanating as they sway in time to the rhythms of the chant. Just in | ||
| CF | front of the altar a single figure stands, its red robe resplendent | ||
| CF | with a trim of gold, face hidden behind its hood, hands raised. In one | ||
| CF | hand it holds a knife - wicked and curved. | ||
| CF | | ||
| CF | Suddenly, the figure at the front throws up its arms. The chanting | ||
| CF | stops immediately and the crowd lean forward as one as if in | ||
| CF | anticipation. Slowly, the lone figure pushes back its hood. You start | ||
| CF | with shock. It's Dr Horror himself! Arnie Mallet. The Head of the | ||
| CF | Studio. No! Arnie throws his head back and cackles maniacally. The | ||
| CF | crowd sigh and whisper. | ||
| CF | | ||
| CF | "Brethren," says Arnie, "the Ritual is complete. Tonight, we summon | ||
| CF | Astaroth and all the minions of hell!" The crowd cheer. "And yet," | ||
| CF | continues Arnie, his voice lowering, "there is one more task for us to | ||
| CF | complete. The Sacrifice!" The crowd gives a pleasurable collective | ||
| CF | groan. Arnie waves his knife. "Even now," he says, "the sacrificial | ||
| CF | body is waiting outside my office. Brother Higginbotham, will you do | ||
| CF | us the honor of bringing the lamb to the altar." | ||
| CF | | ||
| CF | "I will, Arch-vector," says one of the congregation members, getting | ||
| CF | to its feet. Wait. That's a voice you recognize. It's Harry, your | ||
| CF | Director! The shit. Harry scurries up the ramp. Oh no! Fortunately you | ||
| CF | are well hidden in the shadows and he runs straight past you and up | ||
| CF | the stairs. | ||
| CF | | ||
| CF | > | MoyTravis says, "Yeah they really should have sent an escort along with us." | |
| MoyTravis says, "Obvious in hindsight." | ||
| Jacqueline says, "We fell asleep on the bench, and this is a dream." | ||
| Knight_Otu asks, "They're new at this cult thing, aren't they?" | ||
| Roger says, "It seems like we play a lot of games involving sacrificial rituals" | ||
| Knight_Otu is suddenly glad to be separated by the internet. | ||
| MoyTravis asks, "Pfft what kinda ritual you gonna have WITHOUT a sacrifice?" | ||
| DavidW says, "Anyway, Director Wigglebottom will soon find that we're not where we should be." | ||
| Roger says, "Getting to its feet? Odd choice" | ||
| MoyTravis asks, "How you gonna get anything if you don't give anything, huh?" | ||
| Jacqueline says, "Okay, maybe not a dream." | ||
| DavidW asks, "Where do we go?" | ||
| Roger says, "I feel like we should try hiding out here for a while" | ||
| Jacqueline says, "Yeah." | ||
| MoyTravis asks, "z or hide?" | ||
| Jacqueline says, "I agree on the hiding." | ||
| DavidW says (to ClubFloyd), "hide" | ||
| CF ] Above the Temple 0/26 | ||
| CF | > | ||
| CF | > HIDE | ||
| CF | | ||
| CF | There's nothing you really need to hide from. | ||
| CF | | ||
| CF | While they are waiting for Harry, the crowd below you seem a little | ||
| CF | unsure of what to do. There is a kind of awkward silence. Arnie, at | ||
| CF | the front, coughs. "Shouldn't be long," he says. "I'm sure Brother | ||
| CF | Higginbotham will be back momentarily." As the minutes tick by, there | ||
| CF | is a rash of murmuring across the congregation and heads begin to turn | ||
| CF | towards the stairwell - you shrink back further into the shadows. | ||
| CF | Arnie looks irritated. "Well," he begins, "perhaps someone could....." | ||
| CF | | ||
| CF | Then all at once Harry rushes out of the stairwell, and straight past | ||
| CF | you - almost within touching distance, his face red and flustered. | ||
| CF | "There's no-one there," he shouts. "I can't find them anywhere." The | ||
| CF | crowd's heads snap back towards Arnie who rolls his eyes to the | ||
| CF | ceiling. | ||
| CF | | ||
| CF | Arnie seems to be struggling to control himself. "So," he says, | ||
| CF | eventually, "you're telling me we don't have a sacrifice." | ||
| CF | | ||
| CF | > | Jacqueline says, "I think there is something to hide from." | |
| MoyTravis asks, "z more?" | ||
| DavidW says, "Maybe they'll sacrifice Arnie and we can go home." | ||
| Knight_Otu says, "So we would think. The game has a different opinion." | ||
| MoyTravis says, "I think we're in a cutscene." | ||
| DavidW says (to ClubFloyd), "x arnie" | ||
| CF ] Above the Temple 0/27 | ||
| CF | > | ||
| CF | > X ARNIE | ||
| CF | | ||
| CF | With his hood thrown back, the cruel face of Arnie Mallet transfixes | ||
| CF | the crowd. He is resplendent in his red robes trimmed with gold. | ||
| CF | | ||
| CF | "They can't have gone far," says Harry, defensively. "The Studio is | ||
| CF | locked up as tight as your purse strings, Arnie." | ||
| CF | | ||
| CF | "You think this is a joke," yells Arnie, "You'd better find us a | ||
| CF | sacrifice, Harry, or you'll be going on the block. And that's | ||
| CF | Arch-vector to you." | ||
| CF | | ||
| CF | "No need for that," replies Harry, blanching, "Don't worry. We'll sort | ||
| CF | it out. I'm sure between us, all the brethren can find them." | ||
| CF | | ||
| CF | "Yes," says Arnie, "we'd better. All of you lot get out there and | ||
| CF | start looking. We need this done and dusted by midnight. Astaroth | ||
| CF | won't be best pleased if we keep him waiting. Find the Sacrifice and | ||
| CF | then we will rule this world and the next!" He breaks into his crazy | ||
| CF | laughter once more but his heart doesn't seem quite in it and he | ||
| CF | quickly stops. He sighs heavily. "Come on then, let's get on with it. | ||
| CF | Find our sacrifice." | ||
| CF | | ||
| CF | The congregation stands and moves up the ramp towards the stairwell. | ||
| CF | | ||
| CF | Oh no! This could spell trouble. You're in peril! | ||
| CF | | ||
| CF | (There's only a few things to do in a perilous situation like | ||
| CF | this. You could try and HIDE, or perhaps RUN | ||
| CF | AWAY. Or maybe, if you're feeling brave, you could try and | ||
| CF | ATTACK. Well, there's too many to attack and nowhere | ||
| CF | to run, so you'd better try to HIDE. Quick!) | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "hide" | ||
| CF ] Above the Temple 1/28 | ||
| CF | > | ||
| CF | > HIDE | ||
| CF | | ||
| CF | You crouch deeper into the shadows behind a fortuitous little rocky | ||
| CF | outcrop on the cavern floor. Surely they must see you! The | ||
| CF | congregation run up the ramp to the stairs, closely followed by Arnie. | ||
| CF | The last thing you hear as they disappear up the stairwell is Arnie's | ||
| CF | voice. "Go, Astaroth's flock," he yells, his voice disappearing into | ||
| CF | the distance "Find our sacrifice for glory and power!" | ||
| CF | | ||
| CF | Well, that was a close call. Looks like you are safe. For now! | ||
| CF | | ||
| CF | You have survived a perilous situation! Try typing | ||
| CF | SCORE to keep track. | ||
| CF | | ||
| CF | > | MoyTravis says, "Some slight jank but yeah, hide." | |
| Roger says, "That's more awkward than it needed to be" | ||
| DavidW says (to ClubFloyd), "score" | ||
| CF ] Above the Temple 1/28 | ||
| CF | > | ||
| CF | > SCORE | ||
| CF | | ||
| CF | You're still in one piece. That's a good start. | ||
| CF | | ||
| CF | You have survived one perilous situation! | ||
| CF | | ||
| CF | - You avoided the murderous attentions of the Cult of Astaroth! | ||
| CF | | ||
| CF | > | MoyTravis says, "It's fine parser is perpetually awkward as a form." | |
| DavidW asks, "I'm not sure what to do next. Just wait?" | ||
| MoyTravis says, "So...is EVERYBODY gone, or. Like." | ||
| MoyTravis asks, "Look around?" | ||
| DavidW says (to ClubFloyd), "look" | ||
| CF ] Above the Temple 1/29 | ||
| CF | > | ||
| CF | > LOOK | ||
| CF | | ||
| CF | Above the Temple | ||
| CF | The cavern continues to the west and below you, to the east, the floor | ||
| CF | ramps down to a large open space. It seems to be a Temple of some | ||
| CF | sort. A circle of standing stones surrounds serried ranks of benches | ||
| CF | and at the far end, an altar pulses with a hideous green light. | ||
| CF | | ||
| CF | The benches are empty, the temple quiet. | ||
| CF | | ||
| CF | > | DavidW says, "oh, so we could go down." | |
| Knight_Otu says, "It sounded like... yeah, everyone's gone searching." | ||
| DavidW says (to ClubFloyd), "d" | ||
| CF ] Temple of Astaroth 1/30 | ||
| CF | > | ||
| CF | > D | ||
| CF | | ||
| CF | | ||
| CF | Temple of Astaroth | ||
| CF | In the body of the Temple, in the aisle between the ranks of benches, | ||
| CF | all is quiet. The cavern ramps up to the west towards the bottom of | ||
| CF | the stairs. Looming around you are thirteen great black stones and at | ||
| CF | the heart of the Temple is the balefully glowing altar that fills the | ||
| CF | place with its pulsing green light. | ||
| CF | | ||
| CF | > | MoyTravis says, "lie on altar" | |
| MoyTravis says, "stab self with stake" | ||
| MoyTravis says, "obtain ultimate cosmic power, hopefully" | ||
| DavidW asks, "Is it okay if I examine the altar first?" | ||
| Roger says, "green, universal colour of evil" | ||
| DavidW says (to ClubFloyd), "x altar" | ||
| CF ] Temple of Astaroth 1/31 | ||
| CF | > | ||
| CF | > X ALTAR | ||
| CF | | ||
| CF | The square black bulk of the altar glows evilly, emitting a pulsing | ||
| CF | green light. Along its side is some kind of lettering, but it's no | ||
| CF | language that you have ever seen before. | ||
| CF | | ||
| CF | > | MoyTravis says, "I mean, you're driving, I'm just peanut gallerying over here." | |
| DavidW says (to ClubFloyd), "x benches" | ||
| CF ] Temple of Astaroth 1/32 | ||
| CF | > | ||
| CF | > X BENCHES | ||
| CF | | ||
| CF | On closer inspection, these have definitely been sourced from some | ||
| CF | sort of church yard sale. They were probably cheap. | ||
| CF | | ||
| CF | > | MoyTravis says, "Do as ya like." | |
| DavidW says (to ClubFloyd), "x stones" | ||
| CF ] Temple of Astaroth 1/33 | ||
| CF | > | ||
| CF | > X STONES | ||
| CF | | ||
| CF | The forbidding stones look like they've been here since the dawn of | ||
| CF | time. It is as though they are waiting for something. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "push stones" | ||
| CF ] Temple of Astaroth 1/34 | ||
| CF | > | ||
| CF | > PUSH STONES | ||
| CF | | ||
| CF | The smooth surface of the stone defeats your efforts. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "read altar" | ||
| CF ] Temple of Astaroth 1/35 | ||
| CF | > | ||
| CF | > READ ALTAR | ||
| CF | | ||
| CF | You're not going to go anywhere near that thing! | ||
| CF | | ||
| CF | > | Knight_Otu says, "No self-sacrifice for us, it sounds like." | |
| DavidW says, "Looks like lying on it is not a thing we want to do." | ||
| DavidW says, "Sorry gang." | ||
| MoyTravis says, "Unfortunate, but understandable." | ||
| Roger says, "and now the hunted has become the hunter" | ||
| DavidW says, "Maybe we'll get radioactive altar powers in another game." | ||
| DavidW says (to ClubFloyd), "x ramp" | ||
| CF ] Temple of Astaroth 1/35 | ||
| CF | > | ||
| CF | > X RAMP | ||
| CF | | ||
| CF | You can't see any such thing. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "look under benches" | ||
| CF ] Temple of Astaroth 1/36 | ||
| CF | > | ||
| CF | > LOOK UNDER BENCHES | ||
| CF | | ||
| CF | They look soaked in evil. You don't want to go anywhere near them! | ||
| CF | | ||
| CF | > | Knight_Otu says, "Did I say going in that the stakes aren't as high - or sharp - as they seemed? That hasn't aged well." | |
| DavidW says (to ClubFloyd), "l" | ||
| CF ] Temple of Astaroth 1/37 | ||
| CF | > | ||
| CF | > L | ||
| CF | | ||
| CF | Temple of Astaroth | ||
| CF | In the body of the Temple, in the aisle between the ranks of benches, | ||
| CF | all is quiet. The cavern ramps up to the west towards the bottom of | ||
| CF | the stairs. Looming around you are thirteen great black stones and at | ||
| CF | the heart of the Temple is the balefully glowing altar that fills the | ||
| CF | place with its pulsing green light. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] Temple of Astaroth 1/38 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | You can't go that way. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] Temple of Astaroth 1/39 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | You can't go that way. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] Temple of Astaroth 1/40 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | You can't go that way. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "climb stones" | ||
| CF ] Temple of Astaroth 1/41 | ||
| CF | > | ||
| CF | > CLIMB STONES | ||
| CF | | ||
| CF | The smooth surface of the stone defeats your efforts. | ||
| CF | | ||
| CF | > | Roger says, "'in the body of the temple' is an odd turn of phrase, but one I've heard before" | |
| DavidW says, "I'm not sure what to do here. It seems we have to go back the way we came." | ||
| Roger says, "seems likely" | ||
| DavidW says (to ClubFloyd), "w" | ||
| CF ] Above the Temple 1/42 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Above the Temple | ||
| CF | The cavern continues to the west and below you, to the east, the floor | ||
| CF | ramps down to a large open space. It seems to be a Temple of some | ||
| CF | sort. A circle of standing stones surrounds serried ranks of benches | ||
| CF | and at the far end, an altar pulses with a hideous green light. | ||
| CF | | ||
| CF | The benches are empty, the temple quiet. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "u" | ||
| CF ] Above the Temple 1/43 | ||
| CF | > | ||
| CF | > U | ||
| CF | | ||
| CF | You can't go that way. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "w" | ||
| CF ] Dank Cavern 1/44 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Dank Cavern | ||
| CF | The stairwell from above opens into a large rocky cavern, lit by a | ||
| CF | horribly organic green light that seems to emanate from a dip in the | ||
| CF | cave's floor to the east. Stalactites drip from the ceiling and | ||
| CF | eldritch things chitter and move amongst them, just out of sight. | ||
| CF | | ||
| CF | > | Knight_Otu asks, "I guess we're supposed to get rid of cultists until we can flee?" | |
| DavidW says (to ClubFloyd), "x stalactites" | ||
| CF ] Dank Cavern 1/45 | ||
| CF | > | ||
| CF | > X STALACTITES | ||
| CF | | ||
| CF | The stalactites hang like white worms from the ceiling. The green | ||
| CF | light makes them glow unpleasantly. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "u" | ||
| CF ] Dark Stairwell 1/46 | ||
| CF | > | ||
| CF | > U | ||
| CF | | ||
| CF | | ||
| CF | Dark Stairwell | ||
| CF | It is very dark. Above you, a faint light shines through the entrance | ||
| CF | to the stairs. Set into the east wall is a door, and the stairs | ||
| CF | continue down into darkness. No. Not darkness. A faint glimmer of | ||
| CF | green light shines through the gloom from far below. | ||
| CF | | ||
| CF | From above, you can hear bad-tempered voices and stamping feet. | ||
| CF | | ||
| CF | The door to the east is slightly ajar! It lets in a sliver of welcome | ||
| CF | white light through the gap. | ||
| CF | | ||
| CF | > | MoyTravis says, "We're in a sneaking mission I guess." | |
| DavidW says (to ClubFloyd), "e" | ||
| CF ] Entrance vestibule 2/47 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | You creep through the doorway into the welcoming lights of the | ||
| CF | entrance vestibule of the building. The door swings closed behind you | ||
| CF | and you hear the lock click into place. Well - at least they won't be | ||
| CF | following you through there! | ||
| CF | | ||
| CF | Entrance vestibule | ||
| CF | At last! Somewhere brightly lit. The big square vestibule has double | ||
| CF | doors opposite one another on both north and south walls. The doors to | ||
| CF | the south seem to lead outside. To the north, the glass doors are dark | ||
| CF | and forbidding and lead into the interior of the building. On the east | ||
| CF | wall, opposite the closed stairwell door to the west and behind an | ||
| CF | unmanned security desk is a closed smaller door with a small keypad | ||
| CF | next to it. | ||
| CF | | ||
| CF | This is where you had arrived when you auditioned for the part of the | ||
| CF | Professor in "The Revenge of the Bride of the Vampire". It had seemed | ||
| CF | so exciting then - the bustle of the studios, the faces welcoming. You | ||
| CF | never thought your first big film role would end up like this! | ||
| CF | | ||
| CF | It's really starting to dawn on you. With a sense of mounting dread, | ||
| CF | you realise you need to stop the Cult before they summon the | ||
| CF | end-times, or whatever it is they're up to! Or escape and get someone | ||
| CF | else to stop them. Preferably both. | ||
| CF | | ||
| CF | You have survived a perilous situation! | ||
| CF | | ||
| CF | > | MoyTravis says, "This is definitely set in, like, the 70s or something. Before cell phones at least." | |
| Knight_Otu says, "Sneak, run, attack, as the situation demands, I guess." | ||
| DavidW says (to ClubFloyd), "x keypad" | ||
| CF ] Entrance vestibule 2/48 | ||
| CF | > | ||
| CF | > X KEYPAD | ||
| CF | | ||
| CF | The keypad has the numbers 0 to 9 in a small square. At the top shines | ||
| CF | a small red light. You could, perhaps, ENTER a code. If you knew what | ||
| CF | it was. Which you don't. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x north door" | ||
| CF ] Entrance vestibule 2/48 | ||
| CF | > | ||
| CF | > X NORTH DOOR | ||
| CF | | ||
| CF | I only understood you as far as wanting to examine north. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x door" | ||
| CF ] Entrance vestibule 2/48 | ||
| CF | > | ||
| CF | > X DOOR | ||
| CF | | ||
| CF | Which do you mean, the stairwell door, the exterior glass doors, the | ||
| CF | interior glass doors or the smaller door? | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x exterior" | ||
| CF ] Entrance vestibule 2/49 | ||
| CF | > | ||
| CF | > X EXTERIOR | ||
| CF | | ||
| CF | The large frosted glass doors lead out into the main studio lot. They | ||
| CF | are closed. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "open exterior" | ||
| CF ] Entrance vestibule 2/50 | ||
| CF | > | ||
| CF | > OPEN EXTERIOR | ||
| CF | | ||
| CF | You open the exterior glass doors. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "out" | ||
| CF ] Entrance vestibule 2/51 | ||
| CF | > | ||
| CF | > OUT | ||
| CF | | ||
| CF | But you aren't in anything at the moment. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] Studio Lot North 2/52 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | Studio Lot North | ||
| CF | The northern end of the huge lot, oppressively surrounded by the | ||
| CF | looming, darkened studio buildings, is overlooked to the north by the | ||
| CF | ugly and squat offices, their windows watching over the lot like great | ||
| CF | eyes. Who knows what lurks behind them. To the west, the door to | ||
| CF | Studio 1 is closed. To the east, the closed Studio 2 door. On each | ||
| CF | door, a sign. The lot continues to the south into shadow. | ||
| CF | | ||
| CF | You emerge from the Studio offices into the night air, but something | ||
| CF | is wrong. It doesn't feel right. There's an oppressiveness about the | ||
| CF | sky. Pendulous clouds hang above you, eerily lit by a reddening moon. | ||
| CF | In the distance, you are sure you can hear the low rumblings of | ||
| CF | nascent thunder. A low mist is creeping across the ground. | ||
| CF | | ||
| CF | It feels like a night for dark deeds - where evil lurks in the | ||
| CF | shadows - a night for Dr Horror! | ||
| CF | | ||
| CF | > | Roger says, "hmmm this game doesn't quite nail its tone, but I'm still trying to figure out how." | |
| DavidW says (to ClubFloyd), "x studio 1" | ||
| CF ] Studio Lot North 2/52 | ||
| CF | > | ||
| CF | > X STUDIO 1 | ||
| CF | | ||
| CF | Which do you mean, Studio 1 door or Studio 1 sign? | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "sign" | ||
| CF ] Studio Lot North 2/53 | ||
| CF | > | ||
| CF | > SIGN | ||
| CF | | ||
| CF | The sign reads "Blood of the Werewolf's Claw" and then, in slightly | ||
| CF | smaller letters, "Dir: Benny Tibbings". | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x sign 2" | ||
| CF ] Studio Lot North 2/54 | ||
| CF | > | ||
| CF | > X SIGN 2 | ||
| CF | | ||
| CF | The sign reads "The Things That Could Never Die!" and then, "Dir: | ||
| CF | Herbert Blom". | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "w" | ||
| CF ] Studio Lot North 2/55 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | (first opening Studio 1 door) | ||
| CF | It seems to be locked. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] Studio Lot North 2/56 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | (first opening Studio 2 door) | ||
| CF | It seems to be locked. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] Studio Lot South 2/57 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | Studio Lot South | ||
| CF | Here, the lot is surrounded on three sides by Studios, looming out of | ||
| CF | the night like ancient guardians. The lot continues to the north into | ||
| CF | shadow. To the east side is the door to Studio 3, to the west, Studio | ||
| CF | 4 and to the south the door to Studio 5 where you have spent so much | ||
| CF | time over the last two weeks. A sign over each door proclaims the | ||
| CF | movie that is being made there. | ||
| CF | | ||
| CF | Oh no! As you walk through the lot, out of the shadows springs a | ||
| CF | crazed Cultist. His eyes gleam with a mad light in a face that is | ||
| CF | strained in a rictus of madness! | ||
| CF | | ||
| CF | "I have found you," he yells in a hoarse voice. "Now you will be | ||
| CF | sacrificed for the glory of Astaroth!" | ||
| CF | | ||
| CF | He moves towards you slowly, his arms wide, ready to enclose you in a | ||
| CF | grasping embrace. | ||
| CF | | ||
| CF | You are in a perilous situation. | ||
| CF | | ||
| CF | The crazed cultist advances on you! | ||
| CF | | ||
| CF | > | Roger exclaims, "stake him! stake him now!!" | |
| MoyTravis says, "Deffo before cell phones. Which means we murder him." | ||
| DavidW says (to ClubFloyd), "kill cultist with stake" | ||
| CF ] Studio Lot South 3/58 | ||
| CF | > | ||
| CF | > KILL CULTIST WITH STAKE | ||
| CF | | ||
| CF | You brandish the wooden stake at the Cultist, but he just throws back | ||
| CF | his head and laughs. "I don't fear your weapons," he spits and | ||
| CF | launches himself at you. You grapple, your arms locked together. He | ||
| CF | tries to wrest the stake away from you, but you hold onto it tightly. | ||
| CF | | ||
| CF | Back and forth you tussle. His strength seems to be demonic! The stake | ||
| CF | is only inches away from your eyes and he presses ever more strongly. | ||
| CF | But then an opening. You take a step back and he trips over his long | ||
| CF | robe. You both go down in a heap, and when you recover your senses you | ||
| CF | realise that the Cultist has fallen onto the sharp wooden stake | ||
| CF | impaling his heart! | ||
| CF | | ||
| CF | You push the limp body off you and stand. The wooden stake is gone, | ||
| CF | buried deep in the breast of the cultist. | ||
| CF | | ||
| CF | You have survived a perilous situation! | ||
| CF | | ||
| CF | > | MoyTravis says, "We are not good at murder, it seems." | |
| Knight_Otu says, "The absence of cell phones means it's okay to murder? Onedoes learn something new each day." | ||
| DavidW says (to ClubFloyd), "sign 3" | ||
| CF ] Studio Lot South 3/58 | ||
| CF | > | ||
| CF | > SIGN 3 | ||
| CF | | ||
| CF | That's not a verb I recognise. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x sign 3" | ||
| CF ] Studio Lot South 3/59 | ||
| CF | > | ||
| CF | > X SIGN 3 | ||
| CF | | ||
| CF | The title, "The Curse of the Mummy of Death", the director, "Susan | ||
| CF | McDougal". | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x sign 4" | ||
| CF ] Studio Lot South 3/60 | ||
| CF | > | ||
| CF | > X SIGN 4 | ||
| CF | | ||
| CF | "The Vengeance of the Monster" and, under the title, "Dir: Cecil | ||
| CF | DeCrancy". | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x sign 5" | ||
| CF ] Studio Lot South 3/61 | ||
| CF | > | ||
| CF | > X SIGN 5 | ||
| CF | | ||
| CF | The sign reads: "The Revenge of the Bride of the Vampire" and, "Dir. | ||
| CF | Harry Higginbotham". | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] Studio Waiting Room 3/62 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | (first opening Studio 5 door) | ||
| CF | | ||
| CF | Studio Waiting Room | ||
| CF | The dim lights barely illuminate the scattering of uncomfortable | ||
| CF | chairs where actors are supposed to spend their time between takes. A | ||
| CF | door to the north leads outside and dark doorways lead to the east and | ||
| CF | west deeper into the studio. | ||
| CF | | ||
| CF | You've spent too much time in this room, trying to make desultory | ||
| CF | conversation with other actors and extras. Not Blake or Charlotte | ||
| CF | though, oh no! They're the stars. They seemed to have their own | ||
| CF | private rest areas and never deigned to spend time with other, lesser | ||
| CF | actors. | ||
| CF | | ||
| CF | Occasionally, someone would be invited into their quarters for drinks | ||
| CF | and nibbles - but not you. Not that you're bitter. | ||
| CF | | ||
| CF | The kitchen counter along one wall, stained with coffee mug rings, | ||
| CF | holds the accumulated detritus of a hundred extras' various drink | ||
| CF | making ingredients. | ||
| CF | | ||
| CF | You can hear footsteps to the west. They seem to be slowly receding | ||
| CF | into the distance. | ||
| CF | | ||
| CF | > | Roger says, "games, stakes are not one-use items" | |
| Knight_Otu says, "One use antimatter stakes, or however TvTropes calls those." | ||
| Roger says, "although I guess if the game keeps feeding us a steady supply of interesting new weapons for gruesome new deaths, I could be down with that" | ||
| Knight_Otu says, "I guess we need.... right." | ||
| MoyTravis says, "Seems likely." | ||
| DavidW says (to ClubFloyd), "x counter" | ||
| CF ] Studio Waiting Room 3/63 | ||
| CF | > | ||
| CF | > X COUNTER | ||
| CF | | ||
| CF | It's a plain worktop, really. Not much to be done with it. | ||
| CF | | ||
| CF | Your tea caddy sits on top of the counter. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x caddy" | ||
| CF ] Studio Waiting Room 3/64 | ||
| CF | > | ||
| CF | > X CADDY | ||
| CF | | ||
| CF | It's red and green, with pictures of elephants on the side. It is | ||
| CF | closed. It's also stuck tight! You're going to need someone really | ||
| CF | strong to help you get this open. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take caddy" | ||
| CF ] Studio Waiting Room 3/65 | ||
| CF | > | ||
| CF | > TAKE CADDY | ||
| CF | | ||
| CF | You pick up the caddy and notice it rattle slightly. | ||
| CF | | ||
| CF | > | DavidW asks, "East or west?" | |
| MoyTravis says, "Well east was mentioned first." | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] Studio Lot South 3/66 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | Studio Store | ||
| CF | Props from a hundred bad movies loom out of the dim light in piles on | ||
| CF | the floor and stacked on metal shelving. Wide hangers hold arrays of | ||
| CF | multi-colored clothing. There may be a storage methodology at work | ||
| CF | here, but you can't see it. To your eyes, it just looks like random | ||
| CF | piles of junk made from cloth and plywood. Dimly lit doorways in the | ||
| CF | west and south walls lead into shadow. | ||
| CF | | ||
| CF | A sewing machine sits on a workbench in front of the clothes hangers. | ||
| CF | | ||
| CF | A cleared space in the centre of the room is covered with a stained | ||
| CF | persian rug. | ||
| CF | | ||
| CF | A security guard walks in through the door to the south. He sees you | ||
| CF | immediately. "Hey," he calls. "You're not supposed to be in here!" He | ||
| CF | chuckles good naturedly and grabs you by the arm. "Come on, you, it's | ||
| CF | more than my jobs worth to let people wander around in here at night. | ||
| CF | It's dangerous." | ||
| CF | | ||
| CF | You struggle feebly, but it's no use. The Guard shuffles you outside | ||
| CF | the studio. "You actors," he chuckles. "Always getting into trouble." | ||
| CF | He gives you a final wave before disappearing back into the Studio. | ||
| CF | | ||
| CF | Studio Lot South | ||
| CF | Here, the lot is surrounded on three sides by Studios, looming out of | ||
| CF | the night like ancient guardians. The lot continues to the north into | ||
| CF | shadow. To the east side is the door to Studio 3, to the west, Studio | ||
| CF | 4 and to the south the door to Studio 5 where you have spent so much | ||
| CF | time over the last two weeks. A sign over each door proclaims the | ||
| CF | movie that is being made there. | ||
| CF | | ||
| CF | A dead cultist lies sprawled on the ground, his face frozen in a | ||
| CF | horrifying rictus. | ||
| CF | | ||
| CF | > | Knight_Otu says, "And has no footsteps..." | |
| Knight_Otu says, "But a guard. Huh." | ||
| MoyTravis says, "Who doesn't notice the dead cultist lying out on the lot." | ||
| MoyTravis says, "Guards these days." | ||
| Knight_Otu says, "Outside the vision cone, of course." | ||
| Roger says, "he might yet freak out" | ||
| DavidW says, "I wanted to move that rug and find the trapdoor." | ||
| MoyTravis says, "You can probably follow him around his circuit." | ||
| MoyTravis asks, "With the footsteps?" | ||
| Roger asks, "show body to guard ?" | ||
| DavidW says, "I'm gonna find some pills and find that guard's coffee and introduce them to each other." | ||
| MoyTravis asks, "Go back in?" | ||
| Roger says, "we are apprehended" | ||
| DavidW says, "yes. And west this time" | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] Studio Waiting Room 3/67 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | Studio Waiting Room | ||
| CF | The dim lights barely illuminate the scattering of uncomfortable | ||
| CF | chairs where actors are supposed to spend their time between takes. A | ||
| CF | door to the north leads outside and dark doorways lead to the east and | ||
| CF | west deeper into the studio. | ||
| CF | | ||
| CF | The kitchen counter along one wall, stained with coffee mug rings, | ||
| CF | holds the accumulated detritus of a hundred extras' various drink | ||
| CF | making ingredients. | ||
| CF | | ||
| CF | You can hear footsteps to the west. They seem to be slowly receding | ||
| CF | into the distance. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "w" | ||
| CF ] The Vampire's Dungeon 3/68 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | The Vampire's Dungeon | ||
| CF | Painted-on slime drips from the faux stone walls, glowing vaguely | ||
| CF | fluorescent under the dim lights. Dark doorways lead to the east and | ||
| CF | south deeper into the Studio. Nylon cobwebs thickly cover the upper | ||
| CF | corners of the room and various torture equipment surrounds the set's | ||
| CF | centrepiece, an enormous shining pendulum axe | ||
| CF | | ||
| CF | The axe looks really sharp. You're glad you weren't the actor that had | ||
| CF | to lie under that take after take! Poor Melissa. It must have been | ||
| CF | terrifying. Her character, Susan, the Professor's beautiful and | ||
| CF | intelligent assistant had met her end here, tied onto the floor by the | ||
| CF | Count while the Countess laughed maniacally as she'd pulled the | ||
| CF | release handle. | ||
| CF | | ||
| CF | You'd got on well with Melissa. It was a shame about her mother | ||
| CF | falling ill, so she'd had to leave the set straight after this last | ||
| CF | scene. | ||
| CF | | ||
| CF | The axe hangs, sharp and forbidding, straight down from the centre of | ||
| CF | the room. The slot on the ceiling into which it can be pushed, is | ||
| CF | empty. | ||
| CF | | ||
| CF | On the north wall, half hidden in shadow, is the axe release handle. | ||
| CF | | ||
| CF | You can hear footsteps to the south. They seem to be slowly receding | ||
| CF | into the distance. | ||
| CF | | ||
| CF | > | Roger says, "oh guess not" | |
| MoyTravis says, "He just kicked us out he didn't actually, like, arrest us." | ||
| Roger says, "alright I can get behind this conceit and gameplay, if not necessarily the fine details of execution" | ||
| MoyTravis says, "Yeah, she "left the scene to go care for her ailing mother" right, sure." | ||
| Knight_Otu asks, "Man, we've been pretty gullible, haven't we?" | ||
| Roger asks, "have we?" | ||
| Knight_Otu says, "Melissa's probably dead." | ||
| MoyTravis says, "She's super dead." | ||
| DavidW says (to ClubFloyd), "x handle" | ||
| CF ] The Vampire's Dungeon 3/69 | ||
| CF | > | ||
| CF | > X HANDLE | ||
| CF | | ||
| CF | The handle is a simple wooden lever that, when pulled, releases the | ||
| CF | axe. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take axe" | ||
| CF ] The Vampire's Dungeon 3/70 | ||
| CF | > | ||
| CF | > TAKE AXE | ||
| CF | | ||
| CF | The axe is firmly attached to the ceiling. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "push axe" | ||
| CF ] The Vampire's Dungeon 3/71 | ||
| CF | > | ||
| CF | > PUSH AXE | ||
| CF | | ||
| CF | With difficulty, you push the axe into its slot in the ceiling, where | ||
| CF | something clicks and the axe is held in place, ready to fall. | ||
| CF | | ||
| CF | > | MoyTravis says, "oh no" | |
| Roger says, "really saves on the sfx budget" | ||
| DavidW says (to ClubFloyd), "s" | Jacqueline says, "eep" | |
| CF ] The Count's Lair 3/72 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | The Count's Lair | ||
| CF | Twisted trees made from plywood grow unconvincingly out from plastic | ||
| CF | grass matting. Dotted amongst them, foam rubber boulders are speckled | ||
| CF | with green cotton wool that, in the low light, does look a little bit | ||
| CF | like moss if you squint your eyes. Dark doorways lead north and south | ||
| CF | and the set continues into the gloom to the east. | ||
| CF | | ||
| CF | Unbelievably it was only a few hours ago you were here with the | ||
| CF | cameras rolling, take after take. How much terror has happened since | ||
| CF | then! If only you could go back in time and get that line right first | ||
| CF | time. You wouldn't be here now! I will rid the world of your evil. It | ||
| CF | shouldn't have been that hard! You're a trained actor for heaven's | ||
| CF | sake. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x boulders" | ||
| CF ] The Count's Lair 3/73 | ||
| CF | > | ||
| CF | > X BOULDERS | ||
| CF | | ||
| CF | The boulders have been carved out of foam rubber and spray painted | ||
| CF | grey. | ||
| CF | | ||
| CF | You can hear footsteps to the north. They seem to be getting closer! | ||
| CF | | ||
| CF | You are in a perilous situation!! | ||
| CF | | ||
| CF | > | Roger asks, "oh did we do anything useful to the cultist body like search it or steal the robes or anything?" | |
| MoyTravis asks, "Huh if the set continues to the east where does the door to the south go?" | ||
| Knight_Otu says, "I'm sure they'd have found another excuse to have us sacrificed." | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] Production Area 3/74 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | Production Area | ||
| CF | Behind the set, a mess of wires trail across the floor, connecting | ||
| CF | haphazardly to cameras, microphone arrays and lighting rigs. Dark | ||
| CF | doorways lead north and south into the Studio. | ||
| CF | | ||
| CF | The Director's chair sits in front of the two cameras, facing the set, | ||
| CF | which continues to the west. | ||
| CF | | ||
| CF | > | MoyTravis says, "No, we didn't...we should definitely search the body when we get back there yeah." | |
| DavidW says (to ClubFloyd), "x wires" | ||
| CF ] Production Area 3/75 | ||
| CF | > | ||
| CF | > X WIRES | ||
| CF | | ||
| CF | The tangle of multi-colored wires is draped all over the floor and up | ||
| CF | the walls, attached to all the bits of film making stuff in the room | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x chair" | ||
| CF ] Production Area 3/76 | ||
| CF | > | ||
| CF | > X CHAIR | ||
| CF | | ||
| CF | It has the word "Director" written across the back in white lettering. | ||
| CF | | ||
| CF | You can hear footsteps to the south. They seem to be getting closer! | ||
| CF | | ||
| CF | You are in a perilous situation! | ||
| CF | | ||
| CF | > | MoyTravis says, "Sit in the director's chair and when the guard comes by yell at him that you're the director and he should leave you alone." | |
| Roger says, "oh man, there's film-making stuff" | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] Studio Store 3/77 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Studio Store | ||
| CF | Props from a hundred bad movies loom out of the dim light in piles on | ||
| CF | the floor and stacked on metal shelving. Wide hangers hold arrays of | ||
| CF | multi-colored clothing. There may be a storage methodology at work | ||
| CF | here, but you can't see it. To your eyes, it just looks like random | ||
| CF | piles of junk made from cloth and plywood. Dimly lit doorways in the | ||
| CF | west and south walls lead into shadow. | ||
| CF | | ||
| CF | A sewing machine sits on a workbench in front of the clothes hangers. | ||
| CF | | ||
| CF | A cleared space in the centre of the room is covered with a stained | ||
| CF | persian rug. | ||
| CF | | ||
| CF | You can hear footsteps to the south. They seem to be getting closer! | ||
| CF | | ||
| CF | You are in a perilous situation! | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "move rug" | ||
| CF ] Studio Lot South 3/78 | ||
| CF | > | ||
| CF | > MOVE RUG | ||
| CF | | ||
| CF | You manage to roll up the rug, revealing a closed trapdoor in the | ||
| CF | floor! | ||
| CF | | ||
| CF | A security guard walks in through the door to the south. He notices | ||
| CF | you straight away. "You again!" he says with a grin and a shake of his | ||
| CF | head. "You're persistent, I'll give you that!" | ||
| CF | | ||
| CF | He grabs your arm and before you know it, despite your struggles, | ||
| CF | you're outside the Studio once again. "See you," smiles the Guard and | ||
| CF | disappears back into the Studio. | ||
| CF | | ||
| CF | Studio Lot South | ||
| CF | Here, the lot is surrounded on three sides by Studios, looming out of | ||
| CF | the night like ancient guardians. The lot continues to the north into | ||
| CF | shadow. To the east side is the door to Studio 3, to the west, Studio | ||
| CF | 4 and to the south the door to Studio 5 where you have spent so much | ||
| CF | time over the last two weeks. A sign over each door proclaims the | ||
| CF | movie that is being made there. | ||
| CF | | ||
| CF | A dead cultist lies sprawled on the ground, his face frozen in a | ||
| CF | horrifying rictus. | ||
| CF | | ||
| CF | > | MoyTravis asks, "Can we hide or something or do we just have to exit to the lot and let the guard pass to get time to search?" | |
| DavidW says (to ClubFloyd), "search cultist" | ||
| CF ] Studio Lot South 3/79 | ||
| CF | > | ||
| CF | > SEARCH CULTIST | ||
| CF | | ||
| CF | The cultist sprawls, limbs splayed, on the ground. He wears a blood | ||
| CF | stained crimson robe. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x robe" | ||
| CF ] Studio Lot South 3/80 | ||
| CF | > | ||
| CF | > X ROBE | ||
| CF | | ||
| CF | The robes, deep crimson, at least partially hide the darker patch | ||
| CF | around the hole in the chest area. | ||
| CF | | ||
| CF | > | MoyTravis says, "Strip him." | |
| DavidW says (to ClubFloyd), "take robe" | ||
| CF ] Studio Lot South 3/81 | ||
| CF | > | ||
| CF | > TAKE ROBE | ||
| CF | | ||
| CF | You reluctantly peel the crimson robe away from the body. It has a | ||
| CF | dark stain and a ragged hole at the breast, but at least it looks like | ||
| CF | it might fit. | ||
| CF | | ||
| CF | > | Roger says, "and we just found a sewing machine, yay" | |
| MoyTravis says, "Oh, nice." | ||
| MoyTravis says, "If we can time it." | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] Studio Waiting Room 3/82 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | Studio Waiting Room | ||
| CF | The dim lights barely illuminate the scattering of uncomfortable | ||
| CF | chairs where actors are supposed to spend their time between takes. A | ||
| CF | door to the north leads outside and dark doorways lead to the east and | ||
| CF | west deeper into the studio. | ||
| CF | | ||
| CF | The kitchen counter along one wall, stained with coffee mug rings, | ||
| CF | holds the accumulated detritus of a hundred extras' various drink | ||
| CF | making ingredients. | ||
| CF | | ||
| CF | You can hear footsteps to the west. They seem to be slowly receding | ||
| CF | into the distance. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] Studio Store 3/83 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | Studio Store | ||
| CF | Props from a hundred bad movies loom out of the dim light in piles on | ||
| CF | the floor and stacked on metal shelving. Wide hangers hold arrays of | ||
| CF | multi-colored clothing. There may be a storage methodology at work | ||
| CF | here, but you can't see it. To your eyes, it just looks like random | ||
| CF | piles of junk made from cloth and plywood. Dimly lit doorways in the | ||
| CF | west and south walls lead into shadow. | ||
| CF | | ||
| CF | A rolled up rug is next to a closed trapdoor in the floor. | ||
| CF | | ||
| CF | A sewing machine sits on a workbench in front of the clothes hangers. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "sew robe" | ||
| CF ] Studio Store 3/84 | ||
| CF | > | ||
| CF | > SEW ROBE | ||
| CF | | ||
| CF | For the life of you, you can't work out how to use the sewing machine. | ||
| CF | It looks like it came out of the 1800"s. | ||
| CF | | ||
| CF | > | Roger says, "oh come on game" | |
| DavidW says (to ClubFloyd), "open trapdoor" | ||
| CF ] Studio Store 3/85 | ||
| CF | > | ||
| CF | > OPEN TRAPDOOR | ||
| CF | | ||
| CF | The trapdoor opens with a creak, revealing a square of forbidding | ||
| CF | darkness! | ||
| CF | | ||
| CF | You can hear footsteps to the south. They seem to be getting closer! | ||
| CF | | ||
| CF | You are in a perilous situation! | ||
| CF | | ||
| CF | > | Knight_Otu says, "Darnit." | |
| DavidW says (to ClubFloyd), "move rug" | ||
| CF ] Studio Lot South 3/86 | ||
| CF | > | ||
| CF | > MOVE RUG | ||
| CF | | ||
| CF | But the open trapdoor is in the way. | ||
| CF | | ||
| CF | A security guard walks in through the door to the south. He notices | ||
| CF | you straight away. "You again!" he says with a grin and a shake of his | ||
| CF | head. "You're persistent, I'll give you that!" | ||
| CF | | ||
| CF | He grabs your arm and before you know it, despite your struggles, | ||
| CF | you're outside the Studio once again. "See you," smiles the Guard and | ||
| CF | disappears back into the Studio. | ||
| CF | | ||
| CF | Studio Lot South | ||
| CF | Here, the lot is surrounded on three sides by Studios, looming out of | ||
| CF | the night like ancient guardians. The lot continues to the north into | ||
| CF | shadow. To the east side is the door to Studio 3, to the west, Studio | ||
| CF | 4 and to the south the door to Studio 5 where you have spent so much | ||
| CF | time over the last two weeks. A sign over each door proclaims the | ||
| CF | movie that is being made there. | ||
| CF | | ||
| CF | A dead cultist lies sprawled on the ground, his face frozen in a | ||
| CF | horrifying rictus. | ||
| CF | | ||
| CF | > | MoyTravis exclaims, "Quick into the mysterious trapdoor!" | |
| DavidW says (to ClubFloyd), "undo" | ||
| CF ] Studio Store 3/85 | ||
| CF | | ||
| CF | > UNDO | ||
| CF | | ||
| CF | Studio Store | ||
| CF | [Previous turn undone.] | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "d" | ||
| CF ] Studio Crypt 3/86 | ||
| CF | > | ||
| CF | > D | ||
| CF | | ||
| CF | You nervously grab hold of the sides of the trapdoor and let yourself | ||
| CF | down into the darkness below. Fortunately, you feel a wooden floor | ||
| CF | under your feet and you continue down into the unknown! | ||
| CF | | ||
| CF | Studio Crypt | ||
| CF | It is very dark. The only light comes from a square hole in the | ||
| CF | ceiling. | ||
| CF | | ||
| CF | Suddenly, unexpectedly, from the darkness, there's a disembodied | ||
| CF | voice! "Who's that?" it says. It's a female voice. It sounds annoyed. | ||
| CF | "Whoever it is, you might want to turn the light on before you trip | ||
| CF | over something." | ||
| CF | | ||
| CF | > | MoyTravis asks, "turn on...light?" | |
| DavidW says (to ClubFloyd), "turn on light" | ||
| CF ] Studio Crypt 3/87 | ||
| CF | > | ||
| CF | > TURN ON LIGHT | ||
| CF | | ||
| CF | You run your hands along the walls and find a switch. You press it and | ||
| CF | the room is bathed in light. | ||
| CF | | ||
| CF | Studio Crypt | ||
| CF | The square windowless room, grimly lit by a bright light from the | ||
| CF | naked lightbulb on the ceiling, is surrounded on three sides by a | ||
| CF | large cage made from iron bars that run from ceiling to floor. A | ||
| CF | barred door into the cage is closed. One one side, next to a | ||
| CF | lightswitch, a rickety wooden ramp leads up to a hole in the ceiling. | ||
| CF | The walls are made from grey stone and drip with moisture. The whole | ||
| CF | room seems to give off a damp earthy smell of decay! | ||
| CF | | ||
| CF | In the centre of the room is a large white box that looks like a | ||
| CF | kitchen refrigerator. | ||
| CF | | ||
| CF | The room is full of people! You start with shock, then you realise | ||
| CF | that, in fact, the cage is full of people. They are all | ||
| CF | standing or sitting behind the iron bars. | ||
| CF | | ||
| CF | Suddenly, you realise who they all are. It's your fellow actors and | ||
| CF | all the extras from your last scene. They've all been imprisoned down | ||
| CF | here in this dreadful place in the dark! | ||
| CF | | ||
| CF | Charlotte Day, who plays the Countess, leans against the iron bars. | ||
| CF | Behind her, sat with his back against the wall, is the Count, the | ||
| CF | famous Blake Lively, the finest vampire actor in the world, and over | ||
| CF | on the other side huddle the extras who played the vampire's thralls. | ||
| CF | | ||
| CF | "What the hell are you doing here," says Charlotte. "We all thought | ||
| CF | you'd been fired." | ||
| CF | | ||
| CF | "Well, darling," says Blake, with a listless wave of his hand, "It | ||
| CF | appears that standards are slipping even further. Who would have | ||
| CF | thought it?" | ||
| CF | | ||
| CF | (You can interact with other people if they're amenable! For some | ||
| CF | pointers on different ways try typing HELP. To start, why not try and | ||
| CF | TALK TO Charlotte.) | ||
| CF | | ||
| CF | "Hurry up," yells one of the extras. "Get us out of here." | ||
| CF | | ||
| CF | > | MoyTravis says, "The extras have their priorities in order." | |
| Roger says, "It's sort of too-straight to be parody, but too ridiculous to be straight" | ||
| Knight_Otu says, "The extras that were invited for "nibbles"." | ||
| DavidW says (to ClubFloyd), "talk to charlotte" | ||
| CF ] Studio Crypt 3/88 | ||
| CF | > | ||
| CF | > TALK TO CHARLOTTE | ||
| CF | | ||
| CF | "So," says Charlotte. "Have you come to rescue us, then?" She is still | ||
| CF | wearing her stage makeup and the diaphanous white gown from wardrobe. | ||
| CF | She smiles at you, but there is something unpleasant about it. You | ||
| CF | notice she still has her prop teeth in - long white fangs that curve | ||
| CF | down over her lower lip. Strange, that. You think they'd be | ||
| CF | uncomfortable and she would take them out. | ||
| CF | | ||
| CF | (1) - "What are you doing here?" | ||
| CF | | ||
| CF | You say > | ||
| DavidW says (to ClubFloyd), "1" | ||
| CF ] Studio Crypt 3/88 | ||
| CF | You say > | ||
| CF | > 1 | ||
| CF | | ||
| CF | "What are you doing here?" you ask. | ||
| CF | | ||
| CF | "Isn't it obvious?" replies Charlotte. "We're being imprisoned here by | ||
| CF | Arnie Mallet and his gang of demon worshipping reprobates." She sighs. | ||
| CF | "It's a lot cheaper to keep us here in cages than, you know, actually | ||
| CF | pay real actors." | ||
| CF | | ||
| CF | "Yeah," yells across one of the extras. "It's not as though we can | ||
| CF | form a union, can we boss?" | ||
| CF | | ||
| CF | Blake doesn't move, but raises a languid eyebrow. "Ah," he says, | ||
| CF | sadly. "Heckling from the stalls. Who would have thought it." | ||
| CF | | ||
| CF | (1) - "Wait - what? You're not real actors?" | ||
| CF | (2) - "Why don't you escape?" | ||
| CF | | ||
| CF | You say > | MoyTravis says, "Our main character is either very, very trusting, or kind of slow." | |
| Knight_Otu says, "Prop teeth these are not." | ||
| DavidW says (to ClubFloyd), "1" | ||
| CF ] Studio Crypt 3/88 | ||
| CF | You say > | ||
| CF | > 1 | ||
| CF | | ||
| CF | "Wait," you say, "what are you talking about?" | ||
| CF | | ||
| CF | The Countess looks at you oddly. "Really?" she says. "Long teeth? | ||
| CF | White skin? Unable to go out in daylight? Super strength? Worried | ||
| CF | about things with crosses in them? You really didn't know. Well," she | ||
| CF | pauses for a moment, "I suppose you wouldn't. We just assumed everyone | ||
| CF | was in on it. We're vampires." | ||
| CF | | ||
| CF | (1) - "Vampires!?" | ||
| CF | | ||
| CF | You say > | ||
| DavidW says (to ClubFloyd), "1" | ||
| CF ] Studio Crypt 3/88 | ||
| CF | You say > | ||
| CF | > 1 | ||
| CF | | ||
| CF | "Vampires!" you whisper, your throat constricted with terror. "No!" | ||
| CF | | ||
| CF | "Well, of course," says Charlotte. "I am," and here she draws herself | ||
| CF | up to her full height, "the Countess! It's a lot cheaper for Mallet to | ||
| CF | capture real vampires to star in his films than it is to employ | ||
| CF | actors. He doesn't have to pay us anything, keeps us locked up in | ||
| CF | here. And we don't need expensive makeup or clothing. We're very cost | ||
| CF | effective. All he has to do is feed us the occasional extra." | ||
| CF | | ||
| CF | So if this is the Countess, then Blake must be the Count! And the | ||
| CF | extras are really his thralls! | ||
| CF | | ||
| CF | Blake Lively sees you looking at him. "Of course, my dear," he says, | ||
| CF | "one must really live the role. Method acting can only take you so | ||
| CF | far." | ||
| CF | | ||
| CF | (1) - "You could have killed us all!" | ||
| CF | | ||
| CF | You say > | MoyTravis says, "Maybe both." | |
| DavidW says (to ClubFloyd), "1" | ||
| CF ] Studio Crypt 3/88 | ||
| CF | You say > | ||
| CF | > 1 | ||
| CF | | ||
| CF | "But we've all been working together for weeks!" you gasp. "You could | ||
| CF | have killed us at any time!" | ||
| CF | | ||
| CF | One of the extras, no, you suppose you must now call them the thralls, | ||
| CF | giggles. "Not till the film's done!" she shouts. There's a burst of | ||
| CF | laughter from the crowd. | ||
| CF | | ||
| CF | "Quiet you," snaps the Countess. She turns to Blake. "Can't you keep | ||
| CF | these idiots in line?" | ||
| CF | | ||
| CF | Blake just shrugs. "I'm afraid, darling," he says, "that you are much | ||
| CF | better at controlling the mob than I." | ||
| CF | | ||
| CF | Charlotte sighs and turns back to you. "No," she says, "we couldn't. | ||
| CF | Firstly, most of the cast and crew are protected. Secondly, they film | ||
| CF | during the day. Where would we go? Outside in the sun? And thirdly, it | ||
| CF | wouldn't be long before Arnie and the rest of his Cult were here with | ||
| CF | their stakes and demonic hexes and then we'd be screwed." | ||
| CF | | ||
| CF | (1) - "You know about the Cult?" | ||
| CF | (2) - "What did she mean - not till the films done?" | ||
| CF | | ||
| CF | You say > | ||
| DavidW says (to ClubFloyd), "1" | ||
| CF ] Studio Crypt 3/88 | ||
| CF | You say > | ||
| CF | > 1 | ||
| CF | | ||
| CF | "You know about the Cult of Astaroth?" you ask, remembering your own | ||
| CF | recent close encounter. | ||
| CF | | ||
| CF | The Countess hisses between her white fangs. "Don't say that name," | ||
| CF | she snarls. "That lot are idiots. They think they can control Ast.... | ||
| CF | the demon. They think it'll give them dominion over this world and the | ||
| CF | next. Fools! You wait and see. When they eventually get round to | ||
| CF | summoning it, they're in for an unpleasant surprise." | ||
| CF | | ||
| CF | Well, this is awkward. "Bad news," you begin, "I think they're | ||
| CF | summoning it tonight. I was supposed to be the sacrifice." | ||
| CF | | ||
| CF | If possible, the Countess goes even whiter than she already was. The | ||
| CF | Count breaks the silence. "The life of an actor," he declaims, "is | ||
| CF | beset by these unfortunate moments. Why, I remember when I starred in | ||
| CF | The Dreadful Kiss of the Vampire, that..." | ||
| CF | | ||
| CF | The Countess interrupts him with a snarl. "If it wasn't for you and | ||
| CF | your method acting we wouldn't be here. So be quiet." She | ||
| CF | turns back to you. "This is bad. We can help. You need to get us out | ||
| CF | of here." | ||
| CF | | ||
| CF | (1) - "You'll help?" | ||
| CF | | ||
| CF | You say > | ||
| DavidW says (to ClubFloyd), "1" | ||
| CF ] Studio Crypt 3/88 | ||
| CF | You say > | ||
| CF | > 1 | ||
| CF | | ||
| CF | "You want to help defeat the Cult?" you gasp. | ||
| CF | | ||
| CF | "Of course," replies the Countess. "I'm telling you now, if Ast... | ||
| CF | that thing is summoned, it won't be good for humans. Not at all. With | ||
| CF | all our vampiric strength, we can help." | ||
| CF | | ||
| CF | "So?" shouts one of the thralls. "Why should we care about the humans? | ||
| CF | They persecute us every chance they get!" There is a mutter of | ||
| CF | agreement from the other thralls. | ||
| CF | | ||
| CF | The Countess sighs heavily. "You see," she says to you, "this is the | ||
| CF | kind of duncery I have to deal with. He," and here she nods her head | ||
| CF | at the Count, "doesn't choose his victims for their brains. | ||
| CF | Do you dear?" | ||
| CF | | ||
| CF | The Count just waves a languid hand. | ||
| CF | | ||
| CF | She turns to the thralls. "You seem to forget that humans are what we | ||
| CF | feed on and the reason they persecute us is because we drain them of | ||
| CF | all their blood. We'd not last long if there were none left. So, yes, | ||
| CF | we're going to help. All of us. As can the other undead." | ||
| CF | | ||
| CF | (1) - "How can I trust you?" | ||
| CF | (2) - "Other undead?" | ||
| CF | | ||
| CF | You say > | Roger says, "I feel like we need to find and wear a crucifix first, but I could be wrong" | |
| DavidW says (to ClubFloyd), "2" | ||
| CF ] Studio Crypt 3/88 | ||
| CF | You say > | ||
| CF | > 2 | ||
| CF | | ||
| CF | "What do you mean by other undead?" | ||
| CF | | ||
| CF | "Well it's not just us Mallet has got captured," replies the Countess. | ||
| CF | "There's others locked up in the other studios. I don't know what | ||
| CF | other films they're making at the minute, but I'm guessing that | ||
| CF | Arnie's cutting costs by capturing and using the undead in them all. | ||
| CF | If we've got any chance of defeating the Cult - especially if they've | ||
| CF | found another sacrifice and summoned you know who and all his minions, | ||
| CF | we're gonna need an Undead Army. You need to get out there and rescue | ||
| CF | as many undead as you can and persuade them to join the cause." | ||
| CF | | ||
| CF | "But the other studios are all locked up," you blurt out. | ||
| CF | | ||
| CF | "Hmmm," says the Countess. She sighs. "Then we're screwed." | ||
| CF | | ||
| CF | "Hey," shouts a thrall from the other side of the room. "I know how to | ||
| CF | get in. I overheard one of the guards talking about it. If you get | ||
| CF | into the security room in the lobby, there's an override button. And I | ||
| CF | know the code. Get us out of here and I'll tell you it." | ||
| CF | | ||
| CF | "There you go," says the Countess. "Problem solved." | ||
| CF | | ||
| CF | (1) - "You want me to gather an Undead Army?" | ||
| CF | (2) - "How do I get you out of here?" | ||
| CF | | ||
| CF | You say > | Knight_Otu asks, "What could possibly go wrong?" | |
| DavidW says (to ClubFloyd), "1" | ||
| CF ] Studio Crypt 3/88 | ||
| CF | You say > | ||
| CF | > 1 | ||
| CF | | ||
| CF | "You want to gather an Undead Army?" you ask, almost unable to believe | ||
| CF | what you are saying. | ||
| CF | | ||
| CF | "Unless you can think of a better way to battle against hordes of | ||
| CF | cultists and the evil they've summoned," shrugs the Countess. | ||
| CF | | ||
| CF | (1) - "How do I get you out of here?" | ||
| CF | | ||
| CF | You say > | Knight_Otu says, "(Everything.)" | |
| DavidW says (to ClubFloyd), "1" | ||
| CF ] Studio Crypt 3/88 | ||
| CF | You say > | ||
| CF | > 1 | ||
| CF | | ||
| CF | "So how do I get you out of here?" It sounds like a terrible plan, but | ||
| CF | you really can't think of an alternative. | ||
| CF | | ||
| CF | The Countess just looks at you for a moment. "Really? A good start | ||
| CF | might be to find the key to this cage. I know they keep it in the | ||
| CF | Studio somewhere, but I don't know where. I've got vampiric strength | ||
| CF | so if it's locked in a key safe or lock-box or anything and you bring | ||
| CF | it to me, I can probably get it open. Now, get us out of here and we | ||
| CF | can get going on this. Enough chat." | ||
| CF | | ||
| CF | (1) - "Goodbye." | ||
| CF | | ||
| CF | You say > | ||
| DavidW says (to ClubFloyd), "1" | ||
| CF ] Studio Crypt 3/88 | ||
| CF | You say > | ||
| CF | > 1 | ||
| CF | | ||
| CF | The Countess turns away from you. So, you're definitely thinking about | ||
| CF | trying to help these Vampires escape, creating an Undead Army and then | ||
| CF | leading it into battle against hordes of demons and occultists. This | ||
| CF | night is starting to get a little odd. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "give caddy to countess" | ||
| CF ] Studio Crypt 3/89 | ||
| CF | > | ||
| CF | > GIVE CADDY TO COUNTESS | ||
| CF | | ||
| CF | "Really," says the Countess. "A cup of tea, now?" She sighs and grabs | ||
| CF | the tea caddy from your hands. With a single twist, she uses what | ||
| CF | seems to be a vampiric strength and the tea caddy pops open. She hands | ||
| CF | it back to you and sighs. "There you go." | ||
| CF | | ||
| CF | The Count gets up, stretches his back lethargically, and sits back | ||
| CF | against the wall. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "look in it" | ||
| CF ] Studio Crypt 3/90 | ||
| CF | > | ||
| CF | > LOOK IN IT | ||
| CF | | ||
| CF | It's red and green, with pictures of elephants on the side. It is | ||
| CF | open. | ||
| CF | | ||
| CF | In the tea caddy is a small brass key. | ||
| CF | | ||
| CF | "Are you going to get us out of here?" says the Countess to you. | ||
| CF | | ||
| CF | > | MoyTravis asks, "Wait when did we pick that up?" | |
| MoyTravis asks, "Did you just...take that up because your Game Sense was tingling?" | ||
| DavidW says, "It was on the kitchen counter." | ||
| Knight_Otu says, "When we first came into the studio." | ||
| DavidW says, "yes, my game sense knew it was important." | ||
| MoyTravis says, "Hahaha! Nice." | ||
| DavidW says (to ClubFloyd), "unlock cage with key" | ||
| CF ] Studio Crypt 3/91 | ||
| CF | > | ||
| CF | > UNLOCK CAGE WITH KEY | ||
| CF | | ||
| CF | (first taking the small brass key) | ||
| CF | Taken. | ||
| CF | | ||
| CF | "Oh my god," says the Countess, with a roll of her eyes. "A tea caddy | ||
| CF | of all places. How much they value us." | ||
| CF | | ||
| CF | Wait a minute, this is your tea caddy. They've been using it to store | ||
| CF | the key to a vampiric dungeon! You don't recall them asking your | ||
| CF | permission. | ||
| CF | | ||
| CF | "Wait, what are you doing," says the Countess, raising her eyebrows. | ||
| CF | "You know we're vampires, right?" | ||
| CF | | ||
| CF | "What do you mean?" you reply, somewhat taken aback. | ||
| CF | | ||
| CF | "Well, you don't have any protection," she says, speaking very slowly, | ||
| CF | as if to a child. "If you let us out now, without any protection, | ||
| CF | we'll drain you of all your blood and all that will be left is a dried | ||
| CF | up husk. And while I'm not dead set against that, we do need you to | ||
| CF | get an undead army together first." | ||
| CF | | ||
| CF | "But I'm trying to help!" you stammer. "Why would you bite me?" | ||
| CF | | ||
| CF | The Countess shrugs. "We're vampires. That's what we do. Wouldn't be | ||
| CF | able to help ourselves. You need something to protect yourself. Like | ||
| CF | garlic, or a UV lamp, or something else we vampires find, for some | ||
| CF | narratively convenient reason, unappealing." | ||
| CF | | ||
| CF | "Hurry up," yells one of the vampire thralls. "Get us out of here." | ||
| CF | | ||
| CF | > | MoyTravis says, "So they can restrain themselves from eating you to finish a movie, but not to save themselves and the world from demonic cultists." | |
| MoyTravis says, "Great priorities there, vampires." | ||
| DavidW says, "hmm. I didn't see any vampire protection stuff." | ||
| Roger says, "I think a game like this really needs to succeed on its charms, and I'm just not finding it charming enough" | ||
| Knight_Otu asks, "There was a path south from the Lair that we didn't take yet, right?" | ||
| DavidW says, "yesh, we never went south from there." | ||
| DavidW says (to ClubFloyd), "u" | ||
| CF ] Studio Store 3/92 | ||
| CF | > | ||
| CF | > U | ||
| CF | | ||
| CF | | ||
| CF | Studio Store | ||
| CF | Props from a hundred bad movies loom out of the dim light in piles on | ||
| CF | the floor and stacked on metal shelving. Wide hangers hold arrays of | ||
| CF | multi-colored clothing. There may be a storage methodology at work | ||
| CF | here, but you can't see it. To your eyes, it just looks like random | ||
| CF | piles of junk made from cloth and plywood. Dimly lit doorways in the | ||
| CF | west and south walls lead into shadow. | ||
| CF | | ||
| CF | A rolled up rug is next to an open trapdoor, leading down into a | ||
| CF | brightly lit room. | ||
| CF | | ||
| CF | A sewing machine sits on a workbench in front of the clothes hangers. | ||
| CF | | ||
| CF | You can hear footsteps to the south. They seem to be getting closer! | ||
| CF | | ||
| CF | You are in a perilous situation! | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "w" | ||
| CF ] Studio Waiting Room 3/93 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Studio Waiting Room | ||
| CF | The dim lights barely illuminate the scattering of uncomfortable | ||
| CF | chairs where actors are supposed to spend their time between takes. A | ||
| CF | door to the north leads outside and dark doorways lead to the east and | ||
| CF | west deeper into the studio. | ||
| CF | | ||
| CF | The kitchen counter along one wall, stained with coffee mug rings, | ||
| CF | holds the accumulated detritus of a hundred extras' various drink | ||
| CF | making ingredients. | ||
| CF | | ||
| CF | You can hear footsteps to the east. They seem to be getting closer! | ||
| CF | | ||
| CF | You are in a perilous situation! | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "w" | ||
| CF ] The Vampire's Dungeon 3/94 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | The Vampire's Dungeon | ||
| CF | Painted-on slime drips from the faux stone walls, glowing vaguely | ||
| CF | fluorescent under the dim lights. Dark doorways lead to the east and | ||
| CF | south deeper into the Studio. Nylon cobwebs thickly cover the upper | ||
| CF | corners of the room and various torture equipment surrounds the set's | ||
| CF | centrepiece, an enormous shining pendulum axe. | ||
| CF | | ||
| CF | The pendulum axe sits snugly in its slot in the ceiling. | ||
| CF | | ||
| CF | On the north wall, half hidden in shadow, is the axe release handle. | ||
| CF | | ||
| CF | You can hear footsteps to the east. They seem to be getting closer! | ||
| CF | | ||
| CF | You are in a perilous situation! | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "hide" | ||
| CF ] The Vampire's Dungeon 3/95 | ||
| CF | > | ||
| CF | > HIDE | ||
| CF | | ||
| CF | You back into the darker shadows of the set as the footsteps tap ever | ||
| CF | closer. | ||
| CF | | ||
| CF | A security guard walks in through the door to the east. | ||
| CF | | ||
| CF | The Guard shines his torch around the set, playing it into the | ||
| CF | shadows. Fortunately, it doesn't look like he sees you! | ||
| CF | | ||
| CF | He sighs heavily and stretches his back. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "pull handle" | ||
| CF ] The Vampire's Dungeon 4/96 | ||
| CF | > | ||
| CF | > PULL HANDLE | ||
| CF | | ||
| CF | You wrestle with yourself for a moment. Can this be the right thing to | ||
| CF | do? But there's no use - surely you'll be forgiven if you manage to | ||
| CF | save the world, or, at least stop whatever Mallet and the Cult are up | ||
| CF | to. | ||
| CF | | ||
| CF | You pull the handle. | ||
| CF | | ||
| CF | Your sudden movement causes the guard, standing in the centre of the | ||
| CF | room, to look straight at you. "Hey..." he begins. But the rest of his | ||
| CF | words are lost. The enormous axe descends from the ceiling with a | ||
| CF | whickering whuummmm and chops straight through the centre of his body, | ||
| CF | separating him into two pieces! | ||
| CF | | ||
| CF | You look away as the gradually settling blade continues to swing back | ||
| CF | and forth, cutting the guard up into smaller and smaller parts. It | ||
| CF | eventually stops directly over the remains of what once was the | ||
| CF | Security guard. | ||
| CF | | ||
| CF | You have survived a perilous situation! | ||
| CF | | ||
| CF | > | MoyTravis says, "hmm." | |
| Roger says, "dang" | ||
| MoyTravis says, "RIP that guy." | ||
| Jacqueline says (to Roger), "I can see what you mean, but I do think it's doing some clever things plot-wise." | ||
| Knight_Otu says, "Yikes." | ||
| DavidW says (to ClubFloyd), "search guard" | ||
| CF ] The Vampire's Dungeon 4/97 | ||
| CF | > | ||
| CF | > SEARCH GUARD | ||
| CF | | ||
| CF | There's too much blood! You can hardly bear to look at it. You notice | ||
| CF | a bright glint in the viscera. It looks like something on the end of a | ||
| CF | chain. | ||
| CF | | ||
| CF | > | MoyTravis says, "He was definitely not a cultist, too." | |
| DavidW says (to ClubFloyd), "take glint" | ||
| CF ] The Vampire's Dungeon 4/98 | ||
| CF | > | ||
| CF | > TAKE GLINT | ||
| CF | | ||
| CF | You close your eyes and reach into the horrible mass of what was once | ||
| CF | a security guard. You manage to snag your finger over the chain and | ||
| CF | pull it out. On the end of the chain is a crucifix! | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "wear crucifix" | ||
| CF ] The Vampire's Dungeon 4/99 | ||
| CF | > | ||
| CF | > WEAR CRUCIFIX | ||
| CF | | ||
| CF | You put on the crucifix. | ||
| CF | | ||
| CF | > | MoyTravis exclaims, "Score!" | |
| MoyTravis says, "Also let's check out that door to the south." | ||
| DavidW says, "of course" | ||
| DavidW says (to ClubFloyd), "look" | ||
| CF ] The Vampire's Dungeon 4/100 | ||
| CF | > | ||
| CF | > LOOK | ||
| CF | | ||
| CF | The Vampire's Dungeon | ||
| CF | Painted-on slime drips from the faux stone walls, glowing vaguely | ||
| CF | fluorescent under the dim lights. Dark doorways lead to the east and | ||
| CF | south deeper into the Studio. Nylon cobwebs thickly cover the upper | ||
| CF | corners of the room and various torture equipment surrounds the set's | ||
| CF | centrepiece, an enormous shining pendulum axe. | ||
| CF | | ||
| CF | The chunky remains of the security guard are scattered horribly across | ||
| CF | the floor. | ||
| CF | | ||
| CF | The axe hangs, sharp and forbidding, straight down from the centre of | ||
| CF | the room. The slot on the ceiling into which it can be pushed, is | ||
| CF | empty. | ||
| CF | | ||
| CF | On the north wall, half hidden in shadow, is the axe release handle. | ||
| CF | | ||
| CF | > | MoyTravis says, "This character is both very guillible and entirely unconcerned by brutal murders." | |
| DavidW says, "I don't remember the exact layout." | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] The Count's Lair 4/101 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | The Count's Lair | ||
| CF | Twisted trees made from plywood grow unconvincingly out from plastic | ||
| CF | grass matting. Dotted amongst them, foam rubber boulders are speckled | ||
| CF | with green cotton wool that, in the low light, does look a little bit | ||
| CF | like moss if you squint your eyes. Dark doorways lead north and south | ||
| CF | and the set continues into the gloom to the east. | ||
| CF | | ||
| CF | > | Roger says, "I like the design of the game more than its execution, I guess is all I mean. It's not bad per se." | |
| DavidW says (to ClubFloyd), "s" | ||
| CF ] Bleak and Windswept Moors 4/102 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | As you walk through the doorway into the dimly lit set you stop | ||
| CF | suddenly in fear, your heart pounding! There's a dark figure in the | ||
| CF | midst of the moors reaching out towards you with evil grasping hands | ||
| CF | and sharp fingers. You half-turn, ready to run, but then you realise | ||
| CF | it's just a prop. It's just a tree that, for a moment, looked like a | ||
| CF | dreadful creature in the gloom ready to pull you into its deadly | ||
| CF | embrace. | ||
| CF | | ||
| CF | Your heart slows down and you take a deep breath. | ||
| CF | | ||
| CF | Bleak and Windswept Moors | ||
| CF | In front of a backdrop of painted, menacing hills, the room is filled | ||
| CF | with a nasty-looking dark marsh, dotted with plastic reeds. Forbidding | ||
| CF | doorways lead north and east deeper into the Studio. This is where Mel | ||
| CF | Crispin had made his exit from the movie. Playing Alexander, the | ||
| CF | stocky, slightly comic sidekick to the Professor, he was, for fairly | ||
| CF | unconvincing narrative reasons, required to run into the bog and then | ||
| CF | get sucked down into the deep mud. | ||
| CF | | ||
| CF | That had been his last scene - he must have left the Studios pretty | ||
| CF | quick afterwards as you don't recall seeing him to say goodbye. Shame, | ||
| CF | that. You had liked Mel. | ||
| CF | | ||
| CF | A lone plywood tree rears out of the centre of the bog, its twisted | ||
| CF | arms seemingly reaching out toward the north doorway! | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x tree" | ||
| CF ] Bleak and Windswept Moors 4/103 | ||
| CF | > | ||
| CF | > X TREE | ||
| CF | | ||
| CF | Even though it's only made from cheap plywood, the tree looks like a | ||
| CF | figure out of a nightmare - like a ghoul reaching out with its | ||
| CF | grasping claws ready to rip and rend! | ||
| CF | | ||
| CF | > | Knight_Otu says, "Come on, protagonist. Surely you must have realized by now." | |
| MoyTravis says, "...I think you were supposed to visit here before the vampires. The "Shame, that. You had liked Mel." I mean really." | ||
| MoyTravis says, "Yeah." | ||
| DavidW says, "I suppose pushing the tree against someone might work." | ||
| DavidW says (to ClubFloyd), "x reeds" | ||
| CF ] Bleak and Windswept Moors 4/104 | ||
| CF | > | ||
| CF | > X REEDS | ||
| CF | | ||
| CF | The clumps of reeds stick out of the marsh at regular intervals. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] The Pool of Death 4/105 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | The Pool of Death | ||
| CF | The set walls are covered in badly painted-on stonework and the | ||
| CF | ubiquitous nylon cobwebs sway menacingly in the dim light of the upper | ||
| CF | corners. In the centre of the room, carved stone-like figures surround | ||
| CF | a clear pool of what, in the film, was supposed to be acid so strong | ||
| CF | it could dissolve flesh in mere seconds! Doorways lead north and west | ||
| CF | into the Studio and a metal ladder climbs up the back wall toward the | ||
| CF | shadowy ceiling. | ||
| CF | | ||
| CF | It was never made entirely clear by the script why the Count would | ||
| CF | have a pool of acid in his castle or what he did with it, but it was | ||
| CF | here that Beanie Havell's character, Geoffrey, the love interest, met | ||
| CF | his untimely end - running to escape the thralls only to fall into the | ||
| CF | pool and be dissolved in what, Harry assured you all, were extremely | ||
| CF | expensive special effects. | ||
| CF | | ||
| CF | Good old Beanie. Straight after this scene, according to Harry, he'd | ||
| CF | had to leave the Studios to do a stage production of "If you like it, | ||
| CF | Missus" in Brazil of all places! Nice work if you can get it. You wish | ||
| CF | you'd had chance to wish him luck. | ||
| CF | | ||
| CF | In the centre of the floor is a sandbag. It is tied to a rope that | ||
| CF | stretches up into the shadowy recesses of the ceiling. | ||
| CF | | ||
| CF | > | Knight_Otu says, "Then again... when looking at the state of the real world..." | |
| MoyTravis asks, "Are these all alternate ways of killing the guard?" | ||
| Knight_Otu says, "Okay, no, we're just a naive and gullible actor." | ||
| MoyTravis asks, "Swamp drowning, hit by sandbag into acid, sliced by blade?" | ||
| DavidW says, "or someone, yeah" | ||
| DavidW says, "We don't hava a blade for the rope, though." | ||
| DavidW says (to ClubFloyd), "x pool" | ||
| CF ] The Pool of Death 4/106 | ||
| CF | > | ||
| CF | > X POOL | ||
| CF | | ||
| CF | (the clear pool) | ||
| CF | The pool looks deep. The liquid inside is opaque and murky and seems | ||
| CF | to fizz a little at the edges. But surely it's just a set! | ||
| CF | | ||
| CF | > | MoyTravis says, "No, I mean. The pendulum blade was the one we did." | |
| DavidW says, "I wasn't refering to that." | ||
| MoyTravis asks, "Oh, you mean, to take...the sandbag?" | ||
| DavidW says, "I mean, if we wanted to drop the sandbag onto the guard quickly enough, we'd probably need a blade to cut the rope with." | ||
| Jacqueline says, "There's a very good Vincent Price movie that has a ridiculous vat of acid in the basement of a mansion like this." | ||
| Jacqueline says, "I'm not sure putting the guard in the acid would be great, since we need his crucifix." | ||
| MoyTravis says, "Ah, fair." | ||
| DavidW says, "Perhaps a friendly herring, immune to acid, would fetch the crucifix for us." | ||
| DavidW says, "A pickled herring." | ||
| Roger says, "House on Haunted Hill" | ||
| DavidW says (to ClubFloyd), "x rope" | ||
| CF ] The Pool of Death 4/107 | ||
| CF | > | ||
| CF | > X ROPE | ||
| CF | | ||
| CF | The rope, firmly tied to the top of the sandbag, stretches up to the | ||
| CF | shadowy ceiling. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "climb rope" | ||
| CF ] The Pool of Death 4/108 | ||
| CF | > | ||
| CF | > CLIMB ROPE | ||
| CF | | ||
| CF | Ooof. You pull yourself a little way off the floor, but then you give | ||
| CF | up. Upper body strength isn't a requisite for acting! | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "climb ladder" | ||
| CF ] Lighting Gantry 4/109 | ||
| CF | > | ||
| CF | > CLIMB LADDER | ||
| CF | | ||
| CF | | ||
| CF | Lighting Gantry | ||
| CF | The gently swaying wooden planks of the gantry stretch across the | ||
| CF | length of the room. Here, above the set, all is in shadow. Above you, | ||
| CF | in the ceiling, you can just make out a large hook, tied to which is | ||
| CF | one end of a long rope. Far below you, the set stretches out, made | ||
| CF | small by distance. It's a long way down! A metal ladder, set into the | ||
| CF | wall at the end of the gantry, leads downward. | ||
| CF | | ||
| CF | The rope, just within touching distance, stretches down into the set. | ||
| CF | | ||
| CF | > | Knight_Otu says, "Well, there's a hook for acid fishing." | |
| DavidW says (to ClubFloyd), "x hook" | ||
| CF ] Lighting Gantry 4/110 | ||
| CF | > | ||
| CF | > X HOOK | ||
| CF | | ||
| CF | The hook, scarcely visible in the dim light, is attached to the | ||
| CF | ceiling. A rope dangles from it. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take hook" | ||
| CF ] Lighting Gantry 4/111 | ||
| CF | > | ||
| CF | > TAKE HOOK | ||
| CF | | ||
| CF | The hook is still far out of reach on the ceiling. | ||
| CF | | ||
| CF | > | Knight_Otu says, "Or just for rope holding." | |
| DavidW says (to ClubFloyd), "climb rope" | ||
| CF ] Lighting Gantry 4/112 | ||
| CF | > | ||
| CF | > CLIMB ROPE | ||
| CF | | ||
| CF | That's too dangerous. You'd have to lower yourself over the edge of | ||
| CF | the gantry. You'd fall!. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "push rope" | ||
| CF ] Lighting Gantry 4/113 | ||
| CF | > | ||
| CF | > PUSH ROPE | ||
| CF | | ||
| CF | It is fixed in place. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "pull rope" | ||
| CF ] Lighting Gantry 4/114 | ||
| CF | > | ||
| CF | > PULL ROPE | ||
| CF | | ||
| CF | With difficulty, you heave at the long rope until, finally, the | ||
| CF | sandbag makes an appearance over the side of the gantry. You grab at | ||
| CF | it gratefully, your muscles shaking. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "climb rope" | ||
| CF ] Lighting Gantry 4/115 | ||
| CF | > | ||
| CF | > CLIMB ROPE | ||
| CF | | ||
| CF | Ooof. You pull yourself a little way off the floor, but then you give | ||
| CF | up. Upper body strength isn't a requisite for acting! | ||
| CF | | ||
| CF | > | MoyTravis says, "Or we just snap his neck with a giant sandbag." | |
| DavidW says (to ClubFloyd), "drop sandbag" | ||
| CF ] Lighting Gantry 4/116 | ||
| CF | > | ||
| CF | > DROP SANDBAG | ||
| CF | | ||
| CF | You drop the heavy bag of sand. It immediately falls over the edge of | ||
| CF | the gantry and lands with a resounding thump on the set floor directly | ||
| CF | below you. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "undo" | ||
| CF ] Lighting Gantry 4/115 | ||
| CF | | ||
| CF | > UNDO | ||
| CF | | ||
| CF | Lighting Gantry | ||
| CF | [Previous turn undone.] | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "duno" | ||
| CF ] Lighting Gantry 4/115 | ||
| CF | > | ||
| CF | > DUNO | ||
| CF | | ||
| CF | That's not a verb I recognise. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "undo" | ||
| CF ] Lighting Gantry 4/115 | ||
| CF | | ||
| CF | > UNDO | ||
| CF | | ||
| CF | Lighting Gantry | ||
| CF | [Previous turn undone.] | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "undo" | ||
| CF ] Lighting Gantry 4/114 | ||
| CF | | ||
| CF | > UNDO | ||
| CF | | ||
| CF | Lighting Gantry | ||
| CF | [Previous turn undone.] | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "undo" | ||
| CF ] Lighting Gantry 4/113 | ||
| CF | | ||
| CF | > UNDO | ||
| CF | | ||
| CF | Lighting Gantry | ||
| CF | [Previous turn undone.] | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "undo" | ||
| CF ] Lighting Gantry 4/112 | ||
| CF | | ||
| CF | > UNDO | ||
| CF | | ||
| CF | Lighting Gantry | ||
| CF | [Previous turn undone.] | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "i" | ||
| CF ] Lighting Gantry 4/113 | ||
| CF | > | ||
| CF | > I | ||
| CF | | ||
| CF | You are carrying a small brass key, a tea caddy and a stained crimson | ||
| CF | robe. You are wearing a crucifix, a gold pocketwatch, a grey suit and | ||
| CF | a jaunty hat. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "d" | ||
| CF ] The Pool of Death 4/114 | ||
| CF | > | ||
| CF | > D | ||
| CF | | ||
| CF | | ||
| CF | The Pool of Death | ||
| CF | The set walls are covered in badly painted-on stonework and the | ||
| CF | ubiquitous nylon cobwebs sway menacingly in the dim light of the upper | ||
| CF | corners. In the centre of the room, carved stone-like figures surround | ||
| CF | a clear pool of what, in the film, was supposed to be acid so strong | ||
| CF | it could dissolve flesh in mere seconds! Doorways lead north and west | ||
| CF | into the Studio and a metal ladder climbs up the back wall toward the | ||
| CF | shadowy ceiling. | ||
| CF | | ||
| CF | In the centre of the floor is a sandbag. It is tied to a rope that | ||
| CF | stretches up into the shadowy recesses of the ceiling. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] Production Area 4/115 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Production Area | ||
| CF | Behind the set, a mess of wires trail across the floor, connecting | ||
| CF | haphazardly to cameras, microphone arrays and lighting rigs. Dark | ||
| CF | doorways lead north and south into the Studio. | ||
| CF | | ||
| CF | The Director's chair sits in front of the two cameras, facing the set, | ||
| CF | which continues to the west. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x cameras" | ||
| CF ] Production Area 4/116 | ||
| CF | > | ||
| CF | > X CAMERAS | ||
| CF | | ||
| CF | The two cameras look pretty old fashioned. You're no expert, but you | ||
| CF | reckon these would be considered antiques ten years ago. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] Studio Store 4/117 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Studio Store | ||
| CF | Props from a hundred bad movies loom out of the dim light in piles on | ||
| CF | the floor and stacked on metal shelving. Wide hangers hold arrays of | ||
| CF | multi-colored clothing. There may be a storage methodology at work | ||
| CF | here, but you can't see it. To your eyes, it just looks like random | ||
| CF | piles of junk made from cloth and plywood. Dimly lit doorways in the | ||
| CF | west and south walls lead into shadow. | ||
| CF | | ||
| CF | A rolled up rug is next to an open trapdoor, leading down into a | ||
| CF | brightly lit room. | ||
| CF | | ||
| CF | A sewing machine sits on a workbench in front of the clothes hangers. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x clothing" | ||
| CF ] Studio Store 4/118 | ||
| CF | > | ||
| CF | > X CLOTHING | ||
| CF | | ||
| CF | A thousand old wardrobe items jammed onto the hangers haphazardly. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "d" | ||
| CF ] Studio Crypt 4/119 | ||
| CF | > | ||
| CF | > D | ||
| CF | | ||
| CF | Studio Crypt | ||
| CF | The square windowless room, grimly lit by a bright light from the | ||
| CF | naked lightbulb on the ceiling, is surrounded on three sides by a | ||
| CF | large cage made from iron bars that run from ceiling to floor. A | ||
| CF | barred door into the cage is closed. One one side, next to a | ||
| CF | lightswitch, a rickety wooden ramp leads up to a hole in the ceiling. | ||
| CF | The walls are made from grey stone and drip with moisture. The whole | ||
| CF | room seems to give off a damp earthy smell of decay! | ||
| CF | | ||
| CF | In the centre of the room is a large white box that looks like a | ||
| CF | kitchen refrigerator. | ||
| CF | | ||
| CF | On one side of the room, inside the cage, a small group of vampire | ||
| CF | thralls stand in a little huddle. | ||
| CF | | ||
| CF | The Count languishes in the corner of the cage, his back against the | ||
| CF | wall. | ||
| CF | | ||
| CF | The Countess leans against the iron bars, looking bored and annoyed. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "unlock cage with key" | ||
| CF ] Studio Crypt 5/120 | ||
| CF | > | ||
| CF | > UNLOCK CAGE WITH KEY | ||
| CF | | ||
| CF | The key turns in the lock, and you step back, your heart pounding! | ||
| CF | Surely the vampires will descend on you with their sharp fangs. The | ||
| CF | Countess pushes the cage door open and the horde of vampires creep | ||
| CF | into the room. | ||
| CF | | ||
| CF | The Countess smiles at you nastily. "Good thing you've got that around | ||
| CF | your neck," she says. "Remember, you need to protect yourself from the | ||
| CF | undead if you're thinking about releasing them. Now," and here she | ||
| CF | turns to the thralls. "Who said they knew the code to open up the rest | ||
| CF | of the studios?" | ||
| CF | | ||
| CF | "Me," says one of the thralls, "I overheard them talking about it. | ||
| CF | It's 1967. Apparently there's an override in the security room off the | ||
| CF | lobby that will open everything up." | ||
| CF | | ||
| CF | "Finally," declaims the Count, emerging from the cage. "Freedom at | ||
| CF | last. No longer will we be persecuted for who we are..." | ||
| CF | | ||
| CF | "Will you be quiet, you pompous arse," snaps the Countess at him. | ||
| CF | "Right, you," she turns to you. "That's your job. We'll wait for you | ||
| CF | outside in the Studio Lot. When you release the other undead, send | ||
| CF | them to us. We can't come into the other studios. | ||
| CF | They're.....protected. It's up to you." | ||
| CF | | ||
| CF | She turns away as if to go and then pauses. "Oh, and one more thing." | ||
| CF | She suddenly reaches out and rips the chain from the fridge, snapping | ||
| CF | it as if it were cotton. "You might want to look in there before you | ||
| CF | go. It will help you....focus." | ||
| CF | | ||
| CF | With a sweep of her diaphanous gown, the Countess stalks from the | ||
| CF | room, swinging the chain, closely followed by the thralls and the | ||
| CF | Count. | ||
| CF | | ||
| CF | You have survived a perilous situation! You are building an Undead | ||
| CF | Army! (Try typing SCORE to keep track) | ||
| CF | | ||
| CF | > | ||
| Jacqueline clears the save counter. | ||
| Jacqueline says (to ClubFloyd), "SAVE" | ||
| Jacqueline says (to ClubFloyd), "cf1" | ||
| CF | > | ||
| CF | > SAVE | ||
| CF | %% Enter a save filename to write: | ||
| CF ] Studio Crypt 5/120 | ||
| CF | > SAVEOk. | ||
| CF | | ||
| CF | > | Jacqueline says, "It occurs to me that we have not been saving." | |
| MoyTravis asks, "Hooray. One studio down, of...four?" | ||
| Jacqueline says, "I'm not slightly curious about the death scenes we are missing." | ||
| Knight_Otu says, "Four sounds right." | ||
| Jacqueline says, "Like if we had not worn the crucifix." | ||
| DavidW says, "Five studios" | ||
| DavidW says (to ClubFloyd), "open fridge" | ||
| CF ] Studio Crypt 5/121 | ||
| CF | > | ||
| CF | > OPEN FRIDGE | ||
| CF | | ||
| CF | You open the fridge and immediately turn away in horror! It's full of | ||
| CF | gruesome body parts! After a moment, you collect yourself and inspect | ||
| CF | the terrible contents more closely. It seems to be the remains of two | ||
| CF | people. One of the bodies has been chopped into pieces and all that is | ||
| CF | left whole are two white legs, with red painted toenails. Wait! You | ||
| CF | recognize those toenails! The last time you saw them was when Melissa | ||
| CF | Clumb, playing Susan, was doing the axe scene! No! A terrible truth | ||
| CF | begins to dawn on you. Maybe her mother wasn't sick after all! | ||
| CF | | ||
| CF | Heart in mouth, you look at the other body. All that's left of it is a | ||
| CF | partially dissolved skeleton, two relatively whole arms and part of a | ||
| CF | face. A face you recognize. It's Beanie Havell! Not playing Bertie | ||
| CF | Foppish in 'If you like it, Missus' on a Brazilian stage, but | ||
| CF | dissolved by acid instead! | ||
| CF | | ||
| CF | Surely Arnie Mallet can't have gone this far! But maybe he has - you | ||
| CF | realise you need to stop his evil forever! | ||
| CF | | ||
| CF | > | Jacqueline says, "Or if we had just continued to wait outside the initial office." | |
| MoyTravis says, "MC, why are you like this." | ||
| Knight_Otu says, "Glad you could join us, protagonist." | ||
| Jacqueline says, "heh" | ||
| Knight_Otu says, "Pity it took a gruesome display for that though." | ||
| DavidW says (to ClubFloyd), "score" | ||
| CF ] Studio Crypt 5/121 | ||
| CF | > | ||
| CF | > SCORE | ||
| CF | | ||
| CF | You're still in one piece. That's a good start. | ||
| CF | | ||
| CF | You are building an undead army! So far, it consists of the Count, the | ||
| CF | Countess and their bloodthirsty vampire thralls. | ||
| CF | | ||
| CF | You have survived five perilous situations! | ||
| CF | | ||
| CF | - You avoided the murderous attentions of the Cult of Astaroth! | ||
| CF | - You managed to escape from the Cult's Lair! | ||
| CF | - You killed a crazed Cultist with a wooden stake! | ||
| CF | - You chopped a relatively blameless security guard into little | ||
| CF | pieces with a huge axe! | ||
| CF | - You protected yourself from vampires with a simple golden | ||
| CF | crucifix! | ||
| CF | | ||
| CF | > | Jacqueline says, "haha. The security guard one is good." | |
| Jacqueline says, "'relatively blameless' - so true." | ||
| DavidW says (to ClubFloyd), "SAVE" | ||
| DavidW says (to ClubFloyd), "cf2" | ||
| CF | > | ||
| CF | > SAVE | ||
| CF | %% Enter a save filename to write: | ||
| CF ] Studio Crypt 5/121 | ||
| CF | > SAVEOk. | ||
| CF | | ||
| CF | > | Knight_Otu says, "Yeah. Remind us that we killed an innocent person." | |
| MoyTravis says, "I'm not sure how we chopped him into little bits, though. I was envisioning, like, two halves, or four parts at most on the backstroke." | ||
| DavidW asks, "I wonder if someone else can drive for a bit?" | ||
| Knight_Otu says (to ClubFloyd), "l" | ||
| CF ] Studio Crypt 5/122 | ||
| CF | > | ||
| CF | > L | ||
| CF | | ||
| CF | Studio Crypt | ||
| CF | The square windowless room, grimly lit by a bright light from the | ||
| CF | naked lightbulb on the ceiling, is surrounded on three sides by a | ||
| CF | large cage made from iron bars that run from ceiling to floor. A | ||
| CF | barred door into the cage is open. One one side, next to a | ||
| CF | lightswitch, a rickety wooden ramp leads up to a hole in the ceiling. | ||
| CF | The walls are made from grey stone and drip with moisture. The whole | ||
| CF | room seems to give off a damp earthy smell of decay! | ||
| CF | | ||
| CF | In the centre of the room is a large white box that looks like a | ||
| CF | kitchen refrigerator. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "u" | ||
| CF ] Studio Store 5/123 | ||
| CF | > | ||
| CF | > U | ||
| CF | | ||
| CF | | ||
| CF | Studio Store | ||
| CF | Props from a hundred bad movies loom out of the dim light in piles on | ||
| CF | the floor and stacked on metal shelving. Wide hangers hold arrays of | ||
| CF | multi-colored clothing. There may be a storage methodology at work | ||
| CF | here, but you can't see it. To your eyes, it just looks like random | ||
| CF | piles of junk made from cloth and plywood. Dimly lit doorways in the | ||
| CF | west and south walls lead into shadow. | ||
| CF | | ||
| CF | A rolled up rug is next to an open trapdoor, leading down into a | ||
| CF | brightly lit room. | ||
| CF | | ||
| CF | A sewing machine sits on a workbench in front of the clothes hangers. | ||
| CF | | ||
| CF | > | DavidW asks, "The keypad was u. w. n. n. w. u, I think?" | |
| Knight_Otu says (to ClubFloyd), "w" | ||
| CF ] Studio Waiting Room 5/124 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Studio Waiting Room | ||
| CF | The dim lights barely illuminate the scattering of uncomfortable | ||
| CF | chairs where actors are supposed to spend their time between takes. A | ||
| CF | door to the north leads outside and dark doorways lead to the east and | ||
| CF | west deeper into the studio. | ||
| CF | | ||
| CF | The kitchen counter along one wall, stained with coffee mug rings, | ||
| CF | holds the accumulated detritus of a hundred extras' various drink | ||
| CF | making ingredients. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Studio Lot South 5/125 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | Studio Lot South | ||
| CF | Here, the lot is surrounded on three sides by Studios, looming out of | ||
| CF | the night like ancient guardians. The lot continues to the north into | ||
| CF | shadow. To the east side is the door to Studio 3, to the west, Studio | ||
| CF | 4 and to the south the door to Studio 5 where you have spent so much | ||
| CF | time over the last two weeks. A sign over each door proclaims the | ||
| CF | movie that is being made there. | ||
| CF | | ||
| CF | Vampire thralls stand in a surly group, shooting suspicious glances at | ||
| CF | you. | ||
| CF | | ||
| CF | Over by the studio walls, the Count stands listlessly, staring off | ||
| CF | into the sky. | ||
| CF | | ||
| CF | The Countess paces impatiently around the lot. | ||
| CF | | ||
| CF | A dead cultist lies sprawled on the ground, his face frozen in a | ||
| CF | horrifying rictus. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Studio Lot North 5/126 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Studio Lot North | ||
| CF | The northern end of the huge lot, oppressively surrounded by the | ||
| CF | looming, darkened studio buildings, is overlooked to the north by the | ||
| CF | ugly and squat offices, their windows watching over the lot like great | ||
| CF | eyes. Who knows what lurks behind them. To the west, the door to | ||
| CF | Studio 1 is closed. To the east, the closed Studio 2 door. On each | ||
| CF | door, a sign. The lot continues to the south into shadow. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Entrance vestibule 5/127 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Entrance vestibule | ||
| CF | At last! Somewhere brightly lit. The big square vestibule has double | ||
| CF | doors opposite one another on both north and south walls. The doors to | ||
| CF | the south seem to lead outside. To the north, the glass doors are dark | ||
| CF | and forbidding and lead into the interior of the building. On the east | ||
| CF | wall, opposite the closed stairwell door to the west and behind an | ||
| CF | unmanned security desk is a closed smaller door with a small keypad | ||
| CF | next to it. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x desk" | ||
| CF ] Entrance vestibule 5/128 | ||
| CF | > | ||
| CF | > X DESK | ||
| CF | | ||
| CF | The plain desk has the logo of Mallet Studios emblazoned across the | ||
| CF | front of it. Usually, during the day, a bored security guard stands | ||
| CF | behind it. | ||
| CF | | ||
| CF | > | Jacqueline asks, "Well, we're nearly at 2 hours, and I do have to go, so if you need a new driver, maybe we just pick this up next week?" | |
| Knight_Otu says (to ClubFloyd), "x padlock" | ||
| CF ] Entrance vestibule 5/128 | ||
| CF | > | ||
| CF | > X PADLOCK | ||
| CF | | ||
| CF | You can't see any such thing. | ||
| CF | | ||
| CF | > | Knight_Otu says, "We could also do that." | |
| MoyTravis says, "I have no objection." | ||
| Knight_Otu asks, "Maybe open the door first, then save?" | ||
| Jacqueline says, "Like, I could hang the last 20 minutes, but have to go at the top of the hour, and if you're getting tired..." | ||
| Knight_Otu says (to ClubFloyd), "type 1967 on keypad" | ||
| CF ] Entrance vestibule 5/129 | ||
| CF | > | ||
| CF | > TYPE 1967 ON KEYPAD | ||
| CF | | ||
| CF | There's nothing here to type on. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "type 1967" | ||
| CF ] Entrance vestibule 5/130 | ||
| CF | > | ||
| CF | > TYPE 1967 | ||
| CF | | ||
| CF | There's nothing here to type on. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x keypad" | ||
| CF ] Entrance vestibule 5/131 | ||
| CF | > | ||
| CF | > X KEYPAD | ||
| CF | | ||
| CF | The keypad has the numbers 0 to 9 in a small square. At the top shines | ||
| CF | a small red light. You could ENTER the code you've learned. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "enter 1967" | ||
| CF ] Entrance vestibule 5/132 | ||
| CF | > | ||
| CF | > ENTER 1967 | ||
| CF | | ||
| CF | The light on the keypad turns green and the security door unlocks with | ||
| CF | a click. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "save" | ||
| CF | > | ||
| CF | > SAVE | ||
| CF | %% Enter a save filename to write: | Jacqueline says, "Ah, that was weird." | |
| Knight_Otu says (to ClubFloyd), "cfhorrorisreal" | ||
| CF ] Entrance vestibule 5/132 | ||
| CF | > SAVEOk. | ||
| CF | | ||
| CF | > | Jacqueline says, "heh" | |
| Jacqueline says, "Okay, see y'all next week." | ||
| Jacqueline says, "Be safe out there. Avoid cultists." | ||
| DavidW asks, "what, are we stopping?" | ||
| Jacqueline says, "Yes. You said you needed a break, and we only had 20 more minutes, so..." | ||
| DavidW says, "oh, I see." | ||
| DavidW says, "This seems a good stopping point too." | ||
| Jacqueline says, "Yeah" | ||
| Knight_Otu says, "Also, avoid greek letters." | ||
| MoyTravis says, "Ha. Yeah, good luck." | ||
| Jacqueline says (to KO), "heh. So true." | ||
| DavidW says, "I've had to kill two bugs crawling onto my clipboard during this session." | ||
| DavidW says, "The clipboard in my lap." | ||
| DavidW says, "I have my own horror story." | ||
| Roger goes home. | Roger says, "aww that new person didn't come back. Oh well maybe later" | |
| DavidW says, "See you all next week." | ||
| DavidW disappears through an invisible gap in the MUD. You think you may have heard the sounds of chatting before the gap closed again. | Knight_Otu exclaims, "Good night, and stay safe!" | |
| Knight_Otu goes home. | ||
| MoyTravis disappears through an invisible gap in the MUD. You think you may have heard the sounds of chatting before the gap closed again. | ||
| *** SESSION 2 *** | ||
| Jacqueline says (to burl), "The other thing you should know is that we're resuming a game we started last week. I was... super tired last week, so I am hoping someone else can recap what has happened thus far." | ||
| MoyTravis says, "Last week we were playing Dr. Horror's House of Horror. Or Dr. Horror's House of Terror. Or Dr. Terror's House of Horror." | ||
| MoyTravis says, "One of those is probably right." | ||
| MoyTravis says, "Anyways, we were an actor, shooting a horror movie, but it turns out the horror staff are a cult and the monsters in the cast are real undead monsters and so now we need to free the monsters to fight the cult." | ||
| MoyTravis says, "Also we murdered a perfectly innocent security guard. Go us." | ||
| Roger says, "That sounds about right" | ||
| Knight_Otu says, "We've freed the vampires and unlocked the door that'll allow us to unlock the other horror sets. Surely everything will be fine." | ||
| MoyTravis says, "Of course everything will be fine it's a puzzley parser game." | ||
| MoyTravis asks, "If it were, like, a Twine game, maybe things wouldn't be fine. But puzzly parser games?" | ||
| Knight_Otu says, "I dunno, I'm sure there are parser games where the protagonist causes the end of the world as we know it." | ||
| Jacqueline says, "There are definitely parser games with not-happy endings." | ||
| Jacqueline says, "Perhaps thousands of them." | ||
| Knight_Otu says (to ClubFloyd), "l" | ||
| CF ] Entrance vestibule 5/133 | ||
| CF | > | ||
| CF | > L | ||
| CF | | ||
| CF | Entrance vestibule | ||
| CF | At last! Somewhere brightly lit. The big square vestibule has double | ||
| CF | doors opposite one another on both north and south walls. The doors to | ||
| CF | the south seem to lead outside. To the north, the glass doors are dark | ||
| CF | and forbidding and lead into the interior of the building. On the east | ||
| CF | wall, opposite the closed stairwell door to the west and behind an | ||
| CF | unmanned security desk is a closed smaller door with a small keypad | ||
| CF | next to it. | ||
| CF | | ||
| CF | > | Knight_Otu says, "I guess we need to go east from here." | |
| Knight_Otu says (to ClubFloyd), "e" | ||
| CF ] Guard room 5/134 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | (first opening the smaller door) | ||
| CF | | ||
| CF | Guard room | ||
| CF | Banks of monitors, showing only dark screens, cover one wall of the | ||
| CF | small dingy room. Underneath them is a desk on which is a keyboard and | ||
| CF | some sort of control panel. The door in the west wall is open. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x monitors" | ||
| CF ] Guard room 5/135 | ||
| CF | > | ||
| CF | > X MONITORS | ||
| CF | | ||
| CF | The monitors, lined up on the wall, all have darkened screens. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x desk" | ||
| CF ] Guard room 5/136 | ||
| CF | > | ||
| CF | > X DESK | ||
| CF | | ||
| CF | On the functional desk is a keyboard and some sort of control panel. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x keyboard" | ||
| CF ] Guard room 5/137 | ||
| CF | > | ||
| CF | > X KEYBOARD | ||
| CF | | ||
| CF | An old fashioned and blocky keyboard attached to the desk. The | ||
| CF | lettering on the keys has worn away from years of use. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x panel" | ||
| CF ] Guard room 5/138 | ||
| CF | > | ||
| CF | > X PANEL | ||
| CF | | ||
| CF | A square thing covered in various knobs and buttons that presumably | ||
| CF | have something to do with security cameras and alarms. But you have no | ||
| CF | idea what any of them do. Apart from a big red button that says | ||
| CF | "Security override". That looks important. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x button" | ||
| CF ] Guard room 5/139 | ||
| CF | > | ||
| CF | > X BUTTON | ||
| CF | | ||
| CF | The large red button sticks out of the centre of the control panel. It | ||
| CF | has the words "Security Override" written on it in small neat white | ||
| CF | letters. | ||
| CF | | ||
| CF | > | MoyTravis exclaims, "Press button!" | |
| Knight_Otu says, "Let's unleash some horrors." | ||
| Knight_Otu says (to ClubFloyd), "push button" | ||
| CF ] Guard room 5/140 | ||
| CF | > | ||
| CF | > PUSH BUTTON | ||
| CF | | ||
| CF | You poke the button with your finger. It clicks down and then pops | ||
| CF | back up. Maybe it did something. Who can tell. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "w" | ||
| CF ] Entrance vestibule 5/141 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Entrance vestibule | ||
| CF | At last! Somewhere brightly lit. The big square vestibule has double | ||
| CF | doors opposite one another on both north and south walls. The doors to | ||
| CF | the south seem to lead outside. To the north, the glass doors are dark | ||
| CF | and forbidding and lead into the interior of the building. On the east | ||
| CF | wall, opposite the closed stairwell door to the west and behind an | ||
| CF | unmanned security desk is an open smaller door with a small keypad | ||
| CF | next to it. | ||
| CF | | ||
| CF | > | Roger says, "haha" | |
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] Studio Lot North 5/142 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | Studio Lot North | ||
| CF | The northern end of the huge lot, oppressively surrounded by the | ||
| CF | looming, darkened studio buildings, is overlooked to the north by the | ||
| CF | ugly and squat offices, their windows watching over the lot like great | ||
| CF | eyes. Who knows what lurks behind them. To the west, the door to | ||
| CF | Studio 1 is closed. To the east, the closed Studio 2 door. On each | ||
| CF | door, a sign. The lot continues to the south into shadow. | ||
| CF | | ||
| CF | > | Jacqueline says, "should we have... oh, I guess we had just saved. Never mind." | |
| Knight_Otu says (to ClubFloyd), "x studio 1" | ||
| CF ] Studio Lot North 5/142 | ||
| CF | > | ||
| CF | > X STUDIO 1 | ||
| CF | | ||
| CF | Which do you mean, Studio 1 door or Studio 1 sign? | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "sign" | ||
| CF ] Studio Lot North 5/143 | ||
| CF | > | ||
| CF | > SIGN | ||
| CF | | ||
| CF | The sign reads "Blood of the Werewolf's Claw" and then, in slightly | ||
| CF | smaller letters, "Dir: Benny Tibbings". | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x sign 2" | ||
| CF ] Studio Lot North 5/144 | ||
| CF | > | ||
| CF | > X SIGN 2 | ||
| CF | | ||
| CF | The sign reads "The Things That Could Never Die!" and then, "Dir: | ||
| CF | Herbert Blom". | ||
| CF | | ||
| CF | > | Knight_Otu says, "Werewolf and Zombies, I guess." | |
| Pinkunz says, "I vote zombies." | ||
| MoyTravis says, "Sure, why not." | ||
| Knight_Otu says, "Then let's get our brain eaten." | ||
| Knight_Otu says (to ClubFloyd), "e" | ||
| CF ] Guard's Break Room 5/145 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | (first opening Studio 2 door) | ||
| CF | The studios are unlocked! Who knows what terrors lie in wait for you | ||
| CF | over the course of this night? You take a deep breath and pluck up | ||
| CF | your courage. The dreadful undead await! | ||
| CF | | ||
| CF | Guard's Break Room | ||
| CF | Someone has carved out a comfortable nook in this little space in | ||
| CF | between the door and the studio proper. There's a small table next to | ||
| CF | a comfy chair in one corner and on the table is a lit lamp, creating a | ||
| CF | welcoming pool of light in the gloom. A dingy gap in the wall to the | ||
| CF | east leads deeper into the studio and the door out to the lot, to the | ||
| CF | west, lies open. | ||
| CF | | ||
| CF | A Security Guard sits in the chair, feet up on the small table, | ||
| CF | reading a newspaper. | ||
| CF | | ||
| CF | The Guard looks up at you over her paper. "Well, hello," she says. "We | ||
| CF | don't get many visitors at this hour." | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "talk to guard" | ||
| CF ] Guard's Break Room 5/146 | ||
| CF | > | ||
| CF | > TALK TO GUARD | ||
| CF | | ||
| CF | "How can I help you?" asks the Guard. | ||
| CF | | ||
| CF | (1) - "Aren't you supposed to be on patrol?" | ||
| CF | (2) - "Tell me more about what's in the studio." | ||
| CF | (3) - "Are you going to stop me going in?" | ||
| CF | (4) - "You worked here long?" | ||
| CF | (5) - "Goodbye." | ||
| CF | | ||
| CF | You say > | ||
| Knight_Otu says (to ClubFloyd), "2" | ||
| CF ] Guard's Break Room 5/146 | ||
| CF | You say > | ||
| CF | > 2 | ||
| CF | | ||
| CF | "So what's going on in the Studio?" you ask, | ||
| CF | | ||
| CF | The Guard shivers as if something is frightening her. "Oh," she | ||
| CF | replies, "don't ask. We all hate working in there. That's why we've | ||
| CF | made this little room. There's definitely something awful haunting the | ||
| CF | place. You can feel it as soon as you go in. So whenever we draw this | ||
| CF | shift, we just sit in here. Nobody's noticed or complained, so.." she | ||
| CF | shrugs. | ||
| CF | | ||
| CF | (1) - "Aren't you supposed to be on patrol?" | ||
| CF | (2) - "Are you going to stop me going in?" | ||
| CF | (3) - "You worked here long?" | ||
| CF | (4) - "Goodbye." | ||
| CF | | ||
| CF | You say > | Knight_Otu says, "Smart. Stay clear of zombies and axe pendulums." | |
| Knight_Otu says (to ClubFloyd), "1" | ||
| CF ] Guard's Break Room 5/146 | ||
| CF | You say > | ||
| CF | > 1 | ||
| CF | | ||
| CF | "Shouldn't you be patrolling the studio?" you ask. | ||
| CF | | ||
| CF | The Guard sighs. "Technically, yes," she says, "but I'm not going in | ||
| CF | there. There's something not right in that place. It's cold. There's | ||
| CF | weird unnatural sounds in the dark. They don't pay me enough." | ||
| CF | | ||
| CF | (1) - "Tell me more about what's in the studio." | ||
| CF | (2) - "Are you going to stop me going in?" | ||
| CF | (3) - "You worked here long?" | ||
| CF | (4) - "Goodbye." | ||
| CF | | ||
| CF | You say > | ||
| Knight_Otu says (to ClubFloyd), "2" | ||
| CF ] Guard's Break Room 5/146 | ||
| CF | You say > | ||
| CF | > 2 | ||
| CF | | ||
| CF | "So can I go in, then?" you say. "Or are you going to stop me." | ||
| CF | | ||
| CF | "If you really want to," says the Guard. "I wouldn't recommend it | ||
| CF | though. I'm not supposed to let anyone in, but, to be honest, if you | ||
| CF | went through there, I'm not going to come in after you." | ||
| CF | | ||
| CF | (1) - "Aren't you supposed to be on patrol?" | ||
| CF | (2) - "Tell me more about what's in the studio." | ||
| CF | (3) - "You worked here long?" | ||
| CF | (4) - "Goodbye." | ||
| CF | | ||
| CF | You say > | Pinkunz says, "I wonder if we can get this guard killed as well. 2 for 2." | |
| Knight_Otu says (to ClubFloyd), "3" | ||
| CF ] Guard's Break Room 5/146 | ||
| CF | You say > | ||
| CF | > 3 | ||
| CF | | ||
| CF | "You worked here for long?" you ask. | ||
| CF | | ||
| CF | "Yeah, on and off for a few years. There have been some changes, let | ||
| CF | me tell you." The Guard frowns. "But, you know, we all just come in | ||
| CF | and do our jobs and try not to think about it." She goes silent, | ||
| CF | obviously unwilling to say more. | ||
| CF | | ||
| CF | (1) - "Aren't you supposed to be on patrol?" | ||
| CF | (2) - "Tell me more about what's in the studio." | ||
| CF | (3) - "Are you going to stop me going in?" | ||
| CF | (4) - "Goodbye." | ||
| CF | | ||
| CF | You say > | Jacqueline says, ";..Pinkunz hahaha awwww" | |
| Jacqueline asks, "Does 2 give more or repeat?" | ||
| Knight_Otu says, "I mean, we've killed already, and unleashed creatures that need to kill humans to survive, so..." | ||
| Knight_Otu says (to ClubFloyd), "2" | ||
| CF ] Guard's Break Room 5/146 | ||
| CF | You say > | ||
| CF | > 2 | ||
| CF | | ||
| CF | "Like I said, it's definitely haunted in there. We all hate it." | ||
| CF | | ||
| CF | (1) - "Aren't you supposed to be on patrol?" | ||
| CF | (2) - "Are you going to stop me going in?" | ||
| CF | (3) - "You worked here long?" | ||
| CF | (4) - "Goodbye." | ||
| CF | | ||
| CF | You say > | Knight_Otu says, "Not really more." | |
| Pinkunz says, "That well looks dry." | ||
| Jacqueline says, "Yeah" | ||
| Knight_Otu says (to ClubFloyd), "4" | ||
| CF ] Guard's Break Room 5/146 | ||
| CF | You say > | ||
| CF | > 4 | ||
| CF | | ||
| CF | The Guard smiles at you. "Good luck!" | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "l" | ||
| CF ] Guard's Break Room 5/147 | ||
| CF | > | ||
| CF | > L | ||
| CF | | ||
| CF | Guard's Break Room | ||
| CF | Someone has carved out a comfortable nook in this little space in | ||
| CF | between the door and the studio proper. There's a small table next to | ||
| CF | a comfy chair in one corner and on the table is a lit lamp, creating a | ||
| CF | welcoming pool of light in the gloom. A dingy gap in the wall to the | ||
| CF | east leads deeper into the studio and the door out to the lot, to the | ||
| CF | west, lies open. | ||
| CF | | ||
| CF | A Security Guard sits in the chair, feet up on the small table, | ||
| CF | reading a newspaper. | ||
| CF | | ||
| CF | > | Pinkunz asks, "Look at newspaper?" | |
| Knight_Otu says (to ClubFloyd), "x table" | ||
| CF ] Guard's Break Room 5/148 | ||
| CF | > | ||
| CF | > X TABLE | ||
| CF | | ||
| CF | The small, beat-up old table looks like it might have been rescued | ||
| CF | from the trash. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x newspaper" | ||
| CF ] Guard's Break Room 5/149 | ||
| CF | > | ||
| CF | > X NEWSPAPER | ||
| CF | | ||
| CF | It's a red top. In the low light, you can just make out the headline | ||
| CF | on the front page - "Actor missing after police search". | ||
| CF | | ||
| CF | > | Knight_Otu says, "Yeah, odd that headline." | |
| Pinkunz says, "meh." | ||
| Knight_Otu says (to ClubFloyd), "x lamp" | ||
| CF ] Guard's Break Room 5/150 | ||
| CF | > | ||
| CF | > X LAMP | ||
| CF | | ||
| CF | The lamp throws a welcome pool of light into the corner. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x gap" | ||
| CF ] Guard's Break Room 5/151 | ||
| CF | > | ||
| CF | > X GAP | ||
| CF | | ||
| CF | The gap leads into the studio proper. It's pretty gloomy in there. | ||
| CF | | ||
| CF | > | Jacqueline asks, "What does 'red top' mean in that context? Anyone know or should I search the World Wide Web of Internet URLs?" | |
| Pinkunz says, "Turn off lamp? I don't think the guard would like that." | ||
| Pinkunz says (to jacq), "Not familiar" | ||
| Knight_Otu says (to ClubFloyd), "get lamp" | ||
| CF ] Guard's Break Room 5/152 | ||
| CF | > | ||
| CF | > GET LAMP | ||
| CF | | ||
| CF | "Hey," says the Guard. "I need that to read." | ||
| CF | | ||
| CF | > | Jacqueline says, "Oh. It means it's a tabloid." | |
| Knight_Otu says, "I suspected as much." | ||
| MoyTravis asks, "That a Britishism?" | ||
| Jacqueline says, "Because those often have big red mastheads on the front page." | ||
| Pinkunz says, "Fairly well implemented." | ||
| Jacqueline says (to Travis), "Yeah, I suspect so." | ||
| burl says, "Batboy Found In Text Adventure" | ||
| Jacqueline exclaims (at burl), "yay!" | ||
| Knight_Otu says, "We may need a light source, but we'll see." | ||
| burl asks, "oh! can i see the inventory?" | ||
| Knight_Otu says (to ClubFloyd), "i" | ||
| CF ] Guard's Break Room 5/153 | ||
| CF | > | ||
| CF | > I | ||
| CF | | ||
| CF | You are carrying a small brass key, a tea caddy and a stained crimson | ||
| CF | robe. You are wearing a crucifix, a gold pocketwatch, a grey suit and | ||
| CF | a jaunty hat. | ||
| CF | | ||
| CF | > | burl exclaims, "thank you Knight!" | |
| Pinkunz says, "Ditto." | ||
| Pinkunz asks, "I'm assuming DW was caretaking the map?" | ||
| Knight_Otu says, "I think so, yes." | ||
| Knight_Otu says (to ClubFloyd), "e" | ||
| CF ] Alleway, Rue des Verrièrs 5/154 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | As you walk out of the little break room and into the dimly lit | ||
| CF | studio, a cold shiver runs down your spine. It feels like there is an | ||
| CF | evil presence here! Something terrible is waiting and watching in the | ||
| CF | shadows! | ||
| CF | | ||
| CF | It doesn't feel like this during the day. You worked a couple of | ||
| CF | scenes on this film as an extra, so you've been here a few times. But | ||
| CF | now, in the gloom of the night, you are sure that a horrific presence | ||
| CF | haunts this place! | ||
| CF | | ||
| CF | Alleway, Rue des Verrièrs | ||
| CF | A set designer has gone to great lengths to re-imagine a narrow | ||
| CF | alleyway running between rows of townhouses in somewhere like New | ||
| CF | Orleans. The facades of the houses, propped up by beams at the back, | ||
| CF | are painted in dusky oranges, reds and creams to resemble stucco | ||
| CF | rendering. Arches, separated by ornate columns, cover the frontages, | ||
| CF | each with its own darkened window. Elaborate iron balconies, created | ||
| CF | from plywood, stretch in between each arch, complete with hanging | ||
| CF | plastic plants and vines. Here, in the semi-darkness, the false | ||
| CF | buildings feel oppressive. Like they are hiding secrets! | ||
| CF | | ||
| CF | Gloomy openings in the set walls lead south and east deeper into the | ||
| CF | studio. To the west, a brighter gap opens into the guard's break room. | ||
| CF | | ||
| CF | > | Pinkunz asks, "south or east?" | |
| Knight_Otu says (to ClubFloyd), "search buildings" | ||
| CF ] Alleway, Rue des Verrièrs 5/155 | ||
| CF | > | ||
| CF | > SEARCH BUILDINGS | ||
| CF | | ||
| CF | It's pretty impressive work by the set designer. It really does feel, | ||
| CF | at least a little, like you are walking along a street in New Orleans. | ||
| CF | | ||
| CF | The hairs on your neck stand up as if something awful is behind you! | ||
| CF | You turn around quickly, but the alleway is empty. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x balconies" | ||
| CF ] Alleway, Rue des Verrièrs 5/156 | ||
| CF | > | ||
| CF | > X BALCONIES | ||
| CF | | ||
| CF | Cleverly painted plywood does look a little like cast iron! | ||
| CF | | ||
| CF | You feel icy breath on your neck and you shiver in terror! | ||
| CF | | ||
| CF | > | Knight_Otu says, "South is mentioned first." | |
| Knight_Otu says (to ClubFloyd), "x vines" | ||
| CF ] Alleway, Rue des Verrièrs 5/157 | ||
| CF | > | ||
| CF | > X VINES | ||
| CF | | ||
| CF | The vines and assorted plastic plants cascade over the balconies and | ||
| CF | down the side of the buildings. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "climb vines" | ||
| CF ] Alleway, Rue des Verrièrs 5/158 | ||
| CF | > | ||
| CF | > CLIMB VINES | ||
| CF | | ||
| CF | You can't reach them. They are high above you, attached to the | ||
| CF | balconies. | ||
| CF | | ||
| CF | > | Pinkunz says (to Knight), "Nice try." | |
| Knight_Otu says (to ClubFloyd), "x windows" | ||
| CF ] Alleway, Rue des Verrièrs 5/159 | ||
| CF | > | ||
| CF | > X WINDOWS | ||
| CF | | ||
| CF | They're not real glass of course, just painted wood with some sort of | ||
| CF | reflective film over it to make it look like glass. | ||
| CF | | ||
| CF | > | burl says, "i love how the low-interaction responses in this game give you spooky B movie instead of parser sass, and the no-interaction responses still give details" | |
| Roger says, "yeah, there was some care taken in the details on this" | ||
| Knight_Otu asks, "I think we're ready to move to the next room. Anything I've missed?" | ||
| Pinkunz says, "Agreed. Even an action that is disallowed should at least be acknowledged." | ||
| Pinkunz says, "Not that I can see." | ||
| Jacqueline says, "Next room is fine, yeah" | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/160 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | The Grand Ballroom at the Governor's Mansion | ||
| CF | An ostentatious staircase, ending at the top at a false door on the | ||
| CF | Studio wall, sweeps down into a large grand ballroom set dominated by | ||
| CF | a huge chandelier that hangs in crystalline profusion from the | ||
| CF | ceiling. On the side of the set opposite the stairs is a small raised | ||
| CF | stage for the band. The rest of the floor is clear for the dancers. | ||
| CF | The walls are lined with gilded baroque mirrors, reflecting you | ||
| CF | endlessly! | ||
| CF | | ||
| CF | Gaps in the set walls lead north and south, deeper into the Studio. | ||
| CF | | ||
| CF | This set, you know for a fact, has been used in various incarnations | ||
| CF | in at least a dozen Mallet Studios films over the years. Why, even in | ||
| CF | your own film, The Revenge of the Bride of the Vampire, it had been | ||
| CF | re-purposed as a magnificent dining room - you had sat down here with | ||
| CF | Lord Heskley-Smytheson over dinner and had told him (and thus, the | ||
| CF | audience) about the terrible vampire threat and how you intended to | ||
| CF | deal with it. | ||
| CF | | ||
| CF | "You must find and destroy this terrible evil, Professor," declaimed | ||
| CF | Crispin Bowdler, playing the Lord and trying to chew the scenery as | ||
| CF | usual. The ham. "Only then will my daughter be safe." | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x mirrors" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/161 | ||
| CF | > | ||
| CF | > X MIRRORS | ||
| CF | | ||
| CF | The gilded mirrors reflect your face a dozen times on every wall! | ||
| CF | | ||
| CF | > | Pinkunz asks, "Examine "false" door?" | |
| Knight_Otu says (to ClubFloyd), "x door" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/162 | ||
| CF | > | ||
| CF | > X DOOR | ||
| CF | | ||
| CF | The double doors look pretty realistic, but really it's just a wooden | ||
| CF | doorframe stuck onto the wall. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "open door" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/163 | ||
| CF | > | ||
| CF | > OPEN DOOR | ||
| CF | | ||
| CF | The false door is stuck pretty firmly onto the wall. | ||
| CF | | ||
| CF | > | Pinkunz shrugs. | |
| Knight_Otu says, "Apparently it is actually false." | ||
| Knight_Otu says (to ClubFloyd), "x stage" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/164 | ||
| CF | > | ||
| CF | > X STAGE | ||
| CF | | ||
| CF | The wooden stage is a square area for the band to stand on. | ||
| CF | | ||
| CF | > | ||
| DavidW has arrived. | Knight_Otu exclaims, "David!" | |
| Pinkunz says, "Hi DW." | ||
| DavidW says, "hi. Sorry I overslept again" | Jacqueline exclaims, "Hello!" | |
| MoyTravis says, "Hey David." | ||
| Jacqueline says, "No worries. Thought that might be the case from recapping your channel." | ||
| Pinkunz says (to DavidW), "David, meet Burl." | ||
| Pinkunz says (to Burl), "Burl, meet David." | ||
| burl exclaims, "hi David!" | ||
| DavidW says, "gimme a sec. I can't see much. I have to clean my glasses." | ||
| Jacqueline says, "We've not gotten far, we could give you a second to do that, and to then recap the game." | ||
| Pinkunz says, "Was literally half a second behind typing almost the same thing." | ||
| DavidW says, "ok. hi again" | ||
| DavidW says, "hi burl" | ||
| Pinkunz says, "Sorry to hear your sleep patters are screwy. I know how disorienting that can be." | ||
| DavidW says, "Sleep patterns and more. I haven't eaten in ages." | ||
| Jacqueline says, "That's not good." | ||
| Knight_Otu says, "oh dear." | ||
| Pinkunz asks, "Do you still have those frozen berries stashed away?" | ||
| DavidW says, "All I had yesterday was two breakfast sandwiches and a dozen donuts and some very stale crackers." | ||
| DavidW says, "uh, yes. Some berries remain." | ||
| Jacqueline asks, "A... a dozen donuts?" | ||
| DavidW says, "sorry, half dozen" | ||
| Jacqueline asks, "Did I read that right?" | ||
| Jacqueline says, "Oh. Still." | ||
| MoyTravis says, "hahahahaha" | ||
| Pinkunz says, "Yeah, I was erm... impressed as well." | ||
| DavidW says, "I'm half asleep still, I guess." | ||
| Jacqueline asks, "Do you need to go get a snack, or should we proceed?" | ||
| DavidW says, "I don't have much in the way of snacks but those berries. I just remembered I ate a tin of sardines yesterday as well." | ||
| DavidW asks, "Which game are we playing today?" | ||
| Pinkunz says, "Shame we can't just send you a doordashed lunch." | ||
| Pinkunz says, "House of Horrors, or Terrors, or scary stuff." | ||
| Knight_Otu says, "We're still on that horror movie game." | ||
| DavidW says, "oh Dr Horror. Okay." | ||
| Knight_Otu says, "We're on what we thought was the Zombie Movie set, but it seems something else." | ||
| DavidW says, "okay, found my notes from last time" | ||
| Jacqueline says, "Yeah. Seems haunted." | ||
| Pinkunz says, "Met another security guard. Haven't killed them just yet." | ||
| Knight_Otu says (to ClubFloyd), "x chandelier" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/165 | ||
| CF | > | ||
| CF | > X CHANDELIER | ||
| CF | | ||
| CF | The huge chandelier drips with crystals that would sparkle and shine | ||
| CF | if there was any real light. Which there isn't. | ||
| CF | | ||
| CF | The hairs on your neck raise. You swear you are being watched. | ||
| CF | | ||
| CF | > | DavidW says, "We have to round up undead forces from the other four studios." | |
| Knight_Otu says, "Yeah." | ||
| burl says, "DW it sounds like you are doing a map? is that paper or somehow in this mud" | ||
| DavidW says, "Paper." | ||
| DavidW says, "No map yet." | ||
| Jacqueline says, "David does maps and walkthroughs that he posts for the world eventually, but they start on paper." | ||
| burl says, "ok we have done North Lot -E-> Guard Break Room -E->Alley" | ||
| Pinkunz says, "He sometimes does it digitally and has a link if the game is big enough. I remember you had a digital version for CragneManor." | ||
| Jacqueline says, "Oh, true" | ||
| DavidW says, "I could do it for Cragne Manor because I already had played the game and had the map ready." | ||
| Jacqueline says, "ah" | ||
| Pinkunz says, "Ah... I just thought you were super productive, lol." | ||
| Knight_Otu says, "I mean, playing through Cragne Manor is no simple feat." | ||
| says, "Yeah, I walked into CF halfway through Cragne Manor and it was too late to catch up honestly. That game was a monster." | ||
| Pinkunz asks, "If DW is ready, do we have anything to break one of the mirrors with?" | ||
| Knight_Otu says (to ClubFloyd), "i" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/166 | ||
| CF | > | ||
| CF | > I | ||
| CF | | ||
| CF | You are carrying a small brass key, a tea caddy and a stained crimson | ||
| CF | robe. You are wearing a crucifix, a gold pocketwatch, a grey suit and | ||
| CF | a jaunty hat. | ||
| CF | | ||
| CF | > | DavidW says, "I have my mug of frozen berries now." | |
| Pinkunz exclaims (at David), "Good!" | ||
| Jacqueline says, "Cragne took us 19 sessions." | ||
| Jacqueline says, "Started in December, completed it in May." | ||
| burl asks, "what objects in our inventory do we have at least one known purpose for?" | ||
| MoyTravis says, "Nice on berries, good lord on Cragne taking 19 sessions." | ||
| Pinkunz says, "Thank goodness for the Coffee Grounds." | ||
| Knight_Otu says, "Club Cragne." | ||
| DavidW says, "And I got to cackle all those months." | ||
| Jacqueline says (to KO), "haha yes" | ||
| Knight_Otu says (to ClubFloyd), "break mirror" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/167 | ||
| CF | > | ||
| CF | > BREAK MIRROR | ||
| CF | | ||
| CF | The huge mirrors are firmly fixed to the walls. | ||
| CF | | ||
| CF | There's a movement in one of the mirrors! You look, quickly, but | ||
| CF | there's nothing. | ||
| CF | | ||
| CF | > | DavidW asks, "The mirrors are probably there to keep the vampires out,yes?" | |
| Knight_Otu says, "I think the tea caddy was only hiding the vampire key." | ||
| Jacqueline says, "Well, we know that the crucifix will keep the vampires from eatintg us, but the tothers stuff, I'm not sure we know the uses or if there are uses." | ||
| burl says, "yeah they don't seem like something we want to break" | ||
| Pinkunz says, "I walked in on the session where the player tricked you to climb the shelf to window, which causes you to fall and break a floorboard, revealing a tentacle, which, if eaten, let to a protracted and trippy death scene. It was a bizarre introduction to Club Floyd." | ||
| Knight_Otu says (to ClubFloyd), "throw caddy at mirrors" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/168 | ||
| CF | > | ||
| CF | > THROW CADDY AT MIRRORS | ||
| CF | | ||
| CF | Futile. | ||
| CF | | ||
| CF | You think you see something in one of the mirrors! You quickly turn | ||
| CF | your head, but there is nothing. | ||
| CF | | ||
| CF | > | Knight_Otu says, "Oh man, that room. Guided us right where it wanted us." | |
| burl says, "oh wow Pinkunz that...is an introduction" | ||
| Knight_Otu says (to ClubFloyd), "l" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/169 | ||
| CF | > | ||
| CF | > L | ||
| CF | | ||
| CF | The Grand Ballroom at the Governor's Mansion | ||
| CF | An ostentatious staircase, ending at the top at a false door on the | ||
| CF | Studio wall, sweeps down into a large grand ballroom set dominated by | ||
| CF | a huge chandelier that hangs in crystalline profusion from the | ||
| CF | ceiling. On the side of the set opposite the stairs is a small raised | ||
| CF | stage for the band. The rest of the floor is clear for the dancers. | ||
| CF | The walls are lined with gilded baroque mirrors, reflecting you | ||
| CF | endlessly! | ||
| CF | | ||
| CF | Gaps in the set walls lead north and south, deeper into the Studio. | ||
| CF | | ||
| CF | There's a shadowy face in one of the mirrors! You look, but no! It | ||
| CF | must just be your imagination. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x stairs" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/170 | ||
| CF | > | ||
| CF | > X STAIRS | ||
| CF | | ||
| CF | The stairs look impressive, but, really they're just a plywood prop, | ||
| CF | ending at a false door on the wall. | ||
| CF | | ||
| CF | The hairs on your neck raise. You swear you are being watched. | ||
| CF | | ||
| CF | > | burl says, "raised stage sounds interesting" | |
| Pinkunz says, "The author took their time with alternate scenery text. I'm impressed." | ||
| Knight_Otu says (to ClubFloyd), "stand on stage" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/171 | ||
| CF | > | ||
| CF | > STAND ON STAGE | ||
| CF | | ||
| CF | You get onto the raised stage. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "l" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/172 | ||
| CF | > | ||
| CF | > L | ||
| CF | | ||
| CF | The Grand Ballroom at the Governor's Mansion (on the raised | ||
| CF | stage) | ||
| CF | An ostentatious staircase, ending at the top at a false door on the | ||
| CF | Studio wall, sweeps down into a large grand ballroom set dominated by | ||
| CF | a huge chandelier that hangs in crystalline profusion from the | ||
| CF | ceiling. On the side of the set opposite the stairs is a small raised | ||
| CF | stage for the band. The rest of the floor is clear for the dancers. | ||
| CF | The walls are lined with gilded baroque mirrors, reflecting you | ||
| CF | endlessly! | ||
| CF | | ||
| CF | Gaps in the set walls lead north and south, deeper into the Studio. | ||
| CF | | ||
| CF | > | DavidW says, "It's also possible one or more of the mirrors are secret doors or one-way glass." | |
| burl says, "yes! and half of the time the alt text has clues, so it's not just something to add flavor" | ||
| Knight_Otu says (to ClubFloyd), "x doors" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/173 | ||
| CF | > | ||
| CF | > X DOORS | ||
| CF | | ||
| CF | The double doors look pretty realistic, but really it's just a wooden | ||
| CF | doorframe stuck onto the wall. | ||
| DavidW says (to ClubFloyd), "x stage" | ||
| CF | | ||
| CF | > | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/174 | ||
| CF | > | ||
| CF | > X STAGE | ||
| CF | | ||
| CF | The wooden stage is a square area for the band to stand on. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x false door" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/175 | ||
| CF | > | ||
| CF | > X FALSE DOOR | ||
| CF | | ||
| CF | The double doors look pretty realistic, but really it's just a wooden | ||
| CF | doorframe stuck onto the wall. | ||
| CF | | ||
| CF | > | Pinkunz says, "Like a hint generator, but not so obnoxious." | |
| DavidW says (to ClubFloyd), "look under stage" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/176 | ||
| CF | > | ||
| CF | > LOOK UNDER STAGE | ||
| CF | | ||
| CF | The wooden plinth is pretty solidly built.. | ||
| CF | | ||
| CF | > | Knight_Otu says, "I think that's what the room has to offer for now." | |
| Pinkunz says, "Agreed." | ||
| Jacqueline says, "mmkay" | ||
| Knight_Otu says (to ClubFloyd), "stand" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/177 | ||
| CF | > | ||
| CF | > STAND | ||
| CF | | ||
| CF | You get off the raised stage. | ||
| CF | | ||
| CF | The Grand Ballroom at the Governor's Mansion | ||
| CF | An ostentatious staircase, ending at the top at a false door on the | ||
| CF | Studio wall, sweeps down into a large grand ballroom set dominated by | ||
| CF | a huge chandelier that hangs in crystalline profusion from the | ||
| CF | ceiling. On the side of the set opposite the stairs is a small raised | ||
| CF | stage for the band. The rest of the floor is clear for the dancers. | ||
| CF | The walls are lined with gilded baroque mirrors, reflecting you | ||
| CF | endlessly! | ||
| CF | | ||
| CF | Gaps in the set walls lead north and south, deeper into the Studio. | ||
| CF | | ||
| CF | In the corner of your eye, you see a hand reaching out towards you | ||
| CF | from one of the mirrors! You gasp and back away, but there's nothing | ||
| CF | there. Just your own reflection. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] Basement 5/178 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | Basement | ||
| CF | Ventilation ducts and pipes cover the ceiling of this small set. The | ||
| CF | three walls have been painted with splashes of green and brown that | ||
| CF | you suppose is meant to represent mould and water staining. Gaps in | ||
| CF | the set walls lead north and east into the studio gloom. | ||
| CF | | ||
| CF | Near the middle of the set is the white outline of a person painted | ||
| CF | onto the grimy floor. | ||
| CF | | ||
| CF | There's a dark shape lying in the confines of the white outline! No - | ||
| CF | no there isn't. It's just your fevered imagination. | ||
| CF | | ||
| CF | > | Pinkunz asks, "x pipes?" | |
| Knight_Otu says, "I'm finding this set more evocative than the vampire set." | ||
| Knight_Otu says (to ClubFloyd), "x pipes" | ||
| CF ] Basement 5/179 | ||
| CF | > | ||
| CF | > X PIPES | ||
| CF | | ||
| CF | The pipes, going nowhere in particular, run in a tangled mass across | ||
| CF | the ceiling. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x ducts" | ||
| CF ] Basement 5/180 | ||
| CF | > | ||
| CF | > X DUCTS | ||
| CF | | ||
| CF | The pipes, going nowhere in particular, run in a tangled mass across | ||
| CF | the ceiling. | ||
| CF | | ||
| CF | > | Pinkunz says, "Meh" | |
| Knight_Otu says (to ClubFloyd), "x mould" | ||
| CF ] Basement 5/181 | ||
| CF | > | ||
| CF | > X MOULD | ||
| CF | | ||
| CF | The painted walls do make the set look a little bit like a mouldy, | ||
| CF | water stained, subterranean room. | ||
| CF | | ||
| CF | In the corner of the room, something lurks in the shadows! You stare, | ||
| CF | but there is only the empty gloom. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x outline" | ||
| CF ] Basement 5/182 | ||
| CF | > | ||
| CF | > X OUTLINE | ||
| CF | | ||
| CF | It's a series of straight lines roughly in the shape of a person lying | ||
| CF | on the floor, their legs and arms outstretched. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x shape" | ||
| CF ] Basement 5/182 | ||
| CF | > | ||
| CF | > X SHAPE | ||
| CF | | ||
| CF | You can't see any such thing. | ||
| CF | | ||
| CF | > | Pinkunz asks, "That's enough missed swings from me. Anyone else have any ideas?" | |
| Knight_Otu says (to ClubFloyd), "SAVE" | ||
| Knight_Otu says (to ClubFloyd), "cf3" | ||
| CF | > | ||
| CF | > SAVE | ||
| CF | %% Enter a save filename to write: | ||
| CF ] Basement 5/182 | ||
| CF | > SAVEOk. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "lie in outline" | ||
| CF ] Basement 5/182 | ||
| CF | > | ||
| CF | > LIE IN OUTLINE | ||
| CF | | ||
| CF | That's not a verb I recognise. | ||
| CF | | ||
| CF | > | Jacqueline asks, "What's in here with u?" | |
| DavidW says, "enter outline" | ||
| Jacqueline asks, "What's in here with us?" | ||
| Knight_Otu says (to ClubFloyd), "enter outline" | ||
| CF ] Basement 5/183 | ||
| CF | > | ||
| CF | > ENTER OUTLINE | ||
| CF | | ||
| CF | You stand inside the white outline. | ||
| CF | | ||
| CF | There seems to be movement in the dark. Something terrible is lurking. | ||
| CF | You swiftly turn towards it, but there is nothing there. | ||
| CF | | ||
| CF | > | Pinkunz says, "Possibly imagination." | |
| burl asks, "i think the thing in here with us might be autogenerated spoooookytext that happens in certain rooms?" | ||
| Knight_Otu says (to ClubFloyd), "l" | ||
| CF ] Basement 5/184 | ||
| CF | > | ||
| CF | > L | ||
| CF | | ||
| CF | Basement | ||
| CF | Ventilation ducts and pipes cover the ceiling of this small set. The | ||
| CF | three walls have been painted with splashes of green and brown that | ||
| CF | you suppose is meant to represent mould and water staining. Gaps in | ||
| CF | the set walls lead north and east into the studio gloom. | ||
| CF | | ||
| CF | Near the middle of the set is the white outline of a person painted | ||
| CF | onto the grimy floor. | ||
| CF | | ||
| CF | You hear a moaning whispering noise coming from the ducts. You listen, | ||
| CF | but there is nothing. | ||
| CF | | ||
| CF | > | DavidW says, "yeah, that's atmospheric messages. You can usually ignore those." | |
| Pinkunz asks, "Only one exit/entrance?" | ||
| Knight_Otu says, "I think we're ready for the next room" | ||
| DavidW says, "They're happening a bit too often to be believable to me." | ||
| Pinkunz asks, "Crying wolf?" | ||
| Jacqueline says, "Well, there was also backstory about this from the guard." | ||
| Jacqueline says, "They don't patrol in here because they're so afraid." | ||
| Pinkunz asks, "How did we murder that other guard, btw?" | ||
| Jacqueline says, "We're supposed to be building an undead army, so I feel like there's maybe a ghost here that we need to make contact with." | ||
| Jacqueline says (to Pinkuz), "With a giant swinging axe" | ||
| Pinkunz grimaces. | ||
| Knight_Otu says, "And that was before we knew that our coworkers had been killed." | ||
| Jacqueline says, "Well... I think *we* knew." | ||
| Jacqueline says, "The PC was clueless, but I think we all know that coworker had not gone to visit their mom." | ||
| Knight_Otu says, "Was about to say that. Our protagonist wasa bit slower on the uptake." | ||
| Pinkunz asks, "Multiple personality disorder? The PC is actually the murderer without currently knowing it themselves?" | ||
| DavidW says, "We're just more 'genre savvy' than the average PC." | ||
| Knight_Otu says, "No, our director is a cult leader." | ||
| Knight_Otu says, "Probably the deaths were needed for a summoning ritual." | ||
| Pinkunz says, "I see." | ||
| burl says, "the unreliable narrator trope fits so well into this movie-style story though" | ||
| MoyTravis says, "Lie down in the outline." | ||
| Pinkunz says, "He already tried." | ||
| Knight_Otu says, "One of our co-actors was dissolved in acid and we accepted "That was just expensive SFX"." | ||
| MoyTravis says, "Oh, RIP." | ||
| Knight_Otu says (to ClubFloyd), "lie down" | ||
| CF ] Basement 5/184 | ||
| CF | > | ||
| CF | > LIE DOWN | ||
| CF | | ||
| CF | That's not a verb I recognise. | ||
| CF | | ||
| CF | > | Pinkunz says, "Not mutually exclusive." | |
| Knight_Otu says, "Sometimes there might be one-use actions." | ||
| Knight_Otu says (to Pinkunz), "True." | ||
| Knight_Otu says (to ClubFloyd), "e" | ||
| CF ] The Cemetery of St. Louise de Marillac 5/185 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | The Cemetery of St. Louise de Marillac | ||
| CF | What a set this is! Mallet Studios must have actually spent some real | ||
| CF | money on this. The large space, bounded by walls painted with distant | ||
| CF | scenery, is row after row of forbidding tombs, ornamented gravestones | ||
| CF | and imposing hooded statues. Vines and tropical looking plastic plants | ||
| CF | wind over everything, giving a real atmosphere of age and shadowy | ||
| CF | menace. Openings in the set walls lead north and west deeper into the | ||
| CF | studio. | ||
| CF | | ||
| CF | To one side of the set is a row of freshly filled in graves! | ||
| CF | | ||
| CF | Next to the new graves is an old rusty wheelbarrow. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x scenery" | ||
| CF ] The Cemetery of St. Louise de Marillac 5/186 | ||
| CF | > | ||
| CF | > X SCENERY | ||
| CF | | ||
| CF | The set backdrop is a painted city in front of wooded hills. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x tombs" | ||
| CF ] The Cemetery of St. Louise de Marillac 5/187 | ||
| CF | > | ||
| CF | > X TOMBS | ||
| CF | | ||
| CF | The tombs, draped with vines and made from large blocks of painted | ||
| CF | foam, are of all different shapes and sizes. Some are painted in | ||
| CF | vibrant greens and reds. Each has a blocked up entrance - every tomb | ||
| CF | seems to hide forbidden secrets, walled in forever! | ||
| CF | | ||
| CF | > | burl asks, "can we take the wheelbarrow?" | |
| Knight_Otu says (to ClubFloyd), "open tombs" | ||
| CF ] The Cemetery of St. Louise de Marillac 5/188 | ||
| CF | > | ||
| CF | > OPEN TOMBS | ||
| CF | | ||
| CF | The entrance to each tomb is securely walled up by huge painted blocks | ||
| CF | of foam. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x wheelbarrow" | ||
| CF ] The Cemetery of St. Louise de Marillac 5/189 | ||
| CF | > | ||
| CF | > X WHEELBARROW | ||
| CF | | ||
| CF | The old and slightly rusty wheelbarrow wobbles along on its single | ||
| CF | wheel. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "get it" | ||
| CF ] The Cemetery of St. Louise de Marillac 5/190 | ||
| CF | > | ||
| CF | > GET IT | ||
| CF | | ||
| CF | You grab hold of the wheelbarrow's handles. | ||
| CF | | ||
| CF | > | MoyTravis says, "Gotta get a shovel and dig these babies up." | |
| Knight_Otu says, "I guess in a way." | ||
| Knight_Otu says (to ClubFloyd), "x graves" | ||
| CF ] The Cemetery of St. Louise de Marillac 5/191 | ||
| CF | > | ||
| CF | > X GRAVES | ||
| CF | | ||
| CF | There are at least a dozen piles of, what looks like, real earth. None | ||
| CF | of them have gravestones. The earth is still moist - they look as if | ||
| CF | they were dug very recently indeed. | ||
| CF | | ||
| CF | > | MoyTravis says, "Hopefully, like, not literal babies." | |
| MoyTravis says, "Althought zombie babies attacking cultists is a funny mental image." | ||
| Knight_Otu says (to ClubFloyd), "x gravestones" | ||
| CF ] The Cemetery of St. Louise de Marillac 5/192 | ||
| CF | > | ||
| CF | > X GRAVESTONES | ||
| CF | | ||
| CF | The gravestones, made impressively from painted modelling foam are | ||
| CF | mainly ornate crosses,. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x statues" | ||
| CF ] The Cemetery of St. Louise de Marillac 5/193 | ||
| CF | > | ||
| CF | > X STATUES | ||
| CF | | ||
| CF | Most of the statues are hooded, their eyes hidden | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "dig graves" | ||
| CF ] The Cemetery of St. Louise de Marillac 5/194 | ||
| CF | > | ||
| CF | > DIG GRAVES | ||
| CF | | ||
| CF | You have nothing to dig with. And surely, these are just piles of | ||
| CF | earth, not real graves. | ||
| CF | | ||
| CF | > | Pinkunz says, "I always thought a postapocalyptic Hollywood movie set was a missed opportunity for Fallout titles set on the west coast." | |
| burl says, ""surely"" | ||
| Knight_Otu says, "Protagonist..." | ||
| Jacqueline says, "hahaha" | ||
| MoyTravis says, "MC is denser than something that is very dense." | ||
| Knight_Otu says (to ClubFloyd), "x plants" | ||
| CF ] The Cemetery of St. Louise de Marillac 5/195 | ||
| CF | > | ||
| CF | > X PLANTS | ||
| CF | | ||
| CF | The plastic vines dangle from the tombs, partially covering the | ||
| CF | blocked up entrances. | ||
| CF | | ||
| CF | > | Jacqueline says, "yeah. I am thinking they are so totally real graves" | |
| Knight_Otu says (to ClubFloyd), "climb vines" | ||
| CF ] The Cemetery of St. Louise de Marillac 5/196 | ||
| CF | > | ||
| CF | > CLIMB VINES | ||
| CF | | ||
| CF | The vines are all firmly attached to the set. | ||
| CF | | ||
| CF | > | DavidW asks, "I hope we're not dragging the wheelbarrow before we have any use for it?" | |
| Knight_Otu says, "Aw." | ||
| Jacqueline says, "We are now on a quest for a shovel." | ||
| Knight_Otu says (to ClubFloyd), "drop wheelbarrow" | ||
| CF ] The Cemetery of St. Louise de Marillac 5/197 | ||
| CF | > | ||
| CF | > DROP WHEELBARROW | ||
| CF | | ||
| CF | You let go of the wheelbarrow's handles. | ||
| CF | | ||
| CF | > | Pinkunz asks, "Fill wheelbarrow with dirt?" | |
| DavidW says, "Like, the wheelbarrow will likely be used to cart a dead body somewhere." | ||
| Pinkunz says, "Probably not workable." | ||
| Knight_Otu says (to ClubFloyd), "fill wheelbarrow with dirt" | ||
| CF ] The Cemetery of St. Louise de Marillac 5/197 | ||
| CF | > | ||
| CF | > FILL WHEELBARROW WITH DIRT | ||
| CF | | ||
| CF | You can't see any such thing. | ||
| CF | | ||
| CF | > | Pinkunz says, "Figured." | |
| Knight_Otu says (to ClubFloyd), "l" | ||
| CF ] The Cemetery of St. Louise de Marillac 5/198 | ||
| CF | > | ||
| CF | > L | ||
| CF | | ||
| CF | The Cemetery of St. Louise de Marillac | ||
| CF | What a set this is! Mallet Studios must have actually spent some real | ||
| CF | money on this. The large space, bounded by walls painted with distant | ||
| CF | scenery, is row after row of forbidding tombs, ornamented gravestones | ||
| CF | and imposing hooded statues. Vines and tropical looking plastic plants | ||
| CF | wind over everything, giving a real atmosphere of age and shadowy | ||
| CF | menace. Openings in the set walls lead north and west deeper into the | ||
| CF | studio. | ||
| CF | | ||
| CF | To one side of the set is a row of freshly filled in graves! | ||
| CF | | ||
| CF | You can also see a wheelbarrow (with nothing in it) here. | ||
| CF | | ||
| CF | > | Knight_Otu says, "I guess we should go north to seek a shovel." | |
| Pinkunz says, "As an aside to that Fallout idea, you could have a hidden locked set that was a moon landing set, lol." | ||
| MoyTravis says, "We can get a set of armor and become Shovel Knight." | ||
| Pinkunz says, "Agreed regarding shovel." | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Voodoo Temple 5/199 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Voodoo Temple | ||
| CF | All the masks lining the walls of the set seem to regard you with | ||
| CF | narrowed, suspicious eyes. There are dozens of them in all shapes and | ||
| CF | sizes. In between and around them hang colourful drapes, their | ||
| CF | attractive patterns at odds with the skulls on the floor and | ||
| CF | statuettes of frightening figures in little alcoves. Unlit candles | ||
| CF | cover almost every surface and everything is draped in a patina of | ||
| CF | nylon cobwebs. Doorways in the set walls lead into the gloom to the | ||
| CF | north and south. | ||
| CF | | ||
| CF | Dominating one wall is a large ornately carved wooden throne. | ||
| CF | | ||
| CF | In front of the throne is a small black table. | ||
| CF | | ||
| CF | Lying on the table and exuding an air of palpable menace, is a book, | ||
| CF | its cover completely black. | ||
| CF | | ||
| CF | Scattered across the table are small fragments of bone. | ||
| CF | | ||
| CF | Poking out from underneath the throne, you can see the top of an empty | ||
| CF | plastic bottle. | ||
| CF | | ||
| CF | A hand with sharp fingernails reaches out at you from the shadows! You | ||
| CF | quickly turn your head, but there is nothing there. | ||
| CF | | ||
| CF | > | burl says, "want to read the scary book, nothing bad will happen" | |
| Knight_Otu says (to ClubFloyd), "x masks" | ||
| CF ] Voodoo Temple 5/200 | ||
| CF | > | ||
| CF | > X MASKS | ||
| CF | | ||
| CF | The masks line the walls, seeming to leer at you unpleasantly. | ||
| CF | | ||
| CF | > | Pinkunz asks, "Save?" | |
| Knight_Otu says (to ClubFloyd), "x throne" | ||
| CF ] Voodoo Temple 5/201 | ||
| CF | > | ||
| CF | > X THRONE | ||
| CF | | ||
| CF | The horrible carvings on the throne seem to writhe and change under | ||
| CF | your gaze! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "SAVE" | ||
| Knight_Otu says (to ClubFloyd), "cf4" | ||
| CF | > | ||
| CF | > SAVE | ||
| CF | %% Enter a save filename to write: | ||
| CF ] Voodoo Temple 5/201 | ||
| CF | > SAVEOk. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x table" | ||
| CF ] Voodoo Temple 5/202 | ||
| CF | > | ||
| CF | > X TABLE | ||
| CF | | ||
| CF | Inscribed onto the top of the table is a five pointed star! | ||
| CF | | ||
| CF | On the black table are a black book and the bones of fate. | ||
| CF | | ||
| CF | A terrible presence brushes past you, ruffling your hair. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x star" | ||
| CF ] Voodoo Temple 5/203 | ||
| CF | > | ||
| CF | > X STAR | ||
| CF | | ||
| CF | Inscribed onto the top of the table is a five pointed star! | ||
| CF | | ||
| CF | On the black table are a black book and the bones of fate. | ||
| CF | | ||
| CF | The back of your neck prickles. For a moment, you think someone is | ||
| CF | sitting in the throne. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x book" | ||
| CF ] Voodoo Temple 5/204 | ||
| CF | > | ||
| CF | > X BOOK | ||
| CF | | ||
| CF | The black book seems to have something terrible and ancient and evil | ||
| CF | about it! You would need to take it to get a better look. | ||
| CF | | ||
| CF | A terrible presence brushes past you, ruffling your hair. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "get it" | ||
| CF ] Voodoo Temple 5/205 | ||
| CF | > | ||
| CF | > GET IT | ||
| CF | | ||
| CF | As you pick up the book, you swear you can hear horrific laughter | ||
| CF | coming from all around you! It's cold in your hands, like ice, and it | ||
| CF | seems to throb with a powerful malevolence! | ||
| CF | | ||
| CF | The back of your neck prickles. For a moment, you think someone is | ||
| CF | sitting in the throne. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "read it" | ||
| CF ] Voodoo Temple 5/206 | ||
| CF | > | ||
| CF | > READ IT | ||
| CF | | ||
| CF | You cautiously open the cover of the book. The pages inside are | ||
| CF | yellowed and ancient and marked with mould. It seems to be a book of | ||
| CF | black magic! According to the title page, the book is called "Malleus | ||
| CF | Malum Habentis Mortem" - whatever that means. You can't understand | ||
| CF | most of it, and much of it is so faded and stained that you can't read | ||
| CF | it, but flicking through, there are a few pages you can make out. | ||
| CF | | ||
| CF | One page is titled "Summon," another "Raise Dead" and a third is | ||
| CF | "Banish". You could probably READ each of these pages. Read Summon, | ||
| CF | for example. | ||
| CF | | ||
| CF | > | Jacqueline says, "I feel like the ghostly brushes are getting more intense here." | |
| burl says, "agreed. also i wonder if you put the bones in the bottle to throw them" | ||
| Knight_Otu says (to ClubFloyd), "read banish" | ||
| CF ] Voodoo Temple 5/207 | ||
| CF | > | ||
| CF | > READ BANISH | ||
| CF | | ||
| CF | The page is titled "For the Banishing of thee most Persistent of | ||
| CF | Spirits and Entrapping them in a Thing of Power". The lengthy text | ||
| CF | begins "To banish a spirit it must be named, for it is the truth that | ||
| CF | a name is a thing of power, and an object of satanic power may be | ||
| CF | entrusted to hold a dreadful spirit and the most powerful of these | ||
| CF | things to hold many...." and then it goes on for the rest of the page | ||
| CF | with a whole bunch of terrible warnings which you can't be bothered to | ||
| CF | read. | ||
| CF | | ||
| CF | According to the instructions at the end, you make a complicated | ||
| CF | gesture with your fingers, then you're supposed to repeat "Spiritus | ||
| CF | replebatur!" and yell the spirit's name three times. | ||
| CF | | ||
| CF | It seems straightforward enough. You could probably cast this banish | ||
| CF | spell if you had a mind to. (To cast a spell, just CAST the spell | ||
| CF | by name. CAST BANISH for example.) | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "read summon" | ||
| CF ] Voodoo Temple 5/208 | ||
| CF | > | ||
| CF | > READ SUMMON | ||
| CF | | ||
| CF | The page is titled "For the Summoning of thee most evil Spirits in | ||
| CF | Darkness and Power". The lengthy text begins "Although in this life | ||
| CF | thee may have strength in thy limbs and heart, only in the presence of | ||
| CF | an object of satanic power can thee summon the most dreadful of | ||
| CF | spirits...." and then it goes on for ages. Just a bunch of dire | ||
| CF | warnings which you can't be bothered to read. | ||
| CF | | ||
| CF | According to the instructions at the end, you make three "sinistrus" | ||
| CF | turns around the room, wave your hands about in three complicated | ||
| CF | gestures, then you're supposed to say a whole passage of latin | ||
| CF | mumbo-jumbo, ending with "exspiravit, esto subjecto voluntati meae!" | ||
| CF | repeated three times. | ||
| CF | | ||
| CF | It seems straightforward enough. You could probably cast this summon | ||
| CF | spell if you had a mind to. | ||
| CF | | ||
| CF | The drapes seem to bulge and ripple with an unseen wind, but you look | ||
| CF | closely and they are still. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "read raise dead" | ||
| CF ] Voodoo Temple 5/209 | ||
| CF | > | ||
| CF | > READ RAISE DEAD | ||
| CF | | ||
| CF | The page is titled "For thee Raising of most real Bodies of the Dead | ||
| CF | from their dreadful Eternal Sleep under goode Earth". The dense text | ||
| CF | begins "And only by the power of blood upon the soil under which these | ||
| CF | bodies are interred, can this spell be successful, for without the | ||
| CF | blood of a human in thee earth there shall be no link to this life to | ||
| CF | which the dead can make their own..." and then it's just warning after | ||
| CF | dire warning and you lose interest. | ||
| CF | | ||
| CF | According to the instructions at the end, you simply say "Mortuos | ||
| CF | surgere et e sepulcris!" really loudly three times. | ||
| CF | | ||
| CF | It seems straightforward enough. You could probably cast this raise | ||
| CF | dead spell if you had a mind to. | ||
| CF | | ||
| CF | > | DavidW says, "I think you found your 'shovel' there." | |
| Knight_Otu says, "Yeah." | ||
| Knight_Otu says (to ClubFloyd), "x bones" | ||
| CF ] Voodoo Temple 5/210 | ||
| CF | > | ||
| CF | > X BONES | ||
| CF | | ||
| CF | There are about twelve of the small bone fragments, of all different | ||
| CF | shapes and sizes. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "get them" | ||
| CF ] Voodoo Temple 5/210 | ||
| CF | > | ||
| CF | > GET THEM | ||
| CF | | ||
| CF | I'm not sure what 'them' refers to. | ||
| CF | | ||
| CF | > | Pinkunz says, "The title of the book is Latin for "Evil Hammer."" | |
| DavidW says, "Roll or throw the bones." | ||
| Knight_Otu says (to ClubFloyd), "get bones" | ||
| CF ] Voodoo Temple 5/211 | ||
| CF | > | ||
| CF | > GET BONES | ||
| CF | | ||
| CF | Taken. | ||
| CF | | ||
| CF | A terrible presence brushes past you, ruffling your hair. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x bottle" | ||
| CF ] Voodoo Temple 5/212 | ||
| CF | > | ||
| CF | > X BOTTLE | ||
| CF | | ||
| CF | The bottle looks like it used to contain strawberry milk. At least | ||
| CF | that's what the label says. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "get it" | ||
| CF ] Voodoo Temple 5/213 | ||
| CF | > | ||
| CF | > GET IT | ||
| CF | | ||
| CF | You snag the bottle from underneath the throne. According to the | ||
| CF | label, it used to contain strawberry milk. But now it's empty, which | ||
| CF | is a shame. You bet this was Gemma's drink! She loved this stuff - she | ||
| CF | was always getting told off for bringing drinks and food onto set. | ||
| CF | | ||
| CF | > | burl says, "the book title translates to "the hammer of an apple that has a dead body" i don't fully trust this translation tool" | |
| Knight_Otu says (to ClubFloyd), "l" | ||
| CF ] Voodoo Temple 5/214 | ||
| CF | > | ||
| CF | > L | ||
| CF | | ||
| CF | Voodoo Temple | ||
| CF | All the masks lining the walls of the set seem to regard you with | ||
| CF | narrowed, suspicious eyes. There are dozens of them in all shapes and | ||
| CF | sizes. In between and around them hang colourful drapes, their | ||
| CF | attractive patterns at odds with the skulls on the floor and | ||
| CF | statuettes of frightening figures in little alcoves. Unlit candles | ||
| CF | cover almost every surface and everything is draped in a patina of | ||
| CF | nylon cobwebs. Doorways in the set walls lead into the gloom to the | ||
| CF | north and south. | ||
| CF | | ||
| CF | Dominating one wall is a large ornately carved wooden throne. | ||
| CF | | ||
| CF | In front of the throne is a small black table. | ||
| CF | | ||
| CF | You swear one of the carved figures in the alcoves turns its head to | ||
| CF | look at you, but no, surely not! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x drapes" | ||
| CF ] Voodoo Temple 5/215 | ||
| CF | > | ||
| CF | > X DRAPES | ||
| CF | | ||
| CF | Clashing a little with the rest of the scenery, the drapes are | ||
| CF | brightly colored and woven with attractive patterns. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x skulls" | ||
| CF ] Voodoo Temple 5/216 | ||
| CF | > | ||
| CF | > X SKULLS | ||
| CF | | ||
| CF | They're obviously not real skulls. They look like they've been bought | ||
| CF | wholesale from some novelty store. | ||
| CF | | ||
| CF | > | Jacqueline says (to Pinkunz), "I think it's more like Evil Hammer of the One Who Brings Death or something along those lines" | |
| Knight_Otu asks, "Obviously? You sure, protagonist?" | ||
| Jacqueline says, "Obviously" | ||
| Knight_Otu says (to ClubFloyd), "x alcoves" | ||
| CF ] Voodoo Temple 5/217 | ||
| CF | > | ||
| CF | > X ALCOVES | ||
| CF | | ||
| CF | Crudely carved, but with an air of real menace, the figurines seem to | ||
| CF | guard the room. | ||
| CF | | ||
| CF | A hand with sharp fingernails reaches out at you from the shadows! You | ||
| CF | quickly turn your head, but there is nothing there. | ||
| CF | | ||
| CF | > | Jacqueline says, "More like 'bought wholesale off the black market'" | |
| Pinkunz says (to jacq), "Fair. I used Google Translate. Latin isn't taught in secondary anymore." | ||
| Jacqueline exclaims, "You got the first part right!" | ||
| Knight_Otu says (to ClubFloyd), "x candles" | ||
| CF ] Voodoo Temple 5/218 | ||
| CF | > | ||
| CF | > X CANDLES | ||
| CF | | ||
| CF | Glued in place, the candles aren't even real! You think they might be | ||
| CF | made out of plastic. | ||
| CF | | ||
| CF | You think you hear terrible hollow cackling laughter, but it must just | ||
| CF | be your imagination. | ||
| CF | | ||
| CF | > | burl says, "still better than translate dot com" | |
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Deep in the Bayou 5/219 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Deep in the Bayou | ||
| CF | Surrounded by the trunks of enormous trees, the Bayou has been emptied | ||
| CF | for the night. It's just a rubber lined dip in the floor now, with a | ||
| CF | few sad plastic plants lying in the bottom of it. Openings in the set | ||
| CF | lead south and east into the gloom. | ||
| CF | | ||
| CF | In the centre of the Bayou, emerging from a small grassy knoll and | ||
| CF | giving off an aura of evil power, is a sacred voodoo stone! | ||
| CF | | ||
| CF | You were an extra on this set! | ||
| CF | | ||
| CF | They had needed a crowd of worshippers while they filmed the ritual | ||
| CF | scene. There had been some chanting and you were supposed to wave your | ||
| CF | arms about a bit. You hadn't really paid much attention to what was | ||
| CF | going on. After all, you are a lead actor. It's a bit rich asking you | ||
| CF | to do extra work! Everyone else had gotten pretty into it, though - | ||
| CF | swaying and chanting, their eyes fixed on the stone. Great commitment | ||
| CF | to their roles, you suppose. | ||
| CF | | ||
| CF | You had been standing next to Gemma Bellerton, your friend who was | ||
| CF | playing one of the Voodoo priestesses in the film. Gemma hadn't been | ||
| CF | happy. She was supposed to be filming the possession sequence later in | ||
| CF | the day, but there had been delays. "They told me it was something | ||
| CF | technical," she had said. "But I can't imagine what." | ||
| CF | | ||
| CF | Something awful and dark hovers for a moment above the stone! No. | ||
| CF | There's nothing there. Just your own fears. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x stone" | ||
| CF ] Deep in the Bayou 5/220 | ||
| CF | > | ||
| CF | > X STONE | ||
| CF | | ||
| CF | The stone, carved with horrible organic figures, seems to be | ||
| CF | surrounded by an aura of pure evil power! | ||
| CF | | ||
| CF | > | Jacqueline says, "'great commitment to their roles'" | |
| Knight_Otu says, "Our protagonist is still rather naive." | ||
| Pinkunz says, "Same could be said for acid boy mentioned earlier." | ||
| Jacqueline says, "I suspect the protagonist will remain so... but it would be interesting if they evolved to become less gullible." | ||
| MoyTravis says, "Look it took, like, dozens of takes to get him to say his line in the intro." | ||
| MoyTravis says, "Maybe he's just not super bright." | ||
| DavidW says, "Make a note of Gemma's name. Banishing by name is important." | ||
| Pinkunz says, "It's like the actually fed Quint to a shark for the realism and production value." | ||
| burl says, "it makes me think of scary movies where you yell at the protagonist not to go into the basement alone" | ||
| Pinkunz asks, "Get stone?" | ||
| Knight_Otu says (to ClubFloyd), "get stone" | ||
| CF ] Deep in the Bayou 5/221 | ||
| CF | > | ||
| CF | > GET STONE | ||
| CF | | ||
| CF | You just about manage to pick the stone up, but it's far too heavy to | ||
| CF | carry about, so you drop it onto the floor again! | ||
| CF | | ||
| CF | > | DavidW says, "oh. Wheelbarrow *that* somewhere." | |
| Pinkunz says, "Hmm" | ||
| Knight_Otu nods. | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] Voodoo Temple 5/222 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | Voodoo Temple | ||
| CF | All the masks lining the walls of the set seem to regard you with | ||
| CF | narrowed, suspicious eyes. There are dozens of them in all shapes and | ||
| CF | sizes. In between and around them hang colourful drapes, their | ||
| CF | attractive patterns at odds with the skulls on the floor and | ||
| CF | statuettes of frightening figures in little alcoves. Unlit candles | ||
| CF | cover almost every surface and everything is draped in a patina of | ||
| CF | nylon cobwebs. Doorways in the set walls lead into the gloom to the | ||
| CF | north and south. | ||
| CF | | ||
| CF | Dominating one wall is a large ornately carved wooden throne. | ||
| CF | | ||
| CF | In front of the throne is a small black table. | ||
| CF | | ||
| CF | You swear one of the carved figures in the alcoves turns its head to | ||
| CF | look at you, but no, surely not! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] The Cemetery of St. Louise de Marillac 5/223 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | The Cemetery of St. Louise de Marillac | ||
| CF | What a set this is! Mallet Studios must have actually spent some real | ||
| CF | money on this. The large space, bounded by walls painted with distant | ||
| CF | scenery, is row after row of forbidding tombs, ornamented gravestones | ||
| CF | and imposing hooded statues. Vines and tropical looking plastic plants | ||
| CF | wind over everything, giving a real atmosphere of age and shadowy | ||
| CF | menace. Openings in the set walls lead north and west deeper into the | ||
| CF | studio. | ||
| CF | | ||
| CF | To one side of the set is a row of freshly filled in graves! | ||
| CF | | ||
| CF | You can also see a wheelbarrow (with nothing in it) here. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "get wheelbarrow" | ||
| CF ] The Cemetery of St. Louise de Marillac 5/224 | ||
| CF | > | ||
| CF | > GET WHEELBARROW | ||
| CF | | ||
| CF | You grab hold of the wheelbarrow's handles. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Voodoo Temple 5/225 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Voodoo Temple | ||
| CF | All the masks lining the walls of the set seem to regard you with | ||
| CF | narrowed, suspicious eyes. There are dozens of them in all shapes and | ||
| CF | sizes. In between and around them hang colourful drapes, their | ||
| CF | attractive patterns at odds with the skulls on the floor and | ||
| CF | statuettes of frightening figures in little alcoves. Unlit candles | ||
| CF | cover almost every surface and everything is draped in a patina of | ||
| CF | nylon cobwebs. Doorways in the set walls lead into the gloom to the | ||
| CF | north and south. | ||
| CF | | ||
| CF | Dominating one wall is a large ornately carved wooden throne. | ||
| CF | | ||
| CF | In front of the throne is a small black table. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Deep in the Bayou 5/226 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Deep in the Bayou | ||
| CF | Surrounded by the trunks of enormous trees, the Bayou has been emptied | ||
| CF | for the night. It's just a rubber lined dip in the floor now, with a | ||
| CF | few sad plastic plants lying in the bottom of it. Openings in the set | ||
| CF | lead south and east into the gloom. | ||
| CF | | ||
| CF | In the centre of the Bayou, emerging from a small grassy knoll and | ||
| CF | giving off an aura of evil power, is a sacred voodoo stone! | ||
| CF | | ||
| CF | > | DavidW says, "WE . DONT . KNOW . WHERE . TO . MOVE . IT . TO . YET." | |
| burl asks, "DW you're not excited about lugging a wheelbarrow from room to room?" | ||
| Knight_Otu says, "Not too many places to put it. I rather suspect the graveyard." | ||
| Pinkunz asks, "Obviously. We're sort of like Homer just blindly pressing buttons in the Nuclear Control room at this point, no?" | ||
| DavidW says, "I don't want my hands full of wheelbarrow when the monster attacks, no." | ||
| Knight_Otu says (to ClubFloyd), "put stone in wheelbarrow" | ||
| CF ] Deep in the Bayou 5/227 | ||
| CF | > | ||
| CF | > PUT STONE IN WHEELBARROW | ||
| CF | | ||
| CF | (first taking the sacred voodoo stone) | ||
| CF | It's too heavy to carry, but fortunately you have a wheelbarrow! With | ||
| CF | a grunt of effort, you manage to get the stone into the barrow. | ||
| CF | | ||
| CF | > | burl says, "haha including the literal big red button (which may or may not have done anything)" | |
| Pinkunz asks, "Leave the wheelbarrow in the Bayou for now?" | ||
| DavidW says, "sure" | ||
| Knight_Otu says (to ClubFloyd), "drop wheelbarrow" | ||
| CF ] Deep in the Bayou 5/228 | ||
| CF | > | ||
| CF | > DROP WHEELBARROW | ||
| CF | | ||
| CF | You let go of the wheelbarrow's handles. | ||
| CF | | ||
| CF | Ice creeps down your spine as you see a shadowy figure amongst the | ||
| CF | roots of a tree trunk! You look closely, but there is nothing there. | ||
| CF | Just the shadows. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x plants" | ||
| CF ] Deep in the Bayou 5/229 | ||
| CF | > | ||
| CF | > X PLANTS | ||
| CF | | ||
| CF | The plants are obviously designed to float when the bayou is filled | ||
| CF | with water. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x trees" | ||
| CF ] Deep in the Bayou 5/230 | ||
| CF | > | ||
| CF | > X TREES | ||
| CF | | ||
| CF | Quite literally, just the trunks of enormous trees. Each painted tree | ||
| CF | trunk, carved from blocks of foam, has thick roots coming out of the | ||
| CF | Bayou, extends from the floor for about three metres, and then ends | ||
| CF | suddenly. They're only built for close-ups. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x dip" | ||
| CF ] Deep in the Bayou 5/231 | ||
| CF | > | ||
| CF | > X DIP | ||
| CF | | ||
| CF | The dip is only about six inches deep. When it's filled with water and | ||
| CF | has a few plastic plants floating in it, you suppose iit does look a | ||
| CF | bit like a swampy bayou. | ||
| CF | | ||
| CF | > | Pinkunz says, "Take Plants? If they float, they might not be attached. Then again, the author might not have thought about that." | |
| Knight_Otu says (to ClubFloyd), "take plants" | ||
| CF ] Deep in the Bayou 5/232 | ||
| CF | > | ||
| CF | > TAKE PLANTS | ||
| CF | | ||
| CF | They are firmly fixed to the floor. | ||
| CF | | ||
| CF | A whispering in your ears! You turn around in shock, but there's | ||
| CF | nothing behind you. | ||
| CF | | ||
| CF | > | Pinkunz says, "Meh." | |
| burl says, "i wonder if that text is a subtle hint about an eventual water-filling puzzle" | ||
| Knight_Otu says, "It could be." | ||
| Knight_Otu says (to ClubFloyd), "e" | ||
| CF ] Deep in the Bayou 5/233 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | You can't go that way. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "l" | ||
| CF ] Deep in the Bayou 5/234 | ||
| CF | > | ||
| CF | > L | ||
| CF | | ||
| CF | Deep in the Bayou | ||
| CF | Surrounded by the trunks of enormous trees, the Bayou has been emptied | ||
| CF | for the night. It's just a rubber lined dip in the floor now, with a | ||
| CF | few sad plastic plants lying in the bottom of it. Openings in the set | ||
| CF | lead south and east into the gloom. | ||
| CF | | ||
| CF | You can see a wheelbarrow (which contains a sacred voodoo stone) here. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "w" | ||
| CF ] Alleway, Rue des Verrièrs 5/235 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Alleway, Rue des Verrièrs | ||
| CF | A set designer has gone to great lengths to re-imagine a narrow | ||
| CF | alleyway running between rows of townhouses in somewhere like New | ||
| CF | Orleans. The facades of the houses, propped up by beams at the back, | ||
| CF | are painted in dusky oranges, reds and creams to resemble stucco | ||
| CF | rendering. Arches, separated by ornate columns, cover the frontages, | ||
| CF | each with its own darkened window. Elaborate iron balconies, created | ||
| CF | from plywood, stretch in between each arch, complete with hanging | ||
| CF | plastic plants and vines. Here, in the semi-darkness, the false | ||
| CF | buildings feel oppressive. Like they are hiding secrets! | ||
| CF | | ||
| CF | Gloomy openings in the set walls lead south and east deeper into the | ||
| CF | studio. To the west, a brighter gap opens into the guard's break room. | ||
| CF | | ||
| CF | You're sure you can hear a low moaning, as if someone is in pain, but | ||
| CF | you listen and all you can hear is the quiet of the studio. | ||
| CF | | ||
| CF | > | Pinkunz asks, "Have we gone south from here?" | |
| Knight_Otu says, "Text mentions the wrong direction." | ||
| Knight_Otu says, "Yeah, we've looped." | ||
| Pinkunz says, "Yeah, mentions east, then disallows east from bayou." | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/236 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | The Grand Ballroom at the Governor's Mansion | ||
| CF | An ostentatious staircase, ending at the top at a false door on the | ||
| CF | Studio wall, sweeps down into a large grand ballroom set dominated by | ||
| CF | a huge chandelier that hangs in crystalline profusion from the | ||
| CF | ceiling. On the side of the set opposite the stairs is a small raised | ||
| CF | stage for the band. The rest of the floor is clear for the dancers. | ||
| CF | The walls are lined with gilded baroque mirrors, reflecting you | ||
| CF | endlessly! | ||
| CF | | ||
| CF | Gaps in the set walls lead north and south, deeper into the Studio. | ||
| CF | | ||
| CF | There's a movement in one of the mirrors! You look, quickly, but | ||
| CF | there's nothing. | ||
| CF | | ||
| CF | > | Pinkunz says, "Nvm." | |
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Alleway, Rue des Verrièrs 5/237 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Alleway, Rue des Verrièrs | ||
| CF | A set designer has gone to great lengths to re-imagine a narrow | ||
| CF | alleyway running between rows of townhouses in somewhere like New | ||
| CF | Orleans. The facades of the houses, propped up by beams at the back, | ||
| CF | are painted in dusky oranges, reds and creams to resemble stucco | ||
| CF | rendering. Arches, separated by ornate columns, cover the frontages, | ||
| CF | each with its own darkened window. Elaborate iron balconies, created | ||
| CF | from plywood, stretch in between each arch, complete with hanging | ||
| CF | plastic plants and vines. Here, in the semi-darkness, the false | ||
| CF | buildings feel oppressive. Like they are hiding secrets! | ||
| CF | | ||
| CF | Gloomy openings in the set walls lead south and east deeper into the | ||
| CF | studio. To the west, a brighter gap opens into the guard's break room. | ||
| CF | | ||
| CF | There's something moving in one of the windows! You turn your head, | ||
| CF | but there's nothing there. | ||
| CF | | ||
| CF | > | DavidW says, "I never saw the guard room" | |
| Knight_Otu says (to ClubFloyd), "w" | ||
| CF ] Guard's Break Room 5/238 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Guard's Break Room | ||
| CF | Someone has carved out a comfortable nook in this little space in | ||
| CF | between the door and the studio proper. There's a small table next to | ||
| CF | a comfy chair in one corner and on the table is a lit lamp, creating a | ||
| CF | welcoming pool of light in the gloom. A dingy gap in the wall to the | ||
| CF | east leads deeper into the studio and the door out to the lot, to the | ||
| CF | west, lies open. | ||
| CF | | ||
| CF | A Security Guard sits in the chair, feet up on the small table, | ||
| CF | reading a newspaper. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "talk to guard" | ||
| CF ] Guard's Break Room 5/239 | ||
| CF | > | ||
| CF | > TALK TO GUARD | ||
| CF | | ||
| CF | "What's up?" says the Guard. | ||
| CF | | ||
| CF | (1) - "Aren't you supposed to be on patrol?" | ||
| CF | (2) - "Tell me more about what's in the studio." | ||
| CF | (3) - "Are you going to stop me going in?" | ||
| CF | (4) - "You worked here long?" | ||
| CF | (5) - "Goodbye." | ||
| CF | | ||
| CF | You say > | Knight_Otu says, "Nothing new here." | |
| DavidW says, "Guard might stop us from taking things from the set." | ||
| Pinkunz says (to David), "The dialogue options don't branch. That's it." | ||
| Pinkunz says, "He certainly stops you from taking the lamp." | ||
| Knight_Otu says, "Or be a snack for whatever undead we bring from here." | ||
| Knight_Otu says (to ClubFloyd), "5" | ||
| CF ] Guard's Break Room 5/239 | ||
| CF | You say > | ||
| CF | > 5 | ||
| CF | | ||
| CF | The Guard smiles at you. "Good luck!" | ||
| CF | | ||
| CF | > | DavidW asks, "no GET LAMP?" | |
| Pinkunz says, "Nope." | ||
| Knight_Otu says, "No GET LAMP, sadly." | ||
| Pinkunz says, "I wonder if the guard would react to us wheeling the stone statue in." | ||
| Knight_Otu says, "She needs it to read." | ||
| DavidW says (to ClubFloyd), "x newspaper" | ||
| CF ] Guard's Break Room 5/240 | ||
| CF | > | ||
| CF | > X NEWSPAPER | ||
| CF | | ||
| CF | It's a red top. In the low light, you can just make out the headline | ||
| CF | on the front page - "Actor missing after police search". | ||
| CF | | ||
| CF | > | burl says, "there's got to be an eventual way to get guard to go elsewhere though, lamps are never not goals" | |
| Knight_Otu says (to ClubFloyd), "e" | ||
| CF ] Alleway, Rue des Verrièrs 5/241 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | Alleway, Rue des Verrièrs | ||
| CF | A set designer has gone to great lengths to re-imagine a narrow | ||
| CF | alleyway running between rows of townhouses in somewhere like New | ||
| CF | Orleans. The facades of the houses, propped up by beams at the back, | ||
| CF | are painted in dusky oranges, reds and creams to resemble stucco | ||
| CF | rendering. Arches, separated by ornate columns, cover the frontages, | ||
| CF | each with its own darkened window. Elaborate iron balconies, created | ||
| CF | from plywood, stretch in between each arch, complete with hanging | ||
| CF | plastic plants and vines. Here, in the semi-darkness, the false | ||
| CF | buildings feel oppressive. Like they are hiding secrets! | ||
| CF | | ||
| CF | Gloomy openings in the set walls lead south and east deeper into the | ||
| CF | studio. To the west, a brighter gap opens into the guard's break room. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "e" | ||
| CF ] Deep in the Bayou 5/242 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | Deep in the Bayou | ||
| CF | Surrounded by the trunks of enormous trees, the Bayou has been emptied | ||
| CF | for the night. It's just a rubber lined dip in the floor now, with a | ||
| CF | few sad plastic plants lying in the bottom of it. Openings in the set | ||
| CF | lead south and east into the gloom. | ||
| CF | | ||
| CF | You can see a wheelbarrow (which contains a sacred voodoo stone) here. | ||
| CF | | ||
| CF | You feel a terrible presence focussing all its hate and anger on you! | ||
| CF | | ||
| CF | > | Knight_Otu says, "I suspect there are no monsters here to attack us until we summon/raise them. Just an evil presence tormenting us." | |
| DavidW says, "I suppose we could try to cast raise dead at the graves." | ||
| MoyTravis says, "It's a very tame manner of tormenting, really." | ||
| Jacqueline says, "When are we gonna raise-- yeah. Let's do it." | ||
| MoyTravis asks, "Banish Gemma?" | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] Voodoo Temple 5/243 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | Voodoo Temple | ||
| CF | All the masks lining the walls of the set seem to regard you with | ||
| CF | narrowed, suspicious eyes. There are dozens of them in all shapes and | ||
| CF | sizes. In between and around them hang colourful drapes, their | ||
| CF | attractive patterns at odds with the skulls on the floor and | ||
| CF | statuettes of frightening figures in little alcoves. Unlit candles | ||
| CF | cover almost every surface and everything is draped in a patina of | ||
| CF | nylon cobwebs. Doorways in the set walls lead into the gloom to the | ||
| CF | north and south. | ||
| CF | | ||
| CF | Dominating one wall is a large ornately carved wooden throne. | ||
| CF | | ||
| CF | In front of the throne is a small black table. | ||
| CF | | ||
| CF | You think you hear terrible hollow cackling laughter, but it must just | ||
| CF | be your imagination. | ||
| CF | | ||
| CF | > | Pinkunz asks, "I get turned around easily. Have we gone south from the bayou yet?" | |
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] The Cemetery of St. Louise de Marillac 5/244 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | The Cemetery of St. Louise de Marillac | ||
| CF | What a set this is! Mallet Studios must have actually spent some real | ||
| CF | money on this. The large space, bounded by walls painted with distant | ||
| CF | scenery, is row after row of forbidding tombs, ornamented gravestones | ||
| CF | and imposing hooded statues. Vines and tropical looking plastic plants | ||
| CF | wind over everything, giving a real atmosphere of age and shadowy | ||
| CF | menace. Openings in the set walls lead north and west deeper into the | ||
| CF | studio. | ||
| CF | | ||
| CF | To one side of the set is a row of freshly filled in graves! | ||
| CF | | ||
| CF | > | burl says, "yes! time to wake the very special effects" | |
| Knight_Otu says, "Yeah, we did come from the south." | ||
| Knight_Otu says (to ClubFloyd), "cast raise dead" | ||
| CF ] The Cemetery of St. Louise de Marillac 5/245 | ||
| CF | > | ||
| CF | > CAST RAISE DEAD | ||
| CF | | ||
| CF | You go through the incantation, but the raise dead spell does nothing. | ||
| CF | There seems to be something missing. | ||
| CF | | ||
| CF | > | DavidW says, "There's just the 6 rooms plus the guard room." | |
| DavidW says, "ok, bring the damn voodoo stone here." | ||
| Pinkunz says (to David), "Thank you." | ||
| burl asks, "maybe we need to plop the dead that are already found into the graves?" | ||
| Knight_Otu says, "To be fair, people can get turned around in mich smaller spaces." | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Voodoo Temple 5/246 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Voodoo Temple | ||
| CF | All the masks lining the walls of the set seem to regard you with | ||
| CF | narrowed, suspicious eyes. There are dozens of them in all shapes and | ||
| CF | sizes. In between and around them hang colourful drapes, their | ||
| CF | attractive patterns at odds with the skulls on the floor and | ||
| CF | statuettes of frightening figures in little alcoves. Unlit candles | ||
| CF | cover almost every surface and everything is draped in a patina of | ||
| CF | nylon cobwebs. Doorways in the set walls lead into the gloom to the | ||
| CF | north and south. | ||
| CF | | ||
| CF | Dominating one wall is a large ornately carved wooden throne. | ||
| CF | | ||
| CF | In front of the throne is a small black table. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Deep in the Bayou 5/247 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Deep in the Bayou | ||
| CF | Surrounded by the trunks of enormous trees, the Bayou has been emptied | ||
| CF | for the night. It's just a rubber lined dip in the floor now, with a | ||
| CF | few sad plastic plants lying in the bottom of it. Openings in the set | ||
| CF | lead south and east into the gloom. | ||
| CF | | ||
| CF | You can see a wheelbarrow (which contains a sacred voodoo stone) here. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "get wheelbarrow" | ||
| CF ] Deep in the Bayou 5/248 | ||
| CF | > | ||
| CF | > GET WHEELBARROW | ||
| CF | | ||
| CF | You grab hold of the wheelbarrow's handles. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] Voodoo Temple 5/249 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | Voodoo Temple | ||
| CF | All the masks lining the walls of the set seem to regard you with | ||
| CF | narrowed, suspicious eyes. There are dozens of them in all shapes and | ||
| CF | sizes. In between and around them hang colourful drapes, their | ||
| CF | attractive patterns at odds with the skulls on the floor and | ||
| CF | statuettes of frightening figures in little alcoves. Unlit candles | ||
| CF | cover almost every surface and everything is draped in a patina of | ||
| CF | nylon cobwebs. Doorways in the set walls lead into the gloom to the | ||
| CF | north and south. | ||
| CF | | ||
| CF | Dominating one wall is a large ornately carved wooden throne. | ||
| CF | | ||
| CF | In front of the throne is a small black table. | ||
| CF | | ||
| CF | The back of your neck prickles. For a moment, you think someone is | ||
| CF | sitting in the throne. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] The Cemetery of St. Louise de Marillac 5/250 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | The Cemetery of St. Louise de Marillac | ||
| CF | What a set this is! Mallet Studios must have actually spent some real | ||
| CF | money on this. The large space, bounded by walls painted with distant | ||
| CF | scenery, is row after row of forbidding tombs, ornamented gravestones | ||
| CF | and imposing hooded statues. Vines and tropical looking plastic plants | ||
| CF | wind over everything, giving a real atmosphere of age and shadowy | ||
| CF | menace. Openings in the set walls lead north and west deeper into the | ||
| CF | studio. | ||
| CF | | ||
| CF | To one side of the set is a row of freshly filled in graves! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "drop wheelbarrow" | ||
| CF ] The Cemetery of St. Louise de Marillac 5/251 | ||
| CF | > | ||
| CF | > DROP WHEELBARROW | ||
| CF | | ||
| CF | You let go of the wheelbarrow's handles. | ||
| CF | | ||
| CF | > | Pinkunz says, "I usually draw a map, but I didn't bother because I knew the game was already in progress." | |
| Knight_Otu says (to ClubFloyd), "cast raise dead" | ||
| CF ] The Cemetery of St. Louise de Marillac 5/252 | ||
| CF | > | ||
| CF | > CAST RAISE DEAD | ||
| CF | | ||
| CF | You go through the incantation, but the raise dead spell does nothing. | ||
| CF | There seems to be something missing. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "read raise dead" | ||
| CF ] The Cemetery of St. Louise de Marillac 5/253 | ||
| CF | > | ||
| CF | > READ RAISE DEAD | ||
| CF | | ||
| CF | The page is titled "For thee Raising of most real Bodies of the Dead | ||
| CF | from their dreadful Eternal Sleep under goode Earth". The dense text | ||
| CF | begins "And only by the power of blood upon the soil under which these | ||
| CF | bodies are interred, can this spell be successful, for without the | ||
| CF | blood of a human in thee earth there shall be no link to this life to | ||
| CF | which the dead can make their own..." and then it's just warning after | ||
| CF | dire warning and you lose interest. | ||
| CF | | ||
| CF | According to the instructions at the end, you simply say "Mortuos | ||
| CF | surgere et e sepulcris!" really loudly three times. | ||
| CF | | ||
| CF | It seems straightforward enough. You could probably cast this raise | ||
| CF | dead spell if you had a mind to. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x bottle" | ||
| CF ] The Cemetery of St. Louise de Marillac 5/254 | ||
| CF | > | ||
| CF | > X BOTTLE | ||
| CF | | ||
| CF | The bottle looks like it used to contain strawberry milk. At least | ||
| CF | that's what the label says. | ||
| CF | | ||
| CF | > | Jacqueline asks, "We have a stained robe, right?" | |
| Jacqueline says, "It's stained with blood." | ||
| Knight_Otu says (to ClubFloyd), "remove robe" | ||
| CF ] The Cemetery of St. Louise de Marillac 5/255 | ||
| CF | > | ||
| CF | > REMOVE ROBE | ||
| CF | | ||
| CF | You aren't wearing the stained crimson robe. | ||
| CF | | ||
| CF | > | Jacqueline says, "Oh, gotta spill it on the soil, though." | |
| Knight_Otu says (to ClubFloyd), "put robe on graves" | ||
| CF ] The Cemetery of St. Louise de Marillac 5/256 | ||
| CF | > | ||
| CF | > PUT ROBE ON GRAVES | ||
| CF | | ||
| CF | Putting things on the freshly dug graves would achieve nothing. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "wring robe" | ||
| CF ] The Cemetery of St. Louise de Marillac 5/256 | ||
| CF | > | ||
| CF | > WRING ROBE | ||
| CF | | ||
| CF | That's not a verb I recognise. | ||
| CF | | ||
| CF | > | Pinkunz asks, "anything to cut ourselves with?" | |
| Jacqueline says, "Our vampire friends probably have some blood on hand." | ||
| Pinkunz asks, "Crucifix maybe?" | ||
| Knight_Otu says (to ClubFloyd), "cut me" | ||
| CF ] The Cemetery of St. Louise de Marillac 5/257 | ||
| CF | > | ||
| CF | > CUT ME | ||
| CF | | ||
| CF | Cutting you up would achieve little. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "SAVE" | ||
| Knight_Otu says (to ClubFloyd), "cf5" | ||
| CF | > | ||
| CF | > SAVE | ||
| CF | %% Enter a save filename to write: | ||
| CF ] The Cemetery of St. Louise de Marillac 5/257 | ||
| CF | > SAVEOk. | ||
| CF | | ||
| CF | > | burl says, "do we know if the graves are empty or full" | |
| Pinkunz shrugs. | ||
| DavidW asks, "Cutting ourselves this early?" | ||
| Knight_Otu says (to ClubFloyd), "cast summon" | ||
| CF ] The Cemetery of St. Louise de Marillac 5/258 | ||
| CF | > | ||
| CF | > CAST SUMMON | ||
| CF | | ||
| CF | You go through the incantation, but the summon spell does nothing. You | ||
| CF | feel the power of the stone flow through you, but there are no unquiet | ||
| CF | spirits here to summon. | ||
| CF | | ||
| CF | > | Roger says, "maybe we can wheelbarrow over that dead guard we kilt" | |
| Knight_Otu says (to ClubFloyd), "get wheelbarrow" | ||
| CF ] The Cemetery of St. Louise de Marillac 5/259 | ||
| CF | > | ||
| CF | > GET WHEELBARROW | ||
| CF | | ||
| CF | You grab hold of the wheelbarrow's handles. | ||
| CF | | ||
| CF | > | burl says, "or acid boy" | |
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Voodoo Temple 5/260 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Voodoo Temple | ||
| CF | All the masks lining the walls of the set seem to regard you with | ||
| CF | narrowed, suspicious eyes. There are dozens of them in all shapes and | ||
| CF | sizes. In between and around them hang colourful drapes, their | ||
| CF | attractive patterns at odds with the skulls on the floor and | ||
| CF | statuettes of frightening figures in little alcoves. Unlit candles | ||
| CF | cover almost every surface and everything is draped in a patina of | ||
| CF | nylon cobwebs. Doorways in the set walls lead into the gloom to the | ||
| CF | north and south. | ||
| CF | | ||
| CF | Dominating one wall is a large ornately carved wooden throne. | ||
| CF | | ||
| CF | In front of the throne is a small black table. | ||
| CF | | ||
| CF | The drapes seem to bulge and ripple with an unseen wind, but you look | ||
| CF | closely and they are still. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast summon" | ||
| CF ] Voodoo Temple 5/261 | ||
| CF | > | ||
| CF | > CAST SUMMON | ||
| CF | | ||
| CF | You nervously follow the instructions in the black magic book. As soon | ||
| CF | as you finish, the sacred stone pulses with a terrible power and the | ||
| CF | air seems to tingle. Gradually, a shape coalesces in the centre of the | ||
| CF | set. It's a ghost! It's the ghost of a old woman wearing ragged black | ||
| CF | clothing! Wait. Hang on a moment. That's not an old woman. That's | ||
| CF | Gemma Bellerton in her Voodoo priestess costume and make-up! | ||
| CF | | ||
| CF | Gemma sits in the wooden throne with a sigh of satisfaction. | ||
| CF | | ||
| CF | > | DavidW says, "it's possible that we need things from other sets." | |
| Jacqueline says (to DW), "Yeah, I was surprised how quickly Pinkunz went to 'let us slice ourselves open and bleed on the soil ourselves' haha" | ||
| Knight_Otu says (to ClubFloyd), "talk to gemma" | ||
| CF ] Voodoo Temple 5/262 | ||
| CF | > | ||
| CF | > TALK TO GEMMA | ||
| CF | | ||
| CF | "Gemma?" you say. "Is that you?" | ||
| CF | | ||
| CF | "Ah ain't no Gemma," begins the spirit with a harsh cackle. But then | ||
| CF | she stops as if confused and shakes her head. "Or maybe I am." It's | ||
| CF | Gemma's voice! "I'm not sure anymore," she continues, "she's trying to | ||
| CF | get in. I don't have long." | ||
| CF | | ||
| CF | (1) - "Who's trying to get in? | ||
| CF | | ||
| CF | You say > | ||
| Knight_Otu says (to ClubFloyd), "1" | ||
| CF ] Voodoo Temple 5/262 | ||
| CF | You say > | ||
| CF | > 1 | ||
| CF | | ||
| CF | "Oh no!" you say. "Who's trying to get in, Gemma?" | ||
| CF | | ||
| CF | "It's her spirit," replies Gemma. "The old one. She's got a story to | ||
| CF | finish and she won't stop till it's done. I can't hold her off for | ||
| CF | long. She's stronger than me." | ||
| CF | | ||
| CF | "I sure am," says Gemma, and her voice has changed into a hoarse | ||
| CF | croak. "You ain't never gonna...." Gemma shakes her head once more. | ||
| CF | "Give me a few minutes," she says plaintively in her normal voice | ||
| CF | again, "it's not as though we're going anywhere." | ||
| CF | | ||
| CF | "Well hurry it up girl," she says croakily once more, "I got things to | ||
| CF | be doing." | ||
| CF | | ||
| CF | (1) - "Is there anything I can do to help?" | ||
| CF | (2) - "What happened to you?" | ||
| CF | (3) - "What story?" | ||
| CF | | ||
| CF | You say > | Pinkunz says, "I'm nothing if not pragmatic." | |
| Knight_Otu says (to ClubFloyd), "1" | ||
| CF ] Voodoo Temple 5/262 | ||
| CF | You say > | ||
| CF | > 1 | ||
| CF | | ||
| CF | "Is there anything I can do to help?" you ask. | ||
| CF | | ||
| CF | "Help them," replies Gemma, earnestly. "They're stuck. She's stuck. | ||
| CF | They can't get out. They were brought here with the job lot of scenery | ||
| CF | stuff Mallet Studios bought cheap from an estate sale. If you help | ||
| CF | them, you can free them." | ||
| CF | | ||
| CF | She seems to be struggling to stay in control. | ||
| CF | | ||
| CF | (1) - "What happened to you?" | ||
| CF | (2) - "How can I help them?" | ||
| CF | | ||
| CF | You say > | ||
| Knight_Otu says (to ClubFloyd), "1" | ||
| CF ] Voodoo Temple 5/262 | ||
| CF | You say > | ||
| CF | > 1 | ||
| CF | | ||
| CF | "What happened to you?" you ask. | ||
| CF | | ||
| CF | "Huh," says Gemma. "Remember that ritual scene I was in where my | ||
| CF | character's soul was sucked into the very depths of hell? Turns out it | ||
| CF | wasn't just a made up thing. As soon as I'd got done, my soul was | ||
| CF | sucked into the very depths of hell. Fortunately, I met the old one | ||
| CF | and she brought me back so I could finish her story. Good job, too. | ||
| CF | Astaroth was waiting down there and he was not in a good mood." | ||
| CF | | ||
| CF | She shakes her head. She seems to be struggling to stay in control. | ||
| CF | | ||
| CF | (1) - "What story?" | ||
| CF | | ||
| CF | You say > | ||
| Knight_Otu says (to ClubFloyd), "1" | ||
| CF ] Voodoo Temple 5/262 | ||
| CF | You say > | ||
| CF | > 1 | ||
| CF | | ||
| CF | "What's all this about a story and helping them?" you ask. | ||
| CF | | ||
| CF | "I just know that she's stuck," replies Gemma. "She needs you to | ||
| CF | finish their story, but time's not the same for them. They don't | ||
| CF | always go through it in order like we do. If they're not at the same | ||
| CF | point in time, then they can't see each other. The bones can help. | ||
| CF | Throw the bones. That's all she'll let me say." | ||
| CF | | ||
| CF | Gemma's face changes suddenly. It seems to become much older. "That's | ||
| CF | enough of that," she says, her voice as old and dusty as a desert. | ||
| CF | "You know what you need to do. I know what you need. You finish mah | ||
| CF | story and there will be a reward in this world for you." | ||
| CF | | ||
| CF | She cackles long and loud until she subsides in a fit of coughing. | ||
| CF | | ||
| CF | (1) - "Goodbye" | ||
| CF | | ||
| CF | You say > | ||
| Knight_Otu says (to ClubFloyd), "1" | ||
| CF ] Voodoo Temple 5/262 | ||
| CF | You say > | ||
| CF | > 1 | ||
| CF | | ||
| CF | The Priestess seems to lose interest in you, as if you are not there. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x bones" | ||
| CF ] Voodoo Temple 5/263 | ||
| CF | > | ||
| CF | > X BONES | ||
| CF | | ||
| CF | There are about twelve of the small bone fragments, of all different | ||
| CF | shapes and sizes. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "throw bones" | ||
| CF ] Voodoo Temple 5/264 | ||
| CF | > | ||
| CF | > THROW BONES | ||
| CF | | ||
| CF | You throw the bones onto the black table. They click and skitter | ||
| CF | across its dark surface forming a loose pattern. | ||
| CF | | ||
| CF | Suddenly, in the shapes they make, you can see strange images. A woman | ||
| CF | dances with her husband. A soldier strides into a ballroom. A young | ||
| CF | woman in the shadows watches a child play. A child greets his mother | ||
| CF | in a shadowy alleyway. | ||
| CF | | ||
| CF | > | Pinkunz asks, "As an actor, do you have to act your way out of this?" | |
| Pinkunz asks, "Bit on the nose?" | ||
| Knight_Otu says (to ClubFloyd), "get bones" | ||
| CF ] Voodoo Temple 5/265 | ||
| CF | > | ||
| CF | > GET BONES | ||
| CF | | ||
| CF | Taken. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Deep in the Bayou 5/266 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Deep in the Bayou | ||
| CF | Surrounded by the trunks of enormous trees, the Bayou has been emptied | ||
| CF | for the night. It's just a rubber lined dip in the floor now, with a | ||
| CF | few sad plastic plants lying in the bottom of it. Openings in the set | ||
| CF | lead south and east into the gloom. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast summon" | ||
| CF ] Deep in the Bayou 5/267 | ||
| CF | > | ||
| CF | > CAST SUMMON | ||
| CF | | ||
| CF | You follow the instructions in the black magic book as closely as you | ||
| CF | can. As soon as you finish, the sacred stone pulses with a terrible | ||
| CF | power and the air seems to tingle. Gradually, a shape coalesces on the | ||
| CF | grassy knoll. It's a ghost! It's the ghost of a middle aged man | ||
| CF | wearing an old-style army uniform! | ||
| CF | | ||
| CF | The ghostly spirit stands in the centre of the grass, one hand on the | ||
| CF | cutlass at his side. He stares off into the distance, as if unsure | ||
| CF | where to go. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "talk to man" | ||
| CF ] Deep in the Bayou 5/268 | ||
| CF | > | ||
| CF | > TALK TO MAN | ||
| CF | | ||
| CF | "Pleased to make your acquaintance," says the ghost in clipped | ||
| CF | military tones. "Colonel Phillipe Meribeaux at your service. Ah am not | ||
| CF | sure why you would want to be in this forsaken place, but as for | ||
| CF | myself, ah am just passing through. If you would excuse me, ah must | ||
| CF | get to the governor's mansion where my wife awaits at the Centenary | ||
| CF | ball. But it has been so many years since I was home that ah am quite | ||
| CF | unsure of my bearings." | ||
| CF | | ||
| CF | He nods sharply in your direction, as if dismissing you, then it's | ||
| CF | like you aren't there, and he continues to stare off into the | ||
| CF | distance. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "w" | ||
| CF ] Alleway, Rue des Verrièrs 5/269 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Alleway, Rue des Verrièrs | ||
| CF | A set designer has gone to great lengths to re-imagine a narrow | ||
| CF | alleyway running between rows of townhouses in somewhere like New | ||
| CF | Orleans. The facades of the houses, propped up by beams at the back, | ||
| CF | are painted in dusky oranges, reds and creams to resemble stucco | ||
| CF | rendering. Arches, separated by ornate columns, cover the frontages, | ||
| CF | each with its own darkened window. Elaborate iron balconies, created | ||
| CF | from plywood, stretch in between each arch, complete with hanging | ||
| CF | plastic plants and vines. Here, in the semi-darkness, the false | ||
| CF | buildings feel oppressive. Like they are hiding secrets! | ||
| CF | | ||
| CF | Gloomy openings in the set walls lead south and east deeper into the | ||
| CF | studio. To the west, a brighter gap opens into the guard's break room. | ||
| CF | | ||
| CF | The hairs on your neck stand up as if something awful is behind you! | ||
| CF | You turn around quickly, but the alleway is empty. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast summon" | ||
| CF ] Alleway, Rue des Verrièrs 5/270 | ||
| CF | > | ||
| CF | > CAST SUMMON | ||
| CF | | ||
| CF | You carry out the instructions in the black magic book to a tee. As | ||
| CF | soon as you finish, the sacred stone pulses with a terrible power and | ||
| CF | the air seems to tingle. Gradually, a shape coalesces in the centre of | ||
| CF | the set. It's a ghost! It's the ghost of a dark haired child wearing | ||
| CF | an old fashioned short trousered suit! | ||
| CF | | ||
| CF | The ghostly child seems to be playing a game on his own, skipping | ||
| CF | around in a circle in front of the houses, and counting under his | ||
| CF | breath. Occasionally, he glances along the alleyway anxiously, as if | ||
| CF | he is waiting for someone. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/271 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | The Grand Ballroom at the Governor's Mansion | ||
| CF | An ostentatious staircase, ending at the top at a false door on the | ||
| CF | Studio wall, sweeps down into a large grand ballroom set dominated by | ||
| CF | a huge chandelier that hangs in crystalline profusion from the | ||
| CF | ceiling. On the side of the set opposite the stairs is a small raised | ||
| CF | stage for the band. The rest of the floor is clear for the dancers. | ||
| CF | The walls are lined with gilded baroque mirrors, reflecting you | ||
| CF | endlessly! | ||
| CF | | ||
| CF | Gaps in the set walls lead north and south, deeper into the Studio. | ||
| CF | | ||
| CF | The hairs on your neck raise. You swear you are being watched. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast summon" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/272 | ||
| CF | > | ||
| CF | > CAST SUMMON | ||
| CF | | ||
| CF | You carry out the instructions in the black magic book to the letter. | ||
| CF | As soon as you finish, the sacred stone pulses with a terrible power | ||
| CF | and the air seems to tingle. Gradually, a shape coalesces in the | ||
| CF | centre of the set. It's a ghost! It's the ghost of a middle aged | ||
| CF | woman wearing a huge pink dress! | ||
| CF | | ||
| CF | The ghostly woman paces elegantly back and forth in the centre of the | ||
| CF | ballroom, fanning herself with a brightly coloured fan. She seems to | ||
| CF | be looking for something or someone. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "talk to woman" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/273 | ||
| CF | > | ||
| CF | > TALK TO WOMAN | ||
| CF | | ||
| CF | "Well now, if you ain't the cutest little thing ah evah did see," says | ||
| CF | the spirit, absently. "Clarissa Meribeaux. Pleased to make your | ||
| CF | acquaintance, I am sure." | ||
| CF | | ||
| CF | She seems agitated in some way, wringing her hands together and | ||
| CF | glancing nervously out of the set. "Ah, simply cannot converse with | ||
| CF | you now, sugar," she continues. "Ah need to meet mah husband, just | ||
| CF | home from the war, here at the ball. Ah'm sure I cannot say where he | ||
| CF | has got to. That man is gonna be the death of me." | ||
| CF | | ||
| CF | She turns away from you, and continues to look around the set as if | ||
| CF | searching for something or someone. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] Basement 5/274 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | Basement | ||
| CF | Ventilation ducts and pipes cover the ceiling of this small set. The | ||
| CF | three walls have been painted with splashes of green and brown that | ||
| CF | you suppose is meant to represent mould and water staining. Gaps in | ||
| CF | the set walls lead north and east into the studio gloom. | ||
| CF | | ||
| CF | Near the middle of the set is the white outline of a person painted | ||
| CF | onto the grimy floor. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast summon" | ||
| CF ] Basement 5/275 | ||
| CF | > | ||
| CF | > CAST SUMMON | ||
| CF | | ||
| CF | You follow the instructions in the black magic book as closely as you | ||
| CF | can. As soon as you finish, the sacred stone pulses with a terrible | ||
| CF | power and the air seems to tingle. Gradually, a shape coalesces in the | ||
| CF | shadows of the set. It's a ghost! It's the ghost of a young woman | ||
| CF | wearing a long white dress! | ||
| CF | | ||
| CF | There's something else! Behind the young woman something dark and | ||
| CF | viscous is dripping down the wall of the set. You look closely. It | ||
| CF | seems to be blood! The walls of the basement are weeping blood! | ||
| CF | | ||
| CF | The spirit steps back further into the shadows, her pale face hidden | ||
| CF | behind a curtain of dark hair. | ||
| CF | | ||
| CF | > | Jacqueline says, "Yay blood" | |
| Jacqueline says, "We need some" | ||
| Jacqueline says, "Get it" | ||
| MoyTravis exclaims, "blood!" | ||
| Knight_Otu says (to ClubFloyd), "put blood in bottle" | ||
| CF ] Basement 5/276 | ||
| CF | > | ||
| CF | > PUT BLOOD IN BOTTLE | ||
| CF | | ||
| CF | (the dripping blood in the strawberry milk bottle) | ||
| CF | Distastefully, you manage to fill the milk bottle with blood. | ||
| CF | | ||
| CF | > | Jacqueline says, "woo" | |
| Knight_Otu says (to ClubFloyd), "talk to woman" | ||
| CF ] Basement 5/277 | ||
| CF | > | ||
| CF | > TALK TO WOMAN | ||
| CF | | ||
| CF | "They done me wrong," she whispers, although it's hard to make out the | ||
| CF | words. "They done me wrong and poor Evangeline ain't seen her boy for | ||
| CF | too long. Ah need to see mah boy. They won't let me see him and ah | ||
| CF | done everything they said." | ||
| CF | | ||
| CF | She retreats back into the shadows, hiding behind her curtain of hair. | ||
| CF | | ||
| CF | > | DavidW says, "Moving a bit fast for decent note-taking." | |
| Knight_Otu says, "Sorry." | ||
| Pinkunz says, "I know it won't advance the plot, but the morbid bit of me wonders if drinking the blood was implemented." | ||
| DavidW says, "I think before doing anything with the blood, we need to renact the scenes from the bone vision." | ||
| Pinkunz says (to David), "Agreed." | ||
| DavidW says, "er re-enact" | ||
| Knight_Otu nods. | ||
| Pinkunz says, "Re-agreed." | ||
| DavidW asks, "so, can we take Philippe or ask him to follow us?" | ||
| Knight_Otu says (to ClubFloyd), "woman, follow me" | ||
| CF ] Basement 5/278 | ||
| CF | > | ||
| CF | > WOMAN, FOLLOW ME | ||
| CF | | ||
| CF | The spirit is as insubstantial as air. She ignores you completely as | ||
| CF | if you are not there. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "spirit, n" | ||
| CF ] Basement 5/279 | ||
| CF | > | ||
| CF | > SPIRIT, N | ||
| CF | | ||
| CF | Evangeline, a wronged young woman has better things to do. | ||
| CF | | ||
| CF | > | DavidW says, "He's in the bayou, not here." | |
| Pinkunz says, "Soldier dude to flirty ballroom lady." | ||
| Knight_Otu says, "Yeah, but Evangeline needs to go north to her child." | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/280 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | The Grand Ballroom at the Governor's Mansion | ||
| CF | An ostentatious staircase, ending at the top at a false door on the | ||
| CF | Studio wall, sweeps down into a large grand ballroom set dominated by | ||
| CF | a huge chandelier that hangs in crystalline profusion from the | ||
| CF | ceiling. On the side of the set opposite the stairs is a small raised | ||
| CF | stage for the band. The rest of the floor is clear for the dancers. | ||
| CF | The walls are lined with gilded baroque mirrors, reflecting you | ||
| CF | endlessly! | ||
| CF | | ||
| CF | Gaps in the set walls lead north and south, deeper into the Studio. | ||
| CF | | ||
| CF | In the centre of the ballroom, Clarissa Meribeaux paces elegantly back | ||
| CF | and forth, fanning herself with a brightly coloured fan. She seems to | ||
| CF | be looking for something or someone. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Alleway, Rue des Verrièrs 5/281 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Alleway, Rue des Verrièrs | ||
| CF | A set designer has gone to great lengths to re-imagine a narrow | ||
| CF | alleyway running between rows of townhouses in somewhere like New | ||
| CF | Orleans. The facades of the houses, propped up by beams at the back, | ||
| CF | are painted in dusky oranges, reds and creams to resemble stucco | ||
| CF | rendering. Arches, separated by ornate columns, cover the frontages, | ||
| CF | each with its own darkened window. Elaborate iron balconies, created | ||
| CF | from plywood, stretch in between each arch, complete with hanging | ||
| CF | plastic plants and vines. Here, in the semi-darkness, the false | ||
| CF | buildings feel oppressive. Like they are hiding secrets! | ||
| CF | | ||
| CF | Gloomy openings in the set walls lead south and east deeper into the | ||
| CF | studio. To the west, a brighter gap opens into the guard's break room. | ||
| CF | | ||
| CF | Around the front of the buildings, occasionally glancing anxiously | ||
| CF | along the alleyway, skips the ghostly child. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "e" | ||
| CF ] Deep in the Bayou 5/282 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | Deep in the Bayou | ||
| CF | Surrounded by the trunks of enormous trees, the Bayou has been emptied | ||
| CF | for the night. It's just a rubber lined dip in the floor now, with a | ||
| CF | few sad plastic plants lying in the bottom of it. Openings in the set | ||
| CF | lead south and east into the gloom. | ||
| CF | | ||
| CF | Standing on the grassy knoll is Colonel Phillipe Meribeaux, staring | ||
| CF | off into the distance. | ||
| CF | | ||
| CF | > | Pinkunz says, "Or the child needs to go south to his momma." | |
| Knight_Otu says (to ClubFloyd), "take phillipe" | ||
| CF ] Deep in the Bayou 5/283 | ||
| CF | > | ||
| CF | > TAKE PHILLIPE | ||
| CF | | ||
| CF | His spirit is as insubstantial as air. He ignores you completely as if | ||
| CF | you are not there. | ||
| CF | | ||
| CF | > | Knight_Otu asks, "The vision was the mother watching the child in the alleys, wasit not?" | |
| Pinkunz says, "Yeah, the basement wasn't mentioned." | ||
| Pinkunz says, "My bad." | ||
| DavidW says, "A woman, not necessarily the mother, I think. We were going too fast." | ||
| DavidW says (to ClubFloyd), "roll bones" | ||
| CF ] Deep in the Bayou 5/284 | ||
| CF | > | ||
| CF | > ROLL BONES | ||
| CF | | ||
| CF | Nothing obvious happens. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "throw bones" | ||
| CF ] Deep in the Bayou 5/285 | ||
| CF | > | ||
| CF | > THROW BONES | ||
| CF | | ||
| CF | Dropped. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take bones" | ||
| CF ] Deep in the Bayou 5/286 | ||
| CF | > | ||
| CF | > TAKE BONES | ||
| CF | | ||
| CF | Taken. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "philippe, follow me" | ||
| CF ] Deep in the Bayou 5/286 | ||
| CF | > | ||
| CF | > PHILIPPE, FOLLOW ME | ||
| CF | | ||
| CF | You seem to want to talk to someone, but I can't see whom. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "l" | ||
| CF ] Deep in the Bayou 5/287 | ||
| CF | > | ||
| CF | > L | ||
| CF | | ||
| CF | Deep in the Bayou | ||
| CF | Surrounded by the trunks of enormous trees, the Bayou has been emptied | ||
| CF | for the night. It's just a rubber lined dip in the floor now, with a | ||
| CF | few sad plastic plants lying in the bottom of it. Openings in the set | ||
| CF | lead south and east into the gloom. | ||
| CF | | ||
| CF | Standing on the grassy knoll is Colonel Phillipe Meribeaux, staring | ||
| CF | off into the distance. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "phillipe, follow me" | ||
| CF ] Deep in the Bayou 5/288 | ||
| CF | > | ||
| CF | > PHILLIPE, FOLLOW ME | ||
| CF | | ||
| CF | His spirit is as insubstantial as air. He ignores you completely as if | ||
| CF | you are not there. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "talk to him" | ||
| CF ] Deep in the Bayou 5/289 | ||
| CF | > | ||
| CF | > TALK TO HIM | ||
| CF | | ||
| CF | "Ah must meet mah wife at the ball," snaps the Colonel. "I got no time | ||
| CF | to tarry." | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "phillipe, west" | ||
| CF ] Deep in the Bayou 5/290 | ||
| CF | > | ||
| CF | > PHILLIPE, WEST | ||
| CF | | ||
| CF | Colonel Phillipe Meribeaux, the spirit of an army officer has better | ||
| CF | things to do. | ||
| CF | | ||
| CF | > | Pinkunz says, "Suddenly, in the shapes they make, you can see strange images. A woman dances with her husband. A soldier strides into a ballroom. A young woman in the shadows watches a child play. A child greets his mother in a shadowy alleyway." | |
| Knight_Otu says (to ClubFloyd), "read banish" | ||
| CF ] Deep in the Bayou 5/291 | ||
| CF | > | ||
| CF | > READ BANISH | ||
| CF | | ||
| CF | The page is titled "For the Banishing of thee most Persistent of | ||
| CF | Spirits and Entrapping them in a Thing of Power". The lengthy text | ||
| CF | begins "To banish a spirit it must be named, for it is the truth that | ||
| CF | a name is a thing of power, and an object of satanic power may be | ||
| CF | entrusted to hold a dreadful spirit and the most powerful of these | ||
| CF | things to hold many...." and then it goes on for the rest of the page | ||
| CF | with a whole bunch of terrible warnings which you can't be bothered to | ||
| CF | read. | ||
| CF | | ||
| CF | According to the instructions at the end, you make a complicated | ||
| CF | gesture with your fingers, then you're supposed to repeat "Spiritus | ||
| CF | replebatur!" and yell the spirit's name three times. | ||
| CF | | ||
| CF | It seems straightforward enough. You could probably cast this banish | ||
| CF | spell if you had a mind to. | ||
| CF | | ||
| CF | > | burl says, "sounds like the spell for Astaroth" | |
| DavidW asks, "If we banish him, can we summon him by name elsewhere?" | ||
| Knight_Otu says, "Maybe." | ||
| Knight_Otu says (to ClubFloyd), "SAVE" | ||
| Knight_Otu says (to ClubFloyd), "cf6" | ||
| CF | > | ||
| CF | > SAVE | ||
| CF | %% Enter a save filename to write: | ||
| CF ] Deep in the Bayou 5/291 | ||
| CF | > SAVEOk. | ||
| CF | | ||
| CF | > | Pinkunz asks, "The soldier and the husband appear to be the same person. Is the young woman and the mother the same person as well?" | |
| burl asks, "i wonder if we resurrect one of a pair, will the other follow?" | ||
| Knight_Otu says (to ClubFloyd), "cast banish" | ||
| CF ] Deep in the Bayou 5/292 | ||
| CF | > | ||
| CF | > CAST BANISH | ||
| CF | | ||
| CF | You mumble the words of the spell and banish Colonel Phillipe | ||
| CF | Meribeaux into the stone. The spirit is sucked wailing into its | ||
| CF | depths, there to be trapped till it is once again summoned! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "w" | ||
| CF ] Alleway, Rue des Verrièrs 5/293 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Alleway, Rue des Verrièrs | ||
| CF | A set designer has gone to great lengths to re-imagine a narrow | ||
| CF | alleyway running between rows of townhouses in somewhere like New | ||
| CF | Orleans. The facades of the houses, propped up by beams at the back, | ||
| CF | are painted in dusky oranges, reds and creams to resemble stucco | ||
| CF | rendering. Arches, separated by ornate columns, cover the frontages, | ||
| CF | each with its own darkened window. Elaborate iron balconies, created | ||
| CF | from plywood, stretch in between each arch, complete with hanging | ||
| CF | plastic plants and vines. Here, in the semi-darkness, the false | ||
| CF | buildings feel oppressive. Like they are hiding secrets! | ||
| CF | | ||
| CF | Gloomy openings in the set walls lead south and east deeper into the | ||
| CF | studio. To the west, a brighter gap opens into the guard's break room. | ||
| CF | | ||
| CF | Around the front of the buildings, occasionally glancing anxiously | ||
| CF | along the alleyway, skips the ghostly child. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/294 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | The Grand Ballroom at the Governor's Mansion | ||
| CF | An ostentatious staircase, ending at the top at a false door on the | ||
| CF | Studio wall, sweeps down into a large grand ballroom set dominated by | ||
| CF | a huge chandelier that hangs in crystalline profusion from the | ||
| CF | ceiling. On the side of the set opposite the stairs is a small raised | ||
| CF | stage for the band. The rest of the floor is clear for the dancers. | ||
| CF | The walls are lined with gilded baroque mirrors, reflecting you | ||
| CF | endlessly! | ||
| CF | | ||
| CF | Gaps in the set walls lead north and south, deeper into the Studio. | ||
| CF | | ||
| CF | In the centre of the ballroom, Clarissa Meribeaux paces elegantly back | ||
| CF | and forth, fanning herself with a brightly coloured fan. She seems to | ||
| CF | be looking for something or someone. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast summon" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/295 | ||
| CF | > | ||
| CF | > CAST SUMMON | ||
| CF | | ||
| CF | You undertake the strange actions and declaim all the words of the | ||
| CF | summon spell. The spirit emerges from the stone like smoke and | ||
| CF | coalesces into Colonel Phillipe Meribeaux. | ||
| CF | | ||
| CF | "Clarissa, mah dear," says the Colonel, and opens his arms. | ||
| CF | | ||
| CF | "Darling," yells Clarissa, and runs over to her husband, her arms | ||
| CF | wide. "Why, ah thought you were nevah coming back to me!" | ||
| CF | | ||
| CF | The Colonel swings her around in his arms. "Ain't nuthin gonna stop me | ||
| CF | coming home to you," he says and kisses her passionately. She leans | ||
| CF | back and raises one foot off the floor. | ||
| CF | | ||
| CF | "Why," she says, when she eventually comes up for air, "ah am quite | ||
| CF | overcome." She glances around, fanning herself rapidly. "But mah deah, | ||
| CF | not in front of all these people." She straightens up and pats her | ||
| CF | dress down. "You look tired, honey," she continues. "You need feeding | ||
| CF | up. I will ask Elizabeth to make a casserole tonight. Then later..." | ||
| CF | and here she taps him on the chest with her fan and smiles | ||
| CF | coquettishly, "well, mayhap it's time we started on that family. Ah | ||
| CF | got a good feeling about it now." | ||
| CF | | ||
| CF | The Colonel, surprisingly, grimaces. "Now don't you start already, | ||
| CF | Clarissa," he says. "Sometimes these things take time. Ain't no use | ||
| CF | fretting none. We're still young." | ||
| CF | | ||
| CF | Clarissa just laughs and takes up the Colonel's arms in her own. | ||
| CF | "Dance with me, dear," she says. "Ah missed you so much." The couple | ||
| CF | dance to unheard music. Round and round they go, eyes locked together. | ||
| CF | | ||
| CF | But then they suddenly stop. The light goes out of the ghost's eyes | ||
| CF | and they part. It's like they can't see each other anymore! | ||
| CF | | ||
| CF | > | DavidW says, "oooo. The banish spell puts the spirit into the stone." | |
| burl says, "that's a really nice mechanic" | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] Basement 5/296 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | Basement | ||
| CF | Ventilation ducts and pipes cover the ceiling of this small set. The | ||
| CF | three walls have been painted with splashes of green and brown that | ||
| CF | you suppose is meant to represent mould and water staining. Gaps in | ||
| CF | the set walls lead north and east into the studio gloom. | ||
| CF | | ||
| CF | Near the middle of the set is the white outline of a person painted | ||
| CF | onto the grimy floor. | ||
| CF | | ||
| CF | Dripping down one of the set walls and pooling on the floor is a | ||
| CF | horrific dark substance! It looks like blood! | ||
| CF | | ||
| CF | Wearing a simple white dress, Evangeline stands head-down in the | ||
| CF | shadows. Her long dark hair covers her face. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast banish" | ||
| CF ] Basement 5/297 | ||
| CF | > | ||
| CF | > CAST BANISH | ||
| CF | | ||
| CF | You mumble the words of the spell and banish Evangeline into the | ||
| CF | stone. The spirit is sucked wailing into its depths, there to be | ||
| CF | trapped till it is once again summoned! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/298 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | The Grand Ballroom at the Governor's Mansion | ||
| CF | An ostentatious staircase, ending at the top at a false door on the | ||
| CF | Studio wall, sweeps down into a large grand ballroom set dominated by | ||
| CF | a huge chandelier that hangs in crystalline profusion from the | ||
| CF | ceiling. On the side of the set opposite the stairs is a small raised | ||
| CF | stage for the band. The rest of the floor is clear for the dancers. | ||
| CF | The walls are lined with gilded baroque mirrors, reflecting you | ||
| CF | endlessly! | ||
| CF | | ||
| CF | Gaps in the set walls lead north and south, deeper into the Studio. | ||
| CF | | ||
| CF | Pacing impatiently around the set is Colonel Meribeaux. He looks | ||
| CF | anxious, as if he needs to be somewhere. | ||
| CF | | ||
| CF | In the centre of the ballroom, Clarissa paces worriedly back and | ||
| CF | forth. She seems to be getting ready to go somewhere. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Alleway, Rue des Verrièrs 5/299 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Alleway, Rue des Verrièrs | ||
| CF | A set designer has gone to great lengths to re-imagine a narrow | ||
| CF | alleyway running between rows of townhouses in somewhere like New | ||
| CF | Orleans. The facades of the houses, propped up by beams at the back, | ||
| CF | are painted in dusky oranges, reds and creams to resemble stucco | ||
| CF | rendering. Arches, separated by ornate columns, cover the frontages, | ||
| CF | each with its own darkened window. Elaborate iron balconies, created | ||
| CF | from plywood, stretch in between each arch, complete with hanging | ||
| CF | plastic plants and vines. Here, in the semi-darkness, the false | ||
| CF | buildings feel oppressive. Like they are hiding secrets! | ||
| CF | | ||
| CF | Gloomy openings in the set walls lead south and east deeper into the | ||
| CF | studio. To the west, a brighter gap opens into the guard's break room. | ||
| CF | | ||
| CF | Around the front of the buildings, occasionally glancing anxiously | ||
| CF | along the alleyway, skips the ghostly child. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast summon" | ||
| CF ] Alleway, Rue des Verrièrs 5/300 | ||
| CF | > | ||
| CF | > CAST SUMMON | ||
| CF | | ||
| CF | You undertake the strange actions and declaim all the words of the | ||
| CF | summon spell. The spirit emerges from the stone like smoke and | ||
| CF | coalesces into Evangeline. | ||
| CF | | ||
| CF | The ghosts in the room continue to drift around, as if they are | ||
| CF | oblivious of one another! | ||
| CF | | ||
| CF | > | Knight_Otu says, "Hm." | |
| Jacqueline says, "I feel like this subgame could be a whole game in and of itself." | ||
| Pinkunz says, "Agreed." | ||
| MoyTravis says, "Yeah it's pretty nifty." | ||
| Pinkunz says, "It mechanically isn't any different that moving things around with a wheel barrow." | ||
| MoyTravis says, "Framing matters." | ||
| Pinkunz says, "Fair." | ||
| Knight_Otu says (to ClubFloyd), "cast banish" | ||
| CF ] Alleway, Rue des Verrièrs 5/301 | ||
| CF | > | ||
| CF | > CAST BANISH | ||
| CF | | ||
| CF | There are many spirits here! Who do you wish to banish and entrap in | ||
| CF | the sacred stone? | ||
| CF | | ||
| CF | (1) - Evangeline, a wronged young woman | ||
| CF | (2) - a dark-haired child wearing an old fashioned short-trousered | ||
| CF | suit | ||
| CF | | ||
| CF | Banish ? | ||
| Knight_Otu says (to ClubFloyd), "1" | ||
| CF ] Alleway, Rue des Verrièrs 5/301 | ||
| CF | Banish ? | ||
| CF | > 1 | ||
| CF | | ||
| CF | You mumble the words of the spell and banish Evangeline into the | ||
| CF | stone. The spirit is sucked wailing into its depths, there to be | ||
| CF | trapped till it is once again summoned! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/302 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | The Grand Ballroom at the Governor's Mansion | ||
| CF | An ostentatious staircase, ending at the top at a false door on the | ||
| CF | Studio wall, sweeps down into a large grand ballroom set dominated by | ||
| CF | a huge chandelier that hangs in crystalline profusion from the | ||
| CF | ceiling. On the side of the set opposite the stairs is a small raised | ||
| CF | stage for the band. The rest of the floor is clear for the dancers. | ||
| CF | The walls are lined with gilded baroque mirrors, reflecting you | ||
| CF | endlessly! | ||
| CF | | ||
| CF | Gaps in the set walls lead north and south, deeper into the Studio. | ||
| CF | | ||
| CF | Pacing impatiently around the set is Colonel Meribeaux. He looks | ||
| CF | anxious, as if he needs to be somewhere. | ||
| CF | | ||
| CF | In the centre of the ballroom, Clarissa paces worriedly back and | ||
| CF | forth. She seems to be getting ready to go somewhere. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "summon" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/302 | ||
| CF | > | ||
| CF | > SUMMON | ||
| CF | | ||
| CF | That's not a verb I recognise. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast summon" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/303 | ||
| CF | > | ||
| CF | > CAST SUMMON | ||
| CF | | ||
| CF | You undertake the strange actions and declaim all the words of the | ||
| CF | summon spell. The spirit emerges from the stone like smoke and | ||
| CF | coalesces into Evangeline. | ||
| CF | | ||
| CF | She seems suddenly terrified. "I ain't supposed to be here," she says. | ||
| CF | "This ain't right. I need to meet mah boy." | ||
| CF | | ||
| CF | She turns and fades out of the room straight through the wall! | ||
| CF | | ||
| CF | The ghosts in the room continue to drift around, as if they are | ||
| CF | oblivious of one another! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Alleway, Rue des Verrièrs 5/304 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Alleway, Rue des Verrièrs | ||
| CF | A set designer has gone to great lengths to re-imagine a narrow | ||
| CF | alleyway running between rows of townhouses in somewhere like New | ||
| CF | Orleans. The facades of the houses, propped up by beams at the back, | ||
| CF | are painted in dusky oranges, reds and creams to resemble stucco | ||
| CF | rendering. Arches, separated by ornate columns, cover the frontages, | ||
| CF | each with its own darkened window. Elaborate iron balconies, created | ||
| CF | from plywood, stretch in between each arch, complete with hanging | ||
| CF | plastic plants and vines. Here, in the semi-darkness, the false | ||
| CF | buildings feel oppressive. Like they are hiding secrets! | ||
| CF | | ||
| CF | Gloomy openings in the set walls lead south and east deeper into the | ||
| CF | studio. To the west, a brighter gap opens into the guard's break room. | ||
| CF | | ||
| CF | Around the front of the buildings, occasionally glancing anxiously | ||
| CF | along the alleyway, skips the ghostly child. | ||
| CF | | ||
| CF | > | Pinkunz asks, "Do we have any rooms that we could potentially summon a new ghost from? Also, how would the guard react to a ghost being summoned in the same room as them?" | |
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/305 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | The Grand Ballroom at the Governor's Mansion | ||
| CF | An ostentatious staircase, ending at the top at a false door on the | ||
| CF | Studio wall, sweeps down into a large grand ballroom set dominated by | ||
| CF | a huge chandelier that hangs in crystalline profusion from the | ||
| CF | ceiling. On the side of the set opposite the stairs is a small raised | ||
| CF | stage for the band. The rest of the floor is clear for the dancers. | ||
| CF | The walls are lined with gilded baroque mirrors, reflecting you | ||
| CF | endlessly! | ||
| CF | | ||
| CF | Gaps in the set walls lead north and south, deeper into the Studio. | ||
| CF | | ||
| CF | Pacing impatiently around the set is Colonel Meribeaux. He looks | ||
| CF | anxious, as if he needs to be somewhere. | ||
| CF | | ||
| CF | In the centre of the ballroom, Clarissa paces worriedly back and | ||
| CF | forth. She seems to be getting ready to go somewhere. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] Basement 5/306 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | Basement | ||
| CF | Ventilation ducts and pipes cover the ceiling of this small set. The | ||
| CF | three walls have been painted with splashes of green and brown that | ||
| CF | you suppose is meant to represent mould and water staining. Gaps in | ||
| CF | the set walls lead north and east into the studio gloom. | ||
| CF | | ||
| CF | Near the middle of the set is the white outline of a person painted | ||
| CF | onto the grimy floor. | ||
| CF | | ||
| CF | Wearing a simple white dress, Evangeline stands head-down in the | ||
| CF | shadows. Her long dark hair covers her face. | ||
| CF | | ||
| CF | Dripping down one of the set walls and pooling on the floor is a | ||
| CF | horrific dark substance! It looks like blood! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "e" | ||
| CF ] The Cemetery of St. Louise de Marillac 5/307 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | The Cemetery of St. Louise de Marillac | ||
| CF | What a set this is! Mallet Studios must have actually spent some real | ||
| CF | money on this. The large space, bounded by walls painted with distant | ||
| CF | scenery, is row after row of forbidding tombs, ornamented gravestones | ||
| CF | and imposing hooded statues. Vines and tropical looking plastic plants | ||
| CF | wind over everything, giving a real atmosphere of age and shadowy | ||
| CF | menace. Openings in the set walls lead north and west deeper into the | ||
| CF | studio. | ||
| CF | | ||
| CF | To one side of the set is a row of freshly filled in graves! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast summon" | ||
| CF ] The Cemetery of St. Louise de Marillac 5/308 | ||
| CF | > | ||
| CF | > CAST SUMMON | ||
| CF | | ||
| CF | You go through the incantation, but the summon spell does nothing. You | ||
| CF | feel the power of the stone flow through you, but there are no unquiet | ||
| CF | spirits here to summon. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "w" | ||
| CF ] Basement 5/309 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Basement | ||
| CF | Ventilation ducts and pipes cover the ceiling of this small set. The | ||
| CF | three walls have been painted with splashes of green and brown that | ||
| CF | you suppose is meant to represent mould and water staining. Gaps in | ||
| CF | the set walls lead north and east into the studio gloom. | ||
| CF | | ||
| CF | Near the middle of the set is the white outline of a person painted | ||
| CF | onto the grimy floor. | ||
| CF | | ||
| CF | Wearing a simple white dress, Evangeline stands head-down in the | ||
| CF | shadows. Her long dark hair covers her face. | ||
| CF | | ||
| CF | Dripping down one of the set walls and pooling on the floor is a | ||
| CF | horrific dark substance! It looks like blood! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast banish" | ||
| CF ] Basement 5/310 | ||
| CF | > | ||
| CF | > CAST BANISH | ||
| CF | | ||
| CF | You mumble the words of the spell and banish Evangeline into the | ||
| CF | stone. The spirit is sucked wailing into its depths, there to be | ||
| CF | trapped till it is once again summoned! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/311 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | The Grand Ballroom at the Governor's Mansion | ||
| CF | An ostentatious staircase, ending at the top at a false door on the | ||
| CF | Studio wall, sweeps down into a large grand ballroom set dominated by | ||
| CF | a huge chandelier that hangs in crystalline profusion from the | ||
| CF | ceiling. On the side of the set opposite the stairs is a small raised | ||
| CF | stage for the band. The rest of the floor is clear for the dancers. | ||
| CF | The walls are lined with gilded baroque mirrors, reflecting you | ||
| CF | endlessly! | ||
| CF | | ||
| CF | Gaps in the set walls lead north and south, deeper into the Studio. | ||
| CF | | ||
| CF | Pacing impatiently around the set is Colonel Meribeaux. He looks | ||
| CF | anxious, as if he needs to be somewhere. | ||
| CF | | ||
| CF | In the centre of the ballroom, Clarissa paces worriedly back and | ||
| CF | forth. She seems to be getting ready to go somewhere. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Alleway, Rue des Verrièrs 5/312 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Alleway, Rue des Verrièrs | ||
| CF | A set designer has gone to great lengths to re-imagine a narrow | ||
| CF | alleyway running between rows of townhouses in somewhere like New | ||
| CF | Orleans. The facades of the houses, propped up by beams at the back, | ||
| CF | are painted in dusky oranges, reds and creams to resemble stucco | ||
| CF | rendering. Arches, separated by ornate columns, cover the frontages, | ||
| CF | each with its own darkened window. Elaborate iron balconies, created | ||
| CF | from plywood, stretch in between each arch, complete with hanging | ||
| CF | plastic plants and vines. Here, in the semi-darkness, the false | ||
| CF | buildings feel oppressive. Like they are hiding secrets! | ||
| CF | | ||
| CF | Gloomy openings in the set walls lead south and east deeper into the | ||
| CF | studio. To the west, a brighter gap opens into the guard's break room. | ||
| CF | | ||
| CF | Around the front of the buildings, occasionally glancing anxiously | ||
| CF | along the alleyway, skips the ghostly child. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast summon" | ||
| CF ] Alleway, Rue des Verrièrs 5/313 | ||
| CF | > | ||
| CF | > CAST SUMMON | ||
| CF | | ||
| CF | You undertake the strange actions and declaim all the words of the | ||
| CF | summon spell. The spirit emerges from the stone like smoke and | ||
| CF | coalesces into Evangeline. | ||
| CF | | ||
| CF | The ghosts in the room continue to drift around, as if they are | ||
| CF | oblivious of one another! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "talk to woman" | ||
| CF ] Alleway, Rue des Verrièrs 5/314 | ||
| CF | > | ||
| CF | > TALK TO WOMAN | ||
| CF | | ||
| CF | "Ah need to see mah child," whispers Evangeline. | ||
| CF | | ||
| CF | > | Pinkunz asks, "Where did the first guard die? Can we summon him, or acid boy?" | |
| Knight_Otu says (to ClubFloyd), "talk to child" | ||
| CF ] Alleway, Rue des Verrièrs 5/315 | ||
| CF | > | ||
| CF | > TALK TO CHILD | ||
| CF | | ||
| CF | "Mah Momma told me not to talk to no strangers," says the young boy, | ||
| CF | stopping his game. "Why, I might be kidnapped away and no-one would | ||
| CF | know where ah was." He thinks for a moment. "Well I guess it can't do | ||
| CF | no harm. I'm Jacques Meribeaux. Mighty pleased to meet you." He holds | ||
| CF | out a small grimy hand, which you try and take, but it's as | ||
| CF | insubstantial as smoke. | ||
| CF | | ||
| CF | "Ah'm supposed to be meeting mah Momma here," continues Jacques, | ||
| CF | anxiously looking around. "But she's real late." Then, seeming to | ||
| CF | forget about you, he continues his game, skipping around the fronts of | ||
| CF | the houses. | ||
| CF | | ||
| CF | > | DavidW says, "You tried this combo already." | |
| DavidW says, "You assumed Eva was the mom." | ||
| Knight_Otu says, "Yeah, maybe we do need to do a bit more" | ||
| Knight_Otu says (to ClubFloyd), "talk to woman" | ||
| CF ] Alleway, Rue des Verrièrs 5/316 | ||
| CF | > | ||
| CF | > TALK TO WOMAN | ||
| CF | | ||
| CF | "Ah need to see mah child," whispers Evangeline. | ||
| CF | | ||
| CF | > | Pinkunz says, "Also, ballroom lady mentions Starting a family, thus can't be a mother either." | |
| DavidW says, "Eva's child could be Phillipe for all I know." | ||
| Knight_Otu says (to ClubFloyd), "e" | ||
| CF ] Deep in the Bayou 5/317 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | Deep in the Bayou | ||
| CF | Surrounded by the trunks of enormous trees, the Bayou has been emptied | ||
| CF | for the night. It's just a rubber lined dip in the floor now, with a | ||
| CF | few sad plastic plants lying in the bottom of it. Openings in the set | ||
| CF | lead south and east into the gloom. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] Voodoo Temple 5/318 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | Voodoo Temple | ||
| CF | All the masks lining the walls of the set seem to regard you with | ||
| CF | narrowed, suspicious eyes. There are dozens of them in all shapes and | ||
| CF | sizes. In between and around them hang colourful drapes, their | ||
| CF | attractive patterns at odds with the skulls on the floor and | ||
| CF | statuettes of frightening figures in little alcoves. Unlit candles | ||
| CF | cover almost every surface and everything is draped in a patina of | ||
| CF | nylon cobwebs. Doorways in the set walls lead into the gloom to the | ||
| CF | north and south. | ||
| CF | | ||
| CF | Dominating one wall is a large ornately carved wooden throne. | ||
| CF | | ||
| CF | In front of the throne is a small black table. | ||
| CF | | ||
| CF | Gemma Bellerton, probably possessed by an ancient Voodoo Priestess, | ||
| CF | sits on the wooden throne. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast banish" | ||
| CF ] Voodoo Temple 5/319 | ||
| CF | > | ||
| CF | > CAST BANISH | ||
| CF | | ||
| CF | The Priestess cackles horribly. "I got power," she says. "There ain't | ||
| CF | nothing you can do to me with that little old stone and those dusty | ||
| CF | old spells. Ah'll hold in this this place till mah story is done." | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Deep in the Bayou 5/320 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Deep in the Bayou | ||
| CF | Surrounded by the trunks of enormous trees, the Bayou has been emptied | ||
| CF | for the night. It's just a rubber lined dip in the floor now, with a | ||
| CF | few sad plastic plants lying in the bottom of it. Openings in the set | ||
| CF | lead south and east into the gloom. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "w" | ||
| CF ] Alleway, Rue des Verrièrs 5/321 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Alleway, Rue des Verrièrs | ||
| CF | A set designer has gone to great lengths to re-imagine a narrow | ||
| CF | alleyway running between rows of townhouses in somewhere like New | ||
| CF | Orleans. The facades of the houses, propped up by beams at the back, | ||
| CF | are painted in dusky oranges, reds and creams to resemble stucco | ||
| CF | rendering. Arches, separated by ornate columns, cover the frontages, | ||
| CF | each with its own darkened window. Elaborate iron balconies, created | ||
| CF | from plywood, stretch in between each arch, complete with hanging | ||
| CF | plastic plants and vines. Here, in the semi-darkness, the false | ||
| CF | buildings feel oppressive. Like they are hiding secrets! | ||
| CF | | ||
| CF | Gloomy openings in the set walls lead south and east deeper into the | ||
| CF | studio. To the west, a brighter gap opens into the guard's break room. | ||
| CF | | ||
| CF | Wearing a simple white dress, Evangeline stands head-down in the | ||
| CF | shadows. Her long dark hair covers her face. | ||
| CF | | ||
| CF | Around the front of the buildings, occasionally glancing anxiously | ||
| CF | along the alleyway, skips Jacques Meribeaux. | ||
| CF | | ||
| CF | > | burl says, "curious if re-rolling the bones gives a reduced list of ghosts" | |
| Knight_Otu says (to ClubFloyd), "e" | ||
| CF ] Deep in the Bayou 5/322 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | Deep in the Bayou | ||
| CF | Surrounded by the trunks of enormous trees, the Bayou has been emptied | ||
| CF | for the night. It's just a rubber lined dip in the floor now, with a | ||
| CF | few sad plastic plants lying in the bottom of it. Openings in the set | ||
| CF | lead south and east into the gloom. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] Voodoo Temple 5/323 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | Voodoo Temple | ||
| CF | All the masks lining the walls of the set seem to regard you with | ||
| CF | narrowed, suspicious eyes. There are dozens of them in all shapes and | ||
| CF | sizes. In between and around them hang colourful drapes, their | ||
| CF | attractive patterns at odds with the skulls on the floor and | ||
| CF | statuettes of frightening figures in little alcoves. Unlit candles | ||
| CF | cover almost every surface and everything is draped in a patina of | ||
| CF | nylon cobwebs. Doorways in the set walls lead into the gloom to the | ||
| CF | north and south. | ||
| CF | | ||
| CF | Dominating one wall is a large ornately carved wooden throne. | ||
| CF | | ||
| CF | In front of the throne is a small black table. | ||
| CF | | ||
| CF | Gemma Bellerton, probably possessed by an ancient Voodoo Priestess, | ||
| CF | sits on the wooden throne. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "throw bones" | ||
| CF ] Voodoo Temple 5/324 | ||
| CF | > | ||
| CF | > THROW BONES | ||
| CF | | ||
| CF | You throw the bones onto the black table. They click and skitter | ||
| CF | across its dark surface forming a loose pattern. | ||
| CF | | ||
| CF | Suddenly, in the shapes they make, you can see strange images. A young | ||
| CF | woman in the shadows watches a child play. A soldier strides into a | ||
| CF | darkened basement. A woman and a child embrace in a dark alley. A | ||
| CF | child greets his mother in a shadowy alleyway. | ||
| CF | | ||
| CF | > | Pinkunz says, "It did change..." | |
| Knight_Otu says, "Huh." | ||
| Knight_Otu says (to ClubFloyd), "get bones" | ||
| CF ] Voodoo Temple 5/325 | ||
| CF | > | ||
| CF | > GET BONES | ||
| CF | | ||
| CF | Taken. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Deep in the Bayou 5/326 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Deep in the Bayou | ||
| CF | Surrounded by the trunks of enormous trees, the Bayou has been emptied | ||
| CF | for the night. It's just a rubber lined dip in the floor now, with a | ||
| CF | few sad plastic plants lying in the bottom of it. Openings in the set | ||
| CF | lead south and east into the gloom. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "w" | ||
| CF ] Alleway, Rue des Verrièrs 5/327 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Alleway, Rue des Verrièrs | ||
| CF | A set designer has gone to great lengths to re-imagine a narrow | ||
| CF | alleyway running between rows of townhouses in somewhere like New | ||
| CF | Orleans. The facades of the houses, propped up by beams at the back, | ||
| CF | are painted in dusky oranges, reds and creams to resemble stucco | ||
| CF | rendering. Arches, separated by ornate columns, cover the frontages, | ||
| CF | each with its own darkened window. Elaborate iron balconies, created | ||
| CF | from plywood, stretch in between each arch, complete with hanging | ||
| CF | plastic plants and vines. Here, in the semi-darkness, the false | ||
| CF | buildings feel oppressive. Like they are hiding secrets! | ||
| CF | | ||
| CF | Gloomy openings in the set walls lead south and east deeper into the | ||
| CF | studio. To the west, a brighter gap opens into the guard's break room. | ||
| CF | | ||
| CF | Wearing a simple white dress, Evangeline stands head-down in the | ||
| CF | shadows. Her long dark hair covers her face. | ||
| CF | | ||
| CF | Around the front of the buildings, occasionally glancing anxiously | ||
| CF | along the alleyway, skips Jacques Meribeaux. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "banish" | ||
| CF ] Alleway, Rue des Verrièrs 5/327 | ||
| CF | > | ||
| CF | > BANISH | ||
| CF | | ||
| CF | That's not a verb I recognise. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast banish" | ||
| CF ] Alleway, Rue des Verrièrs 5/328 | ||
| CF | > | ||
| CF | > CAST BANISH | ||
| CF | | ||
| CF | There are many spirits here! Who do you wish to banish and entrap in | ||
| CF | the sacred stone? | ||
| CF | | ||
| CF | (1) - Evangeline, a wronged young woman | ||
| CF | (2) - Jacques Meribeaux, a ghostly young boy | ||
| CF | | ||
| CF | Banish ? | ||
| Knight_Otu says (to ClubFloyd), "1" | ||
| CF ] Alleway, Rue des Verrièrs 5/328 | ||
| CF | Banish ? | ||
| CF | > 1 | ||
| CF | | ||
| CF | You mumble the words of the spell and banish Evangeline into the | ||
| CF | stone. The spirit is sucked wailing into its depths, there to be | ||
| CF | trapped till it is once again summoned! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast banish" | ||
| CF ] Alleway, Rue des Verrièrs 5/329 | ||
| CF | > | ||
| CF | > CAST BANISH | ||
| CF | | ||
| CF | You mumble the words of the spell and banish Jacques Meribeaux into | ||
| CF | the stone. The spirit is sucked wailing into its depths, there to be | ||
| CF | trapped till it is once again summoned! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/330 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | The Grand Ballroom at the Governor's Mansion | ||
| CF | An ostentatious staircase, ending at the top at a false door on the | ||
| CF | Studio wall, sweeps down into a large grand ballroom set dominated by | ||
| CF | a huge chandelier that hangs in crystalline profusion from the | ||
| CF | ceiling. On the side of the set opposite the stairs is a small raised | ||
| CF | stage for the band. The rest of the floor is clear for the dancers. | ||
| CF | The walls are lined with gilded baroque mirrors, reflecting you | ||
| CF | endlessly! | ||
| CF | | ||
| CF | Gaps in the set walls lead north and south, deeper into the Studio. | ||
| CF | | ||
| CF | Pacing impatiently around the set is Colonel Meribeaux. He looks | ||
| CF | anxious, as if he needs to be somewhere. | ||
| CF | | ||
| CF | In the centre of the ballroom, Clarissa paces worriedly back and | ||
| CF | forth. She seems to be getting ready to go somewhere. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Alleway, Rue des Verrièrs 5/331 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Alleway, Rue des Verrièrs | ||
| CF | A set designer has gone to great lengths to re-imagine a narrow | ||
| CF | alleyway running between rows of townhouses in somewhere like New | ||
| CF | Orleans. The facades of the houses, propped up by beams at the back, | ||
| CF | are painted in dusky oranges, reds and creams to resemble stucco | ||
| CF | rendering. Arches, separated by ornate columns, cover the frontages, | ||
| CF | each with its own darkened window. Elaborate iron balconies, created | ||
| CF | from plywood, stretch in between each arch, complete with hanging | ||
| CF | plastic plants and vines. Here, in the semi-darkness, the false | ||
| CF | buildings feel oppressive. Like they are hiding secrets! | ||
| CF | | ||
| CF | Gloomy openings in the set walls lead south and east deeper into the | ||
| CF | studio. To the west, a brighter gap opens into the guard's break room. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast summon" | ||
| CF ] Alleway, Rue des Verrièrs 5/332 | ||
| CF | > | ||
| CF | > CAST SUMMON | ||
| CF | | ||
| CF | There are many spirits inside the stone! Who do you wish to summon? | ||
| CF | | ||
| CF | (1) - Evangeline, a wronged young woman | ||
| CF | (2) - Jacques Meribeaux, a ghostly young boy | ||
| CF | | ||
| CF | Summon ? | ||
| Knight_Otu says (to ClubFloyd), "2" | ||
| CF ] Alleway, Rue des Verrièrs 5/332 | ||
| CF | Summon ? | ||
| CF | > 2 | ||
| CF | | ||
| CF | You undertake the strange actions and declaim all the words of the | ||
| CF | summon spell. The spirit emerges from the stone like smoke and | ||
| CF | coalesces into Jacques Meribeaux. | ||
| CF | | ||
| CF | > | DavidW says, "I wonder if having two spirits in the stone at once is okay." | |
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/333 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | The Grand Ballroom at the Governor's Mansion | ||
| CF | An ostentatious staircase, ending at the top at a false door on the | ||
| CF | Studio wall, sweeps down into a large grand ballroom set dominated by | ||
| CF | a huge chandelier that hangs in crystalline profusion from the | ||
| CF | ceiling. On the side of the set opposite the stairs is a small raised | ||
| CF | stage for the band. The rest of the floor is clear for the dancers. | ||
| CF | The walls are lined with gilded baroque mirrors, reflecting you | ||
| CF | endlessly! | ||
| CF | | ||
| CF | Gaps in the set walls lead north and south, deeper into the Studio. | ||
| CF | | ||
| CF | Pacing impatiently around the set is Colonel Meribeaux. He looks | ||
| CF | anxious, as if he needs to be somewhere. | ||
| CF | | ||
| CF | In the centre of the ballroom, Clarissa paces worriedly back and | ||
| CF | forth. She seems to be getting ready to go somewhere. | ||
| CF | | ||
| CF | > | Knight_Otu says, "Seems so." | |
| Knight_Otu says (to ClubFloyd), "cast banish" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/334 | ||
| CF | > | ||
| CF | > CAST BANISH | ||
| CF | | ||
| CF | There are many spirits here! Who do you wish to banish and entrap in | ||
| CF | the sacred stone? | ||
| CF | | ||
| CF | (1) - Colonel Phillipe Meribeaux, the spirit of an army officer | ||
| CF | (2) - Clarissa Meribeaux, a faded southern belle | ||
| CF | | ||
| CF | Banish ? | ||
| Knight_Otu says (to ClubFloyd), "2" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/334 | ||
| CF | Banish ? | ||
| CF | > 2 | ||
| CF | | ||
| CF | You mumble the words of the spell and banish Clarissa Meribeaux into | ||
| CF | the stone. The spirit is sucked wailing into its depths, there to be | ||
| CF | trapped till it is once again summoned! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Alleway, Rue des Verrièrs 5/335 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Alleway, Rue des Verrièrs | ||
| CF | A set designer has gone to great lengths to re-imagine a narrow | ||
| CF | alleyway running between rows of townhouses in somewhere like New | ||
| CF | Orleans. The facades of the houses, propped up by beams at the back, | ||
| CF | are painted in dusky oranges, reds and creams to resemble stucco | ||
| CF | rendering. Arches, separated by ornate columns, cover the frontages, | ||
| CF | each with its own darkened window. Elaborate iron balconies, created | ||
| CF | from plywood, stretch in between each arch, complete with hanging | ||
| CF | plastic plants and vines. Here, in the semi-darkness, the false | ||
| CF | buildings feel oppressive. Like they are hiding secrets! | ||
| CF | | ||
| CF | Gloomy openings in the set walls lead south and east deeper into the | ||
| CF | studio. To the west, a brighter gap opens into the guard's break room. | ||
| CF | | ||
| CF | Around the front of the buildings, occasionally glancing anxiously | ||
| CF | along the alleyway, skips Jacques Meribeaux. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast summon" | ||
| CF ] Alleway, Rue des Verrièrs 5/336 | ||
| CF | > | ||
| CF | > CAST SUMMON | ||
| CF | | ||
| CF | There are many spirits inside the stone! Who do you wish to summon? | ||
| CF | | ||
| CF | (1) - Evangeline, a wronged young woman | ||
| CF | (2) - Clarissa Meribeaux, a faded southern belle | ||
| CF | | ||
| CF | Summon ? | ||
| Knight_Otu says (to ClubFloyd), "1" | ||
| CF ] Alleway, Rue des Verrièrs 5/336 | ||
| CF | Summon ? | ||
| CF | > 1 | ||
| CF | | ||
| CF | You undertake the strange actions and declaim all the words of the | ||
| CF | summon spell. The spirit emerges from the stone like smoke and | ||
| CF | coalesces into Evangeline. | ||
| CF | | ||
| CF | The ghosts in the room continue to drift around, as if they are | ||
| CF | oblivious of one another! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast summon" | ||
| CF ] Alleway, Rue des Verrièrs 5/337 | ||
| CF | > | ||
| CF | > CAST SUMMON | ||
| CF | | ||
| CF | You undertake the strange actions and declaim all the words of the | ||
| CF | summon spell. The spirit emerges from the stone like smoke and | ||
| CF | coalesces into Clarissa Meribeaux. | ||
| CF | | ||
| CF | "Dahling," shouts Clarissa, waving one elegant hand. "Over here!" | ||
| CF | | ||
| CF | The boy turns and for a moment, you swear there is a grimace of | ||
| CF | dislike on his face, but it quickly smooths. "Hi Momma," he says. | ||
| CF | "Where's Poppa? I thought we were going to catch some crawfish in the | ||
| CF | Bayou today." | ||
| CF | | ||
| CF | Clarissa ruffles the child's hair and straightens his collar and | ||
| CF | bowtie. "Poppa's busy," she says. "He's got important work to do. You | ||
| CF | know that, Jacques. Don't you want to spend some time with your Momma? | ||
| CF | We can go into town and do some shopping. Why, ah'm sure you'd like to | ||
| CF | see the new guns Mr Delacroix has just gotten into his shop. They come | ||
| CF | all the way from Texas." | ||
| CF | | ||
| CF | "Sure Momma," says Jacques, but you can hear the reluctance in his | ||
| CF | voice. "But Poppa's always busy these days. I don't think he likes me | ||
| CF | no more." | ||
| CF | | ||
| CF | "Why that's a terrible thing to say," scolds Clarissa. "Your Poppa | ||
| CF | loves you very much. He's just so busy. Now ah do not want to hear you | ||
| CF | say that again. Especially in front of Poppa." | ||
| CF | | ||
| CF | Jacques does not look convinced, you notice. His mother takes his hand | ||
| CF | and leads him along the alleyway. "Now don't dawdle," she says. "If | ||
| CF | you're a good boy, maybe we'll get us some taffy." | ||
| CF | | ||
| CF | But then, a strange thing happens. The light goes out of the ghost's | ||
| CF | eyes and they drift apart. It's like they can't see each other | ||
| CF | anymore! | ||
| CF | | ||
| CF | > | burl exclaims, "yeah!!" | |
| MoyTravis exclaims, "Go into town. See the guns. All the way from Texas!" | ||
| MoyTravis says, "Fun day out for the family! I joke but you know, that does sound kinda fun." | ||
| Pinkunz says, "Huh... Time is all screwy. Clarissa just mentioned starting a family minutes ago. Now she has a boy." | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/338 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | The Grand Ballroom at the Governor's Mansion | ||
| CF | An ostentatious staircase, ending at the top at a false door on the | ||
| CF | Studio wall, sweeps down into a large grand ballroom set dominated by | ||
| CF | a huge chandelier that hangs in crystalline profusion from the | ||
| CF | ceiling. On the side of the set opposite the stairs is a small raised | ||
| CF | stage for the band. The rest of the floor is clear for the dancers. | ||
| CF | The walls are lined with gilded baroque mirrors, reflecting you | ||
| CF | endlessly! | ||
| CF | | ||
| CF | Gaps in the set walls lead north and south, deeper into the Studio. | ||
| CF | | ||
| CF | Pacing impatiently around the set is Colonel Meribeaux. He looks | ||
| CF | anxious, as if he needs to be somewhere. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast banish" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/339 | ||
| CF | > | ||
| CF | > CAST BANISH | ||
| CF | | ||
| CF | You mumble the words of the spell and banish Colonel Phillipe | ||
| CF | Meribeaux into the stone. The spirit is sucked wailing into its | ||
| CF | depths, there to be trapped till it is once again summoned! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] Basement 5/340 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | Basement | ||
| CF | Ventilation ducts and pipes cover the ceiling of this small set. The | ||
| CF | three walls have been painted with splashes of green and brown that | ||
| CF | you suppose is meant to represent mould and water staining. Gaps in | ||
| CF | the set walls lead north and east into the studio gloom. | ||
| CF | | ||
| CF | Near the middle of the set is the white outline of a person painted | ||
| CF | onto the grimy floor. | ||
| CF | | ||
| CF | Dripping down one of the set walls and pooling on the floor is a | ||
| CF | horrific dark substance! It looks like blood! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast summon" | ||
| CF ] Basement 5/341 | ||
| CF | > | ||
| CF | > CAST SUMMON | ||
| CF | | ||
| CF | You undertake the strange actions and declaim all the words of the | ||
| CF | summon spell. The spirit emerges from the stone like smoke and | ||
| CF | coalesces into Colonel Phillipe Meribeaux. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/342 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | The Grand Ballroom at the Governor's Mansion | ||
| CF | An ostentatious staircase, ending at the top at a false door on the | ||
| CF | Studio wall, sweeps down into a large grand ballroom set dominated by | ||
| CF | a huge chandelier that hangs in crystalline profusion from the | ||
| CF | ceiling. On the side of the set opposite the stairs is a small raised | ||
| CF | stage for the band. The rest of the floor is clear for the dancers. | ||
| CF | The walls are lined with gilded baroque mirrors, reflecting you | ||
| CF | endlessly! | ||
| CF | | ||
| CF | Gaps in the set walls lead north and south, deeper into the Studio. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Alleway, Rue des Verrièrs 5/343 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Alleway, Rue des Verrièrs | ||
| CF | A set designer has gone to great lengths to re-imagine a narrow | ||
| CF | alleyway running between rows of townhouses in somewhere like New | ||
| CF | Orleans. The facades of the houses, propped up by beams at the back, | ||
| CF | are painted in dusky oranges, reds and creams to resemble stucco | ||
| CF | rendering. Arches, separated by ornate columns, cover the frontages, | ||
| CF | each with its own darkened window. Elaborate iron balconies, created | ||
| CF | from plywood, stretch in between each arch, complete with hanging | ||
| CF | plastic plants and vines. Here, in the semi-darkness, the false | ||
| CF | buildings feel oppressive. Like they are hiding secrets! | ||
| CF | | ||
| CF | Gloomy openings in the set walls lead south and east deeper into the | ||
| CF | studio. To the west, a brighter gap opens into the guard's break room. | ||
| CF | | ||
| CF | Clarissa paces up and down. She looks both nervous and determined. | ||
| CF | Also, a little scared. | ||
| CF | | ||
| CF | Wearing a simple white dress, Evangeline stands head-down in the | ||
| CF | shadows. Her long dark hair covers her face. | ||
| CF | | ||
| CF | Around the front of the buildings, occasionally glancing anxiously | ||
| CF | around the set, skips Jacques Meribeaux. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast banish" | ||
| CF ] Alleway, Rue des Verrièrs 5/344 | ||
| CF | > | ||
| CF | > CAST BANISH | ||
| CF | | ||
| CF | There are many spirits here! Who do you wish to banish and entrap in | ||
| CF | the sacred stone? | ||
| CF | | ||
| CF | (1) - Clarissa Meribeaux, a faded southern belle | ||
| CF | (2) - Evangeline, a wronged young woman | ||
| CF | (3) - Jacques Meribeaux, a ghostly young boy | ||
| CF | | ||
| CF | Banish ? | ||
| Knight_Otu says (to ClubFloyd), "2" | ||
| CF ] Alleway, Rue des Verrièrs 5/344 | ||
| CF | Banish ? | ||
| CF | > 2 | ||
| CF | | ||
| CF | You mumble the words of the spell and banish Evangeline into the | ||
| CF | stone. The spirit is sucked wailing into its depths, there to be | ||
| CF | trapped till it is once again summoned! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/345 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | The Grand Ballroom at the Governor's Mansion | ||
| CF | An ostentatious staircase, ending at the top at a false door on the | ||
| CF | Studio wall, sweeps down into a large grand ballroom set dominated by | ||
| CF | a huge chandelier that hangs in crystalline profusion from the | ||
| CF | ceiling. On the side of the set opposite the stairs is a small raised | ||
| CF | stage for the band. The rest of the floor is clear for the dancers. | ||
| CF | The walls are lined with gilded baroque mirrors, reflecting you | ||
| CF | endlessly! | ||
| CF | | ||
| CF | Gaps in the set walls lead north and south, deeper into the Studio. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] Basement 5/346 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | Basement | ||
| CF | Ventilation ducts and pipes cover the ceiling of this small set. The | ||
| CF | three walls have been painted with splashes of green and brown that | ||
| CF | you suppose is meant to represent mould and water staining. Gaps in | ||
| CF | the set walls lead north and east into the studio gloom. | ||
| CF | | ||
| CF | Near the middle of the set is the white outline of a person painted | ||
| CF | onto the grimy floor. | ||
| CF | | ||
| CF | Pacing impatiently around the set is Colonel Meribeaux. He looks | ||
| CF | anxious, as if he needs to be somewhere. | ||
| CF | | ||
| CF | Dripping down one of the set walls and pooling on the floor is a | ||
| CF | horrific dark substance! It looks like blood! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast summon" | ||
| CF ] Basement 5/347 | ||
| CF | > | ||
| CF | > CAST SUMMON | ||
| CF | | ||
| CF | You undertake the strange actions and declaim all the words of the | ||
| CF | summon spell. The spirit emerges from the stone like smoke and | ||
| CF | coalesces into Evangeline. | ||
| CF | | ||
| CF | The ghosts in the room continue to drift around, as if they are | ||
| CF | oblivious of one another! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/348 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | The Grand Ballroom at the Governor's Mansion | ||
| CF | An ostentatious staircase, ending at the top at a false door on the | ||
| CF | Studio wall, sweeps down into a large grand ballroom set dominated by | ||
| CF | a huge chandelier that hangs in crystalline profusion from the | ||
| CF | ceiling. On the side of the set opposite the stairs is a small raised | ||
| CF | stage for the band. The rest of the floor is clear for the dancers. | ||
| CF | The walls are lined with gilded baroque mirrors, reflecting you | ||
| CF | endlessly! | ||
| CF | | ||
| CF | Gaps in the set walls lead north and south, deeper into the Studio. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Alleway, Rue des Verrièrs 5/349 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Alleway, Rue des Verrièrs | ||
| CF | A set designer has gone to great lengths to re-imagine a narrow | ||
| CF | alleyway running between rows of townhouses in somewhere like New | ||
| CF | Orleans. The facades of the houses, propped up by beams at the back, | ||
| CF | are painted in dusky oranges, reds and creams to resemble stucco | ||
| CF | rendering. Arches, separated by ornate columns, cover the frontages, | ||
| CF | each with its own darkened window. Elaborate iron balconies, created | ||
| CF | from plywood, stretch in between each arch, complete with hanging | ||
| CF | plastic plants and vines. Here, in the semi-darkness, the false | ||
| CF | buildings feel oppressive. Like they are hiding secrets! | ||
| CF | | ||
| CF | Gloomy openings in the set walls lead south and east deeper into the | ||
| CF | studio. To the west, a brighter gap opens into the guard's break room. | ||
| CF | | ||
| CF | Clarissa paces up and down. She looks both nervous and determined. | ||
| CF | Also, a little scared. | ||
| CF | | ||
| CF | Around the front of the buildings, occasionally glancing anxiously | ||
| CF | around the set, skips Jacques Meribeaux. | ||
| CF | | ||
| CF | > | DavidW asks, "talk to clarissa?" | |
| Pinkunz nods. | ||
| burl says, "i'd like to know where she fits too" | ||
| DavidW says (to ClubFloyd), "talk to clarissa" | ||
| CF ] Alleway, Rue des Verrièrs 5/350 | ||
| CF | > | ||
| CF | > TALK TO CLARISSA | ||
| CF | | ||
| CF | Clarissa glances nervously about. She seems to have aged since the | ||
| CF | last time you saw her. But not in years. | ||
| CF | | ||
| CF | "I got to get to mah meeting," she says. "She ain't gonna be happy if | ||
| CF | I keep her waiting." | ||
| CF | | ||
| CF | > | Pinkunz says, "Her." | |
| burl asks, "what do the bones have to say?" | ||
| Knight_Otu says, "Sorry, took a look at the visions." | ||
| DavidW says, "I think the bones only work in the temple" | ||
| burl says, "ah oops ok" | ||
| Pinkunz says, "Agreed." | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] Deep in the Bayou 5/351 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | Deep in the Bayou | ||
| CF | Surrounded by the trunks of enormous trees, the Bayou has been emptied | ||
| CF | for the night. It's just a rubber lined dip in the floor now, with a | ||
| CF | few sad plastic plants lying in the bottom of it. Openings in the set | ||
| CF | lead south and east into the gloom. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] Voodoo Temple 5/352 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | Voodoo Temple | ||
| CF | All the masks lining the walls of the set seem to regard you with | ||
| CF | narrowed, suspicious eyes. There are dozens of them in all shapes and | ||
| CF | sizes. In between and around them hang colourful drapes, their | ||
| CF | attractive patterns at odds with the skulls on the floor and | ||
| CF | statuettes of frightening figures in little alcoves. Unlit candles | ||
| CF | cover almost every surface and everything is draped in a patina of | ||
| CF | nylon cobwebs. Doorways in the set walls lead into the gloom to the | ||
| CF | north and south. | ||
| CF | | ||
| CF | Dominating one wall is a large ornately carved wooden throne. | ||
| CF | | ||
| CF | In front of the throne is a small black table. | ||
| CF | | ||
| CF | Gemma Bellerton, probably possessed by an ancient Voodoo Priestess, | ||
| CF | sits on the wooden throne. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "throw bones" | ||
| CF ] Voodoo Temple 5/353 | ||
| CF | > | ||
| CF | > THROW BONES | ||
| CF | | ||
| CF | You throw the bones onto the black table. They click and skitter | ||
| CF | across its dark surface forming a loose pattern. | ||
| CF | | ||
| CF | Suddenly, in the shapes they make, you can see strange images. A woman | ||
| CF | speaks to an old priestess. A child plays in an alley while being | ||
| CF | watched. A soldier strides into a darkened basement. A young woman in | ||
| CF | the shadows watches a child play. | ||
| CF | | ||
| CF | > | Knight_Otu says, "Yeah, the temple." | |
| burl says, "so it's the old priestess clarissa needs" | ||
| Pinkunz says, "Clarissa to Gemma." | ||
| DavidW says, "oh. We need to bring Clarissa here." | ||
| DavidW says (to ClubFloyd), "take bones" | ||
| CF ] Voodoo Temple 5/354 | ||
| CF | > | ||
| CF | > TAKE BONES | ||
| CF | | ||
| CF | Taken. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] Deep in the Bayou 5/355 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Deep in the Bayou | ||
| CF | Surrounded by the trunks of enormous trees, the Bayou has been emptied | ||
| CF | for the night. It's just a rubber lined dip in the floor now, with a | ||
| CF | few sad plastic plants lying in the bottom of it. Openings in the set | ||
| CF | lead south and east into the gloom. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "w" | ||
| CF ] Alleway, Rue des Verrièrs 5/356 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Alleway, Rue des Verrièrs | ||
| CF | A set designer has gone to great lengths to re-imagine a narrow | ||
| CF | alleyway running between rows of townhouses in somewhere like New | ||
| CF | Orleans. The facades of the houses, propped up by beams at the back, | ||
| CF | are painted in dusky oranges, reds and creams to resemble stucco | ||
| CF | rendering. Arches, separated by ornate columns, cover the frontages, | ||
| CF | each with its own darkened window. Elaborate iron balconies, created | ||
| CF | from plywood, stretch in between each arch, complete with hanging | ||
| CF | plastic plants and vines. Here, in the semi-darkness, the false | ||
| CF | buildings feel oppressive. Like they are hiding secrets! | ||
| CF | | ||
| CF | Gloomy openings in the set walls lead south and east deeper into the | ||
| CF | studio. To the west, a brighter gap opens into the guard's break room. | ||
| CF | | ||
| CF | Clarissa paces up and down. She looks both nervous and determined. | ||
| CF | Also, a little scared. | ||
| CF | | ||
| CF | Around the front of the buildings, occasionally glancing anxiously | ||
| CF | around the set, skips Jacques Meribeaux. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "cast banish" | ||
| CF ] Alleway, Rue des Verrièrs 5/357 | ||
| CF | > | ||
| CF | > CAST BANISH | ||
| CF | | ||
| CF | There are many spirits here! Who do you wish to banish and entrap in | ||
| CF | the sacred stone? | ||
| CF | | ||
| CF | (1) - Clarissa Meribeaux, a faded southern belle | ||
| CF | (2) - Jacques Meribeaux, a ghostly young boy | ||
| CF | | ||
| CF | Banish ? | ||
| DavidW says (to ClubFloyd), "1" | ||
| CF ] Alleway, Rue des Verrièrs 5/357 | ||
| CF | Banish ? | ||
| CF | > 1 | ||
| CF | | ||
| CF | You mumble the words of the spell and banish Clarissa Meribeaux into | ||
| CF | the stone. The spirit is sucked wailing into its depths, there to be | ||
| CF | trapped till it is once again summoned! | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] Deep in the Bayou 5/358 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | Deep in the Bayou | ||
| CF | Surrounded by the trunks of enormous trees, the Bayou has been emptied | ||
| CF | for the night. It's just a rubber lined dip in the floor now, with a | ||
| CF | few sad plastic plants lying in the bottom of it. Openings in the set | ||
| CF | lead south and east into the gloom. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] Voodoo Temple 5/359 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | Voodoo Temple | ||
| CF | All the masks lining the walls of the set seem to regard you with | ||
| CF | narrowed, suspicious eyes. There are dozens of them in all shapes and | ||
| CF | sizes. In between and around them hang colourful drapes, their | ||
| CF | attractive patterns at odds with the skulls on the floor and | ||
| CF | statuettes of frightening figures in little alcoves. Unlit candles | ||
| CF | cover almost every surface and everything is draped in a patina of | ||
| CF | nylon cobwebs. Doorways in the set walls lead into the gloom to the | ||
| CF | north and south. | ||
| CF | | ||
| CF | Dominating one wall is a large ornately carved wooden throne. | ||
| CF | | ||
| CF | In front of the throne is a small black table. | ||
| CF | | ||
| CF | Gemma Bellerton, probably possessed by an ancient Voodoo Priestess, | ||
| CF | sits on the wooden throne. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "cast summon" | ||
| CF ] Voodoo Temple 5/360 | ||
| CF | > | ||
| CF | > CAST SUMMON | ||
| CF | | ||
| CF | You undertake the strange actions and declaim all the words of the | ||
| CF | summon spell. The spirit emerges from the stone like smoke and | ||
| CF | coalesces into Clarissa Meribeaux. | ||
| CF | | ||
| CF | Clarissa looks nervous. She cautiously approaches the throne where the | ||
| CF | old Priestess sits like a malevolent spider. "Ah was told to come | ||
| CF | here," she says, her voice quavering. "They said you was the only one | ||
| CF | could help me with mah husband's little problem." | ||
| CF | | ||
| CF | The Priestess gives an evil cackle. "So you finally decided to pay me | ||
| CF | a visit," she wheezes. "Well, girl, ah can help you with your little | ||
| CF | problem, but you gonna have to pay..." then she stops talking and her | ||
| CF | face changes. | ||
| CF | | ||
| CF | "Don't listen to her," says the Priestess and suddenly it's Gemma's | ||
| CF | voice! "You don't need to have a kid. You should just leave him. He's | ||
| CF | an asshole. You've got money - you can live without him and all his | ||
| CF | bulsh..." then she stops and it's as if the Priestess is undergoing a | ||
| CF | titanic internal struggle. Clarissa just looks confused. | ||
| CF | | ||
| CF | "You be quiet," says the Priestess to herself. Then she turns to | ||
| CF | Clarissa "Ignore her," she says, looking a little embarrassed, "she | ||
| CF | don't know what she's talking about. As ah was saying, ah can help | ||
| CF | you, but you gotta pay." | ||
| CF | | ||
| CF | "Ah will pay anything!" replies Clarissa. | ||
| CF | | ||
| CF | "Will you now," cackles the Priestess. "Will you indeed?" | ||
| CF | | ||
| CF | Then a strange thing happens. The light goes out of the ghost's eyes | ||
| CF | and they drift apart. It's like they can't see each other anymore! | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "throw bones" | ||
| CF ] Voodoo Temple 5/361 | ||
| CF | > | ||
| CF | > THROW BONES | ||
| CF | | ||
| CF | You throw the bones onto the black table. They click and skitter | ||
| CF | across its dark surface forming a loose pattern. | ||
| CF | | ||
| CF | Suddenly, in the shapes they make, you can see strange images. A young | ||
| CF | woman in the shadows watches a child play. A child plays in an alley | ||
| CF | while being watched. Two women and a child converse in a huge room. A | ||
| CF | soldier strides into a darkened basement. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take bones" | ||
| CF ] Voodoo Temple 5/362 | ||
| CF | > | ||
| CF | > TAKE BONES | ||
| CF | | ||
| CF | Taken. | ||
| CF | | ||
| CF | > | Pinkunz asks, "Both female ghosts and the kid in the Ballroom?" | |
| Knight_Otu says, "Maybe." | ||
| DavidW asks, "I suppose?" | ||
| Pinkunz says, "Can't move Gemma." | ||
| DavidW says, "Eva and Clar" | ||
| Pinkunz nods. | ||
| DavidW says (to ClubFloyd), "cast banish" | ||
| CF ] Voodoo Temple 5/363 | ||
| CF | > | ||
| CF | > CAST BANISH | ||
| CF | | ||
| CF | There are many spirits here! Who do you wish to banish and entrap in | ||
| CF | the sacred stone? | ||
| CF | | ||
| CF | (1) - Clarissa Meribeaux, a faded southern belle | ||
| CF | (2) - Gemma Bellerton, in costume as a voodoo priestess | ||
| CF | | ||
| CF | Banish ? | ||
| DavidW says (to ClubFloyd), "1" | ||
| CF ] Voodoo Temple 5/363 | ||
| CF | Banish ? | ||
| CF | > 1 | ||
| CF | | ||
| CF | You mumble the words of the spell and banish Clarissa Meribeaux into | ||
| CF | the stone. The spirit is sucked wailing into its depths, there to be | ||
| CF | trapped till it is once again summoned! | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] Deep in the Bayou 5/364 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Deep in the Bayou | ||
| CF | Surrounded by the trunks of enormous trees, the Bayou has been emptied | ||
| CF | for the night. It's just a rubber lined dip in the floor now, with a | ||
| CF | few sad plastic plants lying in the bottom of it. Openings in the set | ||
| CF | lead south and east into the gloom. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "w" | ||
| CF ] Alleway, Rue des Verrièrs 5/365 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Alleway, Rue des Verrièrs | ||
| CF | A set designer has gone to great lengths to re-imagine a narrow | ||
| CF | alleyway running between rows of townhouses in somewhere like New | ||
| CF | Orleans. The facades of the houses, propped up by beams at the back, | ||
| CF | are painted in dusky oranges, reds and creams to resemble stucco | ||
| CF | rendering. Arches, separated by ornate columns, cover the frontages, | ||
| CF | each with its own darkened window. Elaborate iron balconies, created | ||
| CF | from plywood, stretch in between each arch, complete with hanging | ||
| CF | plastic plants and vines. Here, in the semi-darkness, the false | ||
| CF | buildings feel oppressive. Like they are hiding secrets! | ||
| CF | | ||
| CF | Gloomy openings in the set walls lead south and east deeper into the | ||
| CF | studio. To the west, a brighter gap opens into the guard's break room. | ||
| CF | | ||
| CF | Around the front of the buildings, occasionally glancing anxiously | ||
| CF | around the set, skips Jacques Meribeaux. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "cast banish" | ||
| CF ] Alleway, Rue des Verrièrs 5/366 | ||
| CF | > | ||
| CF | > CAST BANISH | ||
| CF | | ||
| CF | You mumble the words of the spell and banish Jacques Meribeaux into | ||
| CF | the stone. The spirit is sucked wailing into its depths, there to be | ||
| CF | trapped till it is once again summoned! | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/367 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | The Grand Ballroom at the Governor's Mansion | ||
| CF | An ostentatious staircase, ending at the top at a false door on the | ||
| CF | Studio wall, sweeps down into a large grand ballroom set dominated by | ||
| CF | a huge chandelier that hangs in crystalline profusion from the | ||
| CF | ceiling. On the side of the set opposite the stairs is a small raised | ||
| CF | stage for the band. The rest of the floor is clear for the dancers. | ||
| CF | The walls are lined with gilded baroque mirrors, reflecting you | ||
| CF | endlessly! | ||
| CF | | ||
| CF | Gaps in the set walls lead north and south, deeper into the Studio. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] Basement 5/368 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | Basement | ||
| CF | Ventilation ducts and pipes cover the ceiling of this small set. The | ||
| CF | three walls have been painted with splashes of green and brown that | ||
| CF | you suppose is meant to represent mould and water staining. Gaps in | ||
| CF | the set walls lead north and east into the studio gloom. | ||
| CF | | ||
| CF | Near the middle of the set is the white outline of a person painted | ||
| CF | onto the grimy floor. | ||
| CF | | ||
| CF | Wearing a simple white dress, Evangeline stands head-down in the | ||
| CF | shadows. Her long dark hair covers her face. | ||
| CF | | ||
| CF | Pacing impatiently around the set is Colonel Meribeaux. He looks | ||
| CF | anxious, as if he needs to be somewhere. | ||
| CF | | ||
| CF | Dripping down one of the set walls and pooling on the floor is a | ||
| CF | horrific dark substance! It looks like blood! | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "cast banish" | ||
| CF ] Basement 5/369 | ||
| CF | > | ||
| CF | > CAST BANISH | ||
| CF | | ||
| CF | There are many spirits here! Who do you wish to banish and entrap in | ||
| CF | the sacred stone? | ||
| CF | | ||
| CF | (1) - Evangeline, a wronged young woman | ||
| CF | (2) - Colonel Phillipe Meribeaux, the spirit of an army officer | ||
| CF | | ||
| CF | Banish ? | ||
| DavidW says (to ClubFloyd), "2" | ||
| CF ] Basement 5/369 | ||
| CF | Banish ? | ||
| CF | > 2 | ||
| CF | | ||
| CF | You mumble the words of the spell and banish Colonel Phillipe | ||
| CF | Meribeaux into the stone. The spirit is sucked wailing into its | ||
| CF | depths, there to be trapped till it is once again summoned! | ||
| CF | | ||
| CF | > | burl says, "helping the ghosts move through their storyline in time is a cute narrative puzzle" | |
| DavidW says (to ClubFloyd), "cast summon" | ||
| CF ] Basement 5/370 | ||
| CF | > | ||
| CF | > CAST SUMMON | ||
| CF | | ||
| CF | There are many spirits inside the stone! Who do you wish to summon? | ||
| CF | | ||
| CF | (1) - Clarissa Meribeaux, a faded southern belle | ||
| CF | (2) - Jacques Meribeaux, a ghostly young boy | ||
| CF | (3) - Colonel Phillipe Meribeaux, the spirit of an army officer | ||
| CF | | ||
| CF | Summon ? | ||
| DavidW says (to ClubFloyd), "1" | ||
| CF ] Basement 5/370 | ||
| CF | Summon ? | ||
| CF | > 1 | ||
| CF | | ||
| CF | You undertake the strange actions and declaim all the words of the | ||
| CF | summon spell. The spirit emerges from the stone like smoke and | ||
| CF | coalesces into Clarissa Meribeaux. | ||
| CF | | ||
| CF | She looks wildly around. "She'll take mah boy if ah don't hurry," she | ||
| CF | gasps. "She's after mah boy." | ||
| CF | | ||
| CF | She floats straight through the set wall and out of the room! | ||
| CF | | ||
| CF | > | Pinkunz says, "I feel bad for the ghosts. They're wailing every time you banish them. It must be pretty unpleasant." | |
| DavidW says (to ClubFloyd), "cast summon" | ||
| CF ] Basement 5/371 | ||
| CF | > | ||
| CF | > CAST SUMMON | ||
| CF | | ||
| CF | There are many spirits inside the stone! Who do you wish to summon? | ||
| CF | | ||
| CF | (1) - Jacques Meribeaux, a ghostly young boy | ||
| CF | (2) - Colonel Phillipe Meribeaux, the spirit of an army officer | ||
| CF | | ||
| CF | Summon ? | ||
| DavidW says (to ClubFloyd), "1" | ||
| CF ] Basement 5/371 | ||
| CF | Summon ? | ||
| CF | > 1 | ||
| CF | | ||
| CF | You undertake the strange actions and declaim all the words of the | ||
| CF | summon spell. The spirit emerges from the stone like smoke and | ||
| CF | coalesces into Jacques Meribeaux. | ||
| CF | | ||
| CF | "Ah simply cannot be here, I need to be home." says the boy, his face | ||
| CF | screwed up in puzzlement. | ||
| CF | | ||
| CF | He turns away from you and runs straight through the wall of the set! | ||
| CF | | ||
| CF | > | DavidW says, "yeah, we weren't ready for that scene yet." | |
| burl says, "not to mention how cramped the stone must be Pinkuz, having to share a room with two other tormented spirits" | ||
| Jacqueline says, "I'm going to have to step away soon (we've been going over two hours, I have a phone call planned), but I'm fine with y'all continuing. I can read to catch up later. I'm enjoying this." | ||
| Pinkunz says, "It's like horror Pokemon, with the stone being the pokeball." | ||
| Pinkunz exclaims, "Gotta catch them all!" | ||
| Knight_Otu says (to Pinkunz), "So, like regular Pokemon ;)" | ||
| burl exclaims, "bye Jacqueline thanks for helping me on my first day here!" | ||
| Pinkunz lolz. | ||
| Pinkunz says (to Jacq), "Thanks. Hope you feel better." | ||
| burl says, "also that's beautiful, now im imagining the pokemon theme song but with big pipe organs" | ||
| MoyTravis asks, "So we calling it now?" | ||
| Pinkunz asks, "Pokemon: The Horde Unsealed?" | ||
| DavidW says, "I'm unclear who to match up where now. I'll like to talk to everyone to get a better clue." | ||
| Jacqueline exclaims (at burl), "You're welcome!" | ||
| Pinkunz says, "Jacq seemed fine with continuing." | ||
| Pinkunz says, "It's up to you guys. I'm game if you are." | ||
| Knight_Otu says, "I think we wanted the two women and the child in the ballroom." | ||
| Jacqueline says (to Pinkunz), "Thanks - yeah, I'm feeling better this week. :)" | ||
| DavidW asks, "oh, in the ballroom?" | ||
| Knight_Otu says, "I do need to take a quick break at least." | ||
| Knight_Otu says (to David), "That was my understanding." | ||
| Pinkunz says, "They said "big room"" | ||
| burl says, "i could play another hour more but not more than 2. definitely could use a food break" | ||
| Pinkunz asks, "15 minute break?" | ||
| DavidW says, "I will need to quit soon-ish to get real food." | ||
| Jacqueline says, "And yeah, you all seem to be in the middle of a big thing and if you all keep going without me that's fine - I'll just read through it before the next session." | ||
| burl asks, "how do games usually get paused and restarted?" | ||
| DavidW says, "I'm a bit confused what I should do now." | ||
| Pinkunz says (to David), "Why don't we call it then. You need to make some real food for yourself and not TWELVE donuts." | ||
| burl says, "i feel like if you need food DavidW yeah we should call it" | ||
| DavidW says, "I got real food from the Korean restaurant. I don't make much myself." | ||
| burl says, "haha yeah twelve is more than six but not real food" | ||
| DavidW says, "er I get real food" | ||
| Pinkunz says, "Besides, even those of us who'd continue still need a break, so why don't we just continue next week." | ||
| DavidW says (to ClubFloyd), "save" | ||
| CF | > | ||
| CF | > SAVE | ||
| CF | %% Enter a save filename to write: | ||
| DavidW says (to ClubFloyd), "cfdrhorrorvoodoo" | ||
| CF ] Basement 5/371 | ||
| CF | > SAVEOk. | ||
| CF | | ||
| CF | > | Pinkunz says (to burl), "I hope you enjoyed your first Club Floyd." | |
| Pinkunz says, "You definitely came more prepared than I did for my first time." | ||
| burl says, "thank you Pinkunz this is a lot of fun! i've played a lot of text adventures i just never thought about doing it collaboratively, this is amazing <3" | ||
| Pinkunz says, "I reccomend reading some of the old ClubFloyd transcripts up on Jacq's site." | ||
| Pinkunz says, "There are some gems in there." | ||
| Pinkunz says, "If that is your jam, that is." | ||
| DavidW says, "Twelve donuts isn't as bad as forty cakes. That's as many as four tens. And that's terrible." | ||
| burl says, "ok i will go look at some old transcripts and see if there are transcripts from some games i liked" | ||
| Pinkunz gives a thumbs up. | ||
| burl says, "heading out for now, but if holiday things do not pre-empt i will see you next week :)" | ||
| Pinkunz says (to David), "I can't fault the logic there." | ||
| Pinkunz exclaims (at Burl), "Goodnight and Happy Holidays!" | ||
| MoyTravis says, "Cya'll round. Happy holidays and all." | ||
| MoyTravis disappears through an invisible gap in the MUD. You think you may have heard the sounds of chatting before the gap closed again. | ||
| burl goes home. | Pinkunz says (to Moy), "Ditto." | |
| Pinkunz disappears through an invisible gap in the MUD. You think you may have heard the sounds of chatting before the gap closed again. | ||
| Pinkunz has arrived. | Knight_Otu exclaims, "I see we decided to end for the day. Good night, everyone, and take care!" | |
| Knight_Otu goes home. | DavidW says, "bye all" | |
| Pinkunz exclaims, "Thanks for a great game today. Hopefully see everyone next week!" | ||
| *** SESSION 3 *** | ||
| Krumar asks, "Is there a game today?" | ||
| Jacqueline says, "I'm guessing we'll pick up the Dr Horror thing again" | ||
| Jacqueline asks, "Week... 3? I think?" | ||
| Jacqueline says, "Hrm. So, it is now The Time, but DW will likely not appear for 20+ minutes (or longer, but last week I think he woke up about half an hour in)..." | ||
| Jacqueline asks, "KO, you were driving but have no map, is that right?" | ||
| Knight_Otu says, "I don't have a map,but I think I can manage." | ||
| Jacqueline says, "woo" | ||
| Knight_Otu says, "The game is pretty compartmentalized right now." | ||
| Jacqueline says, "True" | ||
| Jacqueline says, "So, we were in the zombie/voodoo place? (I am setting aside my complaints about the representation of voodoo for now.)" | ||
| Knight_Otu says, "So as I recall, we were herding ghosts with a voodoo stone." | ||
| MoyTravis says, "yep" | ||
| Jacqueline says, "OH RIGHT" | ||
| Krumar says, "Interesting thing to come in on." | ||
| Jacqueline says (to Krumar), "Yeah, this part of the game is actually kind of interesting enough to be the whole game. I'd forgotten that." | ||
| Knight_Otu says, "And yeah, I guess we'll get zombies for our undead army from this film studio." | ||
| Knight_Otu says (to ClubFloyd), "l" | ||
| CF ] Basement 5/372 | ||
| CF | > | ||
| CF | > L | ||
| CF | | ||
| CF | Basement | ||
| CF | Ventilation ducts and pipes cover the ceiling of this small set. The | ||
| CF | three walls have been painted with splashes of green and brown that | ||
| CF | you suppose is meant to represent mould and water staining. Gaps in | ||
| CF | the set walls lead north and east into the studio gloom. | ||
| CF | | ||
| CF | Near the middle of the set is the white outline of a person painted | ||
| CF | onto the grimy floor. | ||
| CF | | ||
| CF | Wearing a simple white dress, Evangeline stands head-down in the | ||
| CF | shadows. Her long dark hair covers her face. | ||
| CF | | ||
| CF | Dripping down one of the set walls and pooling on the floor is a | ||
| CF | horrific dark substance! It looks like blood! | ||
| CF | | ||
| CF | > | Roger says, "how do you do that voodoo that you do so well" | |
| Knight_Otu says, "Also, the protagonist is rather naive about what's happening until they can no longer deny the obvious." | ||
| Knight_Otu says (to ClubFloyd), "i" | ||
| CF ] Basement 5/373 | ||
| CF | > | ||
| CF | > I | ||
| CF | | ||
| CF | You are carrying the bones of fate, a milk bottle full of blood, an | ||
| CF | evil book of black magic, a small brass key, a tea caddy and a stained | ||
| CF | crimson robe. You are wearing a crucifix, a gold pocketwatch, a grey | ||
| CF | suit and a jaunty hat. | ||
| CF | | ||
| CF | You are pushing a wheelbarrow along. It contains a sacred voodoo | ||
| CF | stone. | ||
| CF | | ||
| CF | > | Knight_Otu says, "My recollection is that we wanted to bring certain ghosts to the ballroom." | |
| Knight_Otu says (to ClubFloyd), "cast banish" | ||
| CF ] Basement 5/374 | ||
| CF | > | ||
| CF | > CAST BANISH | ||
| CF | | ||
| CF | You mumble the words of the spell and banish Evangeline into the | ||
| CF | stone. The spirit is sucked wailing into its depths, there to be | ||
| CF | trapped till it is once again summoned! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/375 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | The Grand Ballroom at the Governor's Mansion | ||
| CF | An ostentatious staircase, ending at the top at a false door on the | ||
| CF | Studio wall, sweeps down into a large grand ballroom set dominated by | ||
| CF | a huge chandelier that hangs in crystalline profusion from the | ||
| CF | ceiling. On the side of the set opposite the stairs is a small raised | ||
| CF | stage for the band. The rest of the floor is clear for the dancers. | ||
| CF | The walls are lined with gilded baroque mirrors, reflecting you | ||
| CF | endlessly! | ||
| CF | | ||
| CF | Gaps in the set walls lead north and south, deeper into the Studio. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Alleway, Rue des Verrièrs 5/376 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Alleway, Rue des Verrièrs | ||
| CF | A set designer has gone to great lengths to re-imagine a narrow | ||
| CF | alleyway running between rows of townhouses in somewhere like New | ||
| CF | Orleans. The facades of the houses, propped up by beams at the back, | ||
| CF | are painted in dusky oranges, reds and creams to resemble stucco | ||
| CF | rendering. Arches, separated by ornate columns, cover the frontages, | ||
| CF | each with its own darkened window. Elaborate iron balconies, created | ||
| CF | from plywood, stretch in between each arch, complete with hanging | ||
| CF | plastic plants and vines. Here, in the semi-darkness, the false | ||
| CF | buildings feel oppressive. Like they are hiding secrets! | ||
| CF | | ||
| CF | Gloomy openings in the set walls lead south and east deeper into the | ||
| CF | studio. To the west, a brighter gap opens into the guard's break room. | ||
| CF | | ||
| CF | Around the front of the buildings, occasionally glancing anxiously | ||
| CF | around the set, skips Jacques Meribeaux. | ||
| CF | | ||
| CF | > | Roger says, "that was easy" | |
| Knight_Otu says (to ClubFloyd), "banish" | ||
| CF ] Alleway, Rue des Verrièrs 5/376 | ||
| CF | > | ||
| CF | > BANISH | ||
| CF | | ||
| CF | That's not a verb I recognise. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast banish" | ||
| CF ] Alleway, Rue des Verrièrs 5/377 | ||
| CF | > | ||
| CF | > CAST BANISH | ||
| CF | | ||
| CF | You mumble the words of the spell and banish Jacques Meribeaux into | ||
| CF | the stone. The spirit is sucked wailing into its depths, there to be | ||
| CF | trapped till it is once again summoned! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "e" | ||
| CF ] Deep in the Bayou 5/378 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | Deep in the Bayou | ||
| CF | Surrounded by the trunks of enormous trees, the Bayou has been emptied | ||
| CF | for the night. It's just a rubber lined dip in the floor now, with a | ||
| CF | few sad plastic plants lying in the bottom of it. Openings in the set | ||
| CF | lead south and east into the gloom. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] Voodoo Temple 5/379 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | Voodoo Temple | ||
| CF | All the masks lining the walls of the set seem to regard you with | ||
| CF | narrowed, suspicious eyes. There are dozens of them in all shapes and | ||
| CF | sizes. In between and around them hang colourful drapes, their | ||
| CF | attractive patterns at odds with the skulls on the floor and | ||
| CF | statuettes of frightening figures in little alcoves. Unlit candles | ||
| CF | cover almost every surface and everything is draped in a patina of | ||
| CF | nylon cobwebs. Doorways in the set walls lead into the gloom to the | ||
| CF | north and south. | ||
| CF | | ||
| CF | Dominating one wall is a large ornately carved wooden throne. | ||
| CF | | ||
| CF | In front of the throne is a small black table. | ||
| CF | | ||
| CF | Clarissa wanders around the set. She is wringing her hands, fretfully. | ||
| CF | | ||
| CF | Gemma Bellerton, probably possessed by an ancient Voodoo Priestess, | ||
| CF | sits on the wooden throne. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast banish" | ||
| CF ] Voodoo Temple 5/380 | ||
| CF | > | ||
| CF | > CAST BANISH | ||
| CF | | ||
| CF | There are many spirits here! Who do you wish to banish and entrap in | ||
| CF | the sacred stone? | ||
| CF | | ||
| CF | (1) - Clarissa Meribeaux, a faded southern belle | ||
| CF | (2) - Gemma Bellerton, in costume as a voodoo priestess | ||
| CF | | ||
| CF | Banish ? | ||
| Knight_Otu says (to ClubFloyd), "1" | ||
| CF ] Voodoo Temple 5/380 | ||
| CF | Banish ? | ||
| CF | > 1 | ||
| CF | | ||
| CF | You mumble the words of the spell and banish Clarissa Meribeaux into | ||
| CF | the stone. The spirit is sucked wailing into its depths, there to be | ||
| CF | trapped till it is once again summoned! | ||
| CF | | ||
| CF | > | Knight_Otu says, "We can't banish Gemma." | |
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] The Cemetery of St. Louise de Marillac 5/381 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | The Cemetery of St. Louise de Marillac | ||
| CF | What a set this is! Mallet Studios must have actually spent some real | ||
| CF | money on this. The large space, bounded by walls painted with distant | ||
| CF | scenery, is row after row of forbidding tombs, ornamented gravestones | ||
| CF | and imposing hooded statues. Vines and tropical looking plastic plants | ||
| CF | wind over everything, giving a real atmosphere of age and shadowy | ||
| CF | menace. Openings in the set walls lead north and west deeper into the | ||
| CF | studio. | ||
| CF | | ||
| CF | To one side of the set is a row of freshly filled in graves! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "w" | ||
| CF ] Basement 5/382 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Basement | ||
| CF | Ventilation ducts and pipes cover the ceiling of this small set. The | ||
| CF | three walls have been painted with splashes of green and brown that | ||
| CF | you suppose is meant to represent mould and water staining. Gaps in | ||
| CF | the set walls lead north and east into the studio gloom. | ||
| CF | | ||
| CF | Near the middle of the set is the white outline of a person painted | ||
| CF | onto the grimy floor. | ||
| CF | | ||
| CF | Dripping down one of the set walls and pooling on the floor is a | ||
| CF | horrific dark substance! It looks like blood! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/383 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | The Grand Ballroom at the Governor's Mansion | ||
| CF | An ostentatious staircase, ending at the top at a false door on the | ||
| CF | Studio wall, sweeps down into a large grand ballroom set dominated by | ||
| CF | a huge chandelier that hangs in crystalline profusion from the | ||
| CF | ceiling. On the side of the set opposite the stairs is a small raised | ||
| CF | stage for the band. The rest of the floor is clear for the dancers. | ||
| CF | The walls are lined with gilded baroque mirrors, reflecting you | ||
| CF | endlessly! | ||
| CF | | ||
| CF | Gaps in the set walls lead north and south, deeper into the Studio. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast summon" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/384 | ||
| CF | > | ||
| CF | > CAST SUMMON | ||
| CF | | ||
| CF | There are many spirits inside the stone! Who do you wish to summon? | ||
| CF | | ||
| CF | (1) - Colonel Phillipe Meribeaux, the spirit of an army officer | ||
| CF | (2) - Evangeline, a wronged young woman | ||
| CF | (3) - Jacques Meribeaux, a ghostly young boy | ||
| CF | (4) - Clarissa Meribeaux, a faded southern belle | ||
| CF | | ||
| CF | Summon ? | Knight_Otu says, "Oh, we already had the colonel in the stone." | |
| Knight_Otu says (to ClubFloyd), "2" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/384 | ||
| CF | Summon ? | ||
| CF | > 2 | ||
| CF | | ||
| CF | You undertake the strange actions and declaim all the words of the | ||
| CF | summon spell. The spirit emerges from the stone like smoke and | ||
| CF | coalesces into Evangeline. | ||
| CF | | ||
| CF | She seems suddenly terrified. "I ain't supposed to be here," she says. | ||
| CF | "This ain't right. I need to meet mah boy." | ||
| CF | | ||
| CF | She turns and fades out of the room straight through the wall! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast summon" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/385 | ||
| CF | > | ||
| CF | > CAST SUMMON | ||
| CF | | ||
| CF | There are many spirits inside the stone! Who do you wish to summon? | ||
| CF | | ||
| CF | (1) - Colonel Phillipe Meribeaux, the spirit of an army officer | ||
| CF | (2) - Jacques Meribeaux, a ghostly young boy | ||
| CF | (3) - Clarissa Meribeaux, a faded southern belle | ||
| CF | | ||
| CF | Summon ? | ||
| Knight_Otu says (to ClubFloyd), "3" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/385 | ||
| CF | Summon ? | ||
| CF | > 3 | ||
| CF | | ||
| CF | You undertake the strange actions and declaim all the words of the | ||
| CF | summon spell. The spirit emerges from the stone like smoke and | ||
| CF | coalesces into Clarissa Meribeaux. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast summon" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/386 | ||
| CF | > | ||
| CF | > CAST SUMMON | ||
| CF | | ||
| CF | There are many spirits inside the stone! Who do you wish to summon? | ||
| CF | | ||
| CF | (1) - Colonel Phillipe Meribeaux, the spirit of an army officer | ||
| CF | (2) - Jacques Meribeaux, a ghostly young boy | ||
| CF | | ||
| CF | Summon ? | ||
| Knight_Otu says (to ClubFloyd), "2" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/386 | ||
| CF | Summon ? | ||
| CF | > 2 | ||
| CF | | ||
| CF | You undertake the strange actions and declaim all the words of the | ||
| CF | summon spell. The spirit emerges from the stone like smoke and | ||
| CF | coalesces into Jacques Meribeaux. | ||
| CF | | ||
| CF | "Ah simply cannot be here, I need to be home." says the boy, his face | ||
| CF | screwed up in puzzlement. | ||
| CF | | ||
| CF | He turns away from you and runs straight through the wall of the set! | ||
| CF | | ||
| CF | > | Knight_Otu says, "Hm, not like this." | |
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] Basement 5/387 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | Basement | ||
| CF | Ventilation ducts and pipes cover the ceiling of this small set. The | ||
| CF | three walls have been painted with splashes of green and brown that | ||
| CF | you suppose is meant to represent mould and water staining. Gaps in | ||
| CF | the set walls lead north and east into the studio gloom. | ||
| CF | | ||
| CF | Near the middle of the set is the white outline of a person painted | ||
| CF | onto the grimy floor. | ||
| CF | | ||
| CF | Wearing a simple white dress, Evangeline stands head-down in the | ||
| CF | shadows. Her long dark hair covers her face. | ||
| CF | | ||
| CF | Dripping down one of the set walls and pooling on the floor is a | ||
| CF | horrific dark substance! It looks like blood! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast banish" | ||
| CF ] Basement 5/388 | ||
| CF | > | ||
| CF | > CAST BANISH | ||
| CF | | ||
| CF | You mumble the words of the spell and banish Evangeline into the | ||
| CF | stone. The spirit is sucked wailing into its depths, there to be | ||
| CF | trapped till it is once again summoned! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/389 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | The Grand Ballroom at the Governor's Mansion | ||
| CF | An ostentatious staircase, ending at the top at a false door on the | ||
| CF | Studio wall, sweeps down into a large grand ballroom set dominated by | ||
| CF | a huge chandelier that hangs in crystalline profusion from the | ||
| CF | ceiling. On the side of the set opposite the stairs is a small raised | ||
| CF | stage for the band. The rest of the floor is clear for the dancers. | ||
| CF | The walls are lined with gilded baroque mirrors, reflecting you | ||
| CF | endlessly! | ||
| CF | | ||
| CF | Gaps in the set walls lead north and south, deeper into the Studio. | ||
| CF | | ||
| CF | Clarissa wanders around the set. She is wringing her hands, fretfully. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Alleway, Rue des Verrièrs 5/390 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Alleway, Rue des Verrièrs | ||
| CF | A set designer has gone to great lengths to re-imagine a narrow | ||
| CF | alleyway running between rows of townhouses in somewhere like New | ||
| CF | Orleans. The facades of the houses, propped up by beams at the back, | ||
| CF | are painted in dusky oranges, reds and creams to resemble stucco | ||
| CF | rendering. Arches, separated by ornate columns, cover the frontages, | ||
| CF | each with its own darkened window. Elaborate iron balconies, created | ||
| CF | from plywood, stretch in between each arch, complete with hanging | ||
| CF | plastic plants and vines. Here, in the semi-darkness, the false | ||
| CF | buildings feel oppressive. Like they are hiding secrets! | ||
| CF | | ||
| CF | Gloomy openings in the set walls lead south and east deeper into the | ||
| CF | studio. To the west, a brighter gap opens into the guard's break room. | ||
| CF | | ||
| CF | Around the front of the buildings, occasionally glancing anxiously | ||
| CF | around the set, skips Jacques Meribeaux. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast summon" | ||
| CF ] Alleway, Rue des Verrièrs 5/391 | ||
| CF | > | ||
| CF | > CAST SUMMON | ||
| CF | | ||
| CF | There are many spirits inside the stone! Who do you wish to summon? | ||
| CF | | ||
| CF | (1) - Colonel Phillipe Meribeaux, the spirit of an army officer | ||
| CF | (2) - Evangeline, a wronged young woman | ||
| CF | | ||
| CF | Summon ? | ||
| Knight_Otu says (to ClubFloyd), "2" | ||
| CF ] Alleway, Rue des Verrièrs 5/391 | ||
| CF | Summon ? | ||
| CF | > 2 | ||
| CF | | ||
| CF | You undertake the strange actions and declaim all the words of the | ||
| CF | summon spell. The spirit emerges from the stone like smoke and | ||
| CF | coalesces into Evangeline. | ||
| CF | | ||
| CF | Evangeline sinks deeper into the shadows of the alleyway so she is | ||
| CF | almost entirely hidden. "Jacques, mah boy" she whispers so quietly you | ||
| CF | can only just hear her. | ||
| CF | | ||
| CF | The young boy, seemingly unable to see her, continues to skip around | ||
| CF | the front of the houses. It's difficult to tell what Evangeline is | ||
| CF | thinking or feeling because you can hardly see her, and the bits you | ||
| CF | can see are covered in lank dark hair, but she reaches out one small | ||
| CF | hand slowly towards the child and you swear you hear her whisper "my | ||
| CF | baby" before she drops her hand again and turns away. | ||
| CF | | ||
| CF | You can't help but wonder why she doesn't talk to the child. The plot | ||
| CF | thickens! There's definitely something odd going on here! | ||
| CF | | ||
| CF | > | Jacqueline says, "I am (pleasantly) surprised that the stone can contain multiple souls." | |
| Jacqueline says, "Seems like a thing where an author might decide inventory management is a 'feature'." | ||
| Jacqueline says, "Thank you for not doing that, author." | ||
| Knight_Otu says, "Yeah. I suppose they could have allowed BANISH X or SUMMON x too, but this is already more convenient than some people might have written it." | ||
| Jacqueline says, "Okay, so what is up with her and the kid." | ||
| Roger says, "something odd! apparently" | ||
| Jacqueline says (to ClubFloyd), "x evangeline" | ||
| CF ] Alleway, Rue des Verrièrs 5/392 | ||
| CF | > | ||
| CF | > X EVANGELINE | ||
| CF | | ||
| CF | It's difficult to make out her features because her long dark hair | ||
| CF | straggles over her face. She is wearing a simple white dress that, on | ||
| CF | closer inspection, seems to be covered in blood! Her arms hang loosely | ||
| CF | by her side and she stands, head down, in the shadows. | ||
| CF | | ||
| CF | > | Jacqueline says, "Oh." | |
| Krumar asks, "can you examine the boy?" | ||
| Jacqueline says, "Oh, I don't think that's her boy." | ||
| Jacqueline says, "I'm guessing she died in childbirth." | ||
| Jacqueline says (to ClubFloyd), "x boy" | ||
| CF ] Alleway, Rue des Verrièrs 5/393 | ||
| CF | > | ||
| CF | > X BOY | ||
| CF | | ||
| CF | The boy looks about 8 years old, or so. He has floppy dark hair that | ||
| CF | falls over his brown eyes. He is wearing an old fashioned suit with a | ||
| CF | bowtie and short trousers. You look a little closer - his skin seems | ||
| CF | odd - it looks more green than skin should. | ||
| CF | | ||
| CF | > | Jacqueline says, "I would say, 'Green skin? Yikes..." | |
| Krumar asks, "Are we trying to figure out how they died?" | ||
| Jacqueline says, "But we already know that he's dead, so." | ||
| MoyTravis says, "To be honest I have no idea why we're doing any of this ghost stuff." | ||
| Jacqueline says (to Krumar), "I don't think we need to figure that out for the puzzle..." | ||
| MoyTravis says, "Other than, like. That it's a puzzle, and you go to the places to do the puzzles." | ||
| Jacqueline says, "Oh, Krumar: Ultimately we are trying to raise an undead army." | ||
| Knight_Otu says, "I have some suspicions, but we'll see." | ||
| Krumar says, "Got it." | ||
| Jacqueline says, "Because we are an actor in B-rate horror films, and it has recently come to light that one of the ways the producers have saved money is by using actual vampires, actual zombies, etc." | ||
| Krumar says, "Hahaha, OK." | ||
| Knight_Otu says, "The framing is that the voodoo priestess has a story she wants to tell, I believe." | ||
| Knight_Otu says, "For this particular studio." | ||
| Jacqueline says, "And so we are... kind of... for some reason... the person who will gather all of these undead to rise up against the studio." | ||
| Jacqueline says, "At the end of the day, it's a union story." | ||
| Jacqueline says, "(Not really)" | ||
| Roger says, "but maybe" | ||
| Knight_Otu says, "We were supposed to be sacrificed to ...Astaroth, I think? So it's kind of a do or die thing." | ||
| Jacqueline says, "Oh, right. Good point." | ||
| Jacqueline says, "Yeah, the producers are part of an Astaroth cult, and they were gonna sacrifice us, so that's part of why we want them to go." | ||
| Knight_Otu says, "We were lucky they were inept at this cult thing." | ||
| MoyTravis says, "I mean. We could leave." | ||
| Knight_Otu says, "I think we may be locked into the studio lot." | ||
| Knight_Otu says (to ClubFloyd), "cast banish boy" | ||
| CF ] Alleway, Rue des Verrièrs 5/393 | ||
| CF | > | ||
| CF | > CAST BANISH BOY | ||
| CF | | ||
| CF | I didn't understand that sentence. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast banish" | ||
| CF ] Alleway, Rue des Verrièrs 5/394 | ||
| CF | > | ||
| CF | > CAST BANISH | ||
| CF | | ||
| CF | There are many spirits here! Who do you wish to banish and entrap in | ||
| CF | the sacred stone? | ||
| CF | | ||
| CF | (1) - Evangeline, a wronged young woman | ||
| CF | (2) - Jacques Meribeaux, a ghostly young boy | ||
| CF | | ||
| CF | Banish ? | ||
| Knight_Otu says (to ClubFloyd), "2" | ||
| CF ] Alleway, Rue des Verrièrs 5/394 | ||
| CF | Banish ? | ||
| CF | > 2 | ||
| CF | | ||
| CF | You mumble the words of the spell and banish Jacques Meribeaux into | ||
| CF | the stone. The spirit is sucked wailing into its depths, there to be | ||
| CF | trapped till it is once again summoned! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast banish" | ||
| CF ] Alleway, Rue des Verrièrs 5/395 | ||
| CF | > | ||
| CF | > CAST BANISH | ||
| CF | | ||
| CF | You mumble the words of the spell and banish Evangeline into the | ||
| CF | stone. The spirit is sucked wailing into its depths, there to be | ||
| CF | trapped till it is once again summoned! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "e" | ||
| CF ] Deep in the Bayou 5/396 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | Deep in the Bayou | ||
| CF | Surrounded by the trunks of enormous trees, the Bayou has been emptied | ||
| CF | for the night. It's just a rubber lined dip in the floor now, with a | ||
| CF | few sad plastic plants lying in the bottom of it. Openings in the set | ||
| CF | lead south and east into the gloom. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] Voodoo Temple 5/397 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | Voodoo Temple | ||
| CF | All the masks lining the walls of the set seem to regard you with | ||
| CF | narrowed, suspicious eyes. There are dozens of them in all shapes and | ||
| CF | sizes. In between and around them hang colourful drapes, their | ||
| CF | attractive patterns at odds with the skulls on the floor and | ||
| CF | statuettes of frightening figures in little alcoves. Unlit candles | ||
| CF | cover almost every surface and everything is draped in a patina of | ||
| CF | nylon cobwebs. Doorways in the set walls lead into the gloom to the | ||
| CF | north and south. | ||
| CF | | ||
| CF | Dominating one wall is a large ornately carved wooden throne. | ||
| CF | | ||
| CF | In front of the throne is a small black table. | ||
| CF | | ||
| CF | Gemma Bellerton, probably possessed by an ancient Voodoo Priestess, | ||
| CF | sits on the wooden throne. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "throw bones" | ||
| CF ] Voodoo Temple 5/398 | ||
| CF | > | ||
| CF | > THROW BONES | ||
| CF | | ||
| CF | You throw the bones onto the black table. They click and skitter | ||
| CF | across its dark surface forming a loose pattern. | ||
| CF | | ||
| CF | Suddenly, in the shapes they make, you can see strange images. Two | ||
| CF | women and a child converse in a huge room. A soldier strides into a | ||
| CF | darkened basement. A young woman sits in a basement, waiting. A child | ||
| CF | weeps in a ballroom. | ||
| CF | | ||
| CF | > | Knight_Otu says, "Yeah, it looks like the father is going to be one of the killers." | |
| Knight_Otu says (to ClubFloyd), "get bones" | ||
| CF ] Voodoo Temple 5/399 | ||
| CF | > | ||
| CF | > GET BONES | ||
| CF | | ||
| CF | Taken. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Deep in the Bayou 5/400 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Deep in the Bayou | ||
| CF | Surrounded by the trunks of enormous trees, the Bayou has been emptied | ||
| CF | for the night. It's just a rubber lined dip in the floor now, with a | ||
| CF | few sad plastic plants lying in the bottom of it. Openings in the set | ||
| CF | lead south and east into the gloom. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "w" | ||
| CF ] Alleway, Rue des Verrièrs 5/401 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Alleway, Rue des Verrièrs | ||
| CF | A set designer has gone to great lengths to re-imagine a narrow | ||
| CF | alleyway running between rows of townhouses in somewhere like New | ||
| CF | Orleans. The facades of the houses, propped up by beams at the back, | ||
| CF | are painted in dusky oranges, reds and creams to resemble stucco | ||
| CF | rendering. Arches, separated by ornate columns, cover the frontages, | ||
| CF | each with its own darkened window. Elaborate iron balconies, created | ||
| CF | from plywood, stretch in between each arch, complete with hanging | ||
| CF | plastic plants and vines. Here, in the semi-darkness, the false | ||
| CF | buildings feel oppressive. Like they are hiding secrets! | ||
| CF | | ||
| CF | Gloomy openings in the set walls lead south and east deeper into the | ||
| CF | studio. To the west, a brighter gap opens into the guard's break room. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/402 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | The Grand Ballroom at the Governor's Mansion | ||
| CF | An ostentatious staircase, ending at the top at a false door on the | ||
| CF | Studio wall, sweeps down into a large grand ballroom set dominated by | ||
| CF | a huge chandelier that hangs in crystalline profusion from the | ||
| CF | ceiling. On the side of the set opposite the stairs is a small raised | ||
| CF | stage for the band. The rest of the floor is clear for the dancers. | ||
| CF | The walls are lined with gilded baroque mirrors, reflecting you | ||
| CF | endlessly! | ||
| CF | | ||
| CF | Gaps in the set walls lead north and south, deeper into the Studio. | ||
| CF | | ||
| CF | Clarissa wanders around the set. She is wringing her hands, fretfully. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast summon" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/403 | ||
| CF | > | ||
| CF | > CAST SUMMON | ||
| CF | | ||
| CF | There are many spirits inside the stone! Who do you wish to summon? | ||
| CF | | ||
| CF | (1) - Colonel Phillipe Meribeaux, the spirit of an army officer | ||
| CF | (2) - Jacques Meribeaux, a ghostly young boy | ||
| CF | (3) - Evangeline, a wronged young woman | ||
| CF | | ||
| CF | Summon ? | ||
| Knight_Otu says (to ClubFloyd), "2" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/403 | ||
| CF | Summon ? | ||
| CF | > 2 | ||
| CF | | ||
| CF | You undertake the strange actions and declaim all the words of the | ||
| CF | summon spell. The spirit emerges from the stone like smoke and | ||
| CF | coalesces into Jacques Meribeaux. | ||
| CF | | ||
| CF | The ghosts in the room continue to drift around, as if they are | ||
| CF | oblivious of one another! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast summon" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/404 | ||
| CF | > | ||
| CF | > CAST SUMMON | ||
| CF | | ||
| CF | There are many spirits inside the stone! Who do you wish to summon? | ||
| CF | | ||
| CF | (1) - Colonel Phillipe Meribeaux, the spirit of an army officer | ||
| CF | (2) - Evangeline, a wronged young woman | ||
| CF | | ||
| CF | Summon ? | ||
| Knight_Otu says (to ClubFloyd), "2" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/404 | ||
| CF | Summon ? | ||
| CF | > 2 | ||
| CF | | ||
| CF | You undertake the strange actions and declaim all the words of the | ||
| CF | summon spell. The spirit emerges from the stone like smoke and | ||
| CF | coalesces into Evangeline. | ||
| CF | | ||
| CF | "Ah need to meet mah man," whispers Evangeline. "This ain't right." | ||
| CF | | ||
| CF | She turns and fades out of the room straight through the wall! | ||
| CF | | ||
| CF | The ghosts in the room continue to drift around, as if they are | ||
| CF | oblivious of one another! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] Basement 5/405 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | Basement | ||
| CF | Ventilation ducts and pipes cover the ceiling of this small set. The | ||
| CF | three walls have been painted with splashes of green and brown that | ||
| CF | you suppose is meant to represent mould and water staining. Gaps in | ||
| CF | the set walls lead north and east into the studio gloom. | ||
| CF | | ||
| CF | Near the middle of the set is the white outline of a person painted | ||
| CF | onto the grimy floor. | ||
| CF | | ||
| CF | Dripping down one of the set walls and pooling on the floor is a | ||
| CF | horrific dark substance! It looks like blood! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/406 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | The Grand Ballroom at the Governor's Mansion | ||
| CF | An ostentatious staircase, ending at the top at a false door on the | ||
| CF | Studio wall, sweeps down into a large grand ballroom set dominated by | ||
| CF | a huge chandelier that hangs in crystalline profusion from the | ||
| CF | ceiling. On the side of the set opposite the stairs is a small raised | ||
| CF | stage for the band. The rest of the floor is clear for the dancers. | ||
| CF | The walls are lined with gilded baroque mirrors, reflecting you | ||
| CF | endlessly! | ||
| CF | | ||
| CF | Gaps in the set walls lead north and south, deeper into the Studio. | ||
| CF | | ||
| CF | Jacques Meribeaux skips around the set, occasionally glancing | ||
| CF | anxiously around. | ||
| CF | | ||
| CF | Clarissa wanders around the set. She is wringing her hands, fretfully. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Alleway, Rue des Verrièrs 5/407 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Alleway, Rue des Verrièrs | ||
| CF | A set designer has gone to great lengths to re-imagine a narrow | ||
| CF | alleyway running between rows of townhouses in somewhere like New | ||
| CF | Orleans. The facades of the houses, propped up by beams at the back, | ||
| CF | are painted in dusky oranges, reds and creams to resemble stucco | ||
| CF | rendering. Arches, separated by ornate columns, cover the frontages, | ||
| CF | each with its own darkened window. Elaborate iron balconies, created | ||
| CF | from plywood, stretch in between each arch, complete with hanging | ||
| CF | plastic plants and vines. Here, in the semi-darkness, the false | ||
| CF | buildings feel oppressive. Like they are hiding secrets! | ||
| CF | | ||
| CF | Gloomy openings in the set walls lead south and east deeper into the | ||
| CF | studio. To the west, a brighter gap opens into the guard's break room. | ||
| CF | | ||
| CF | In a corner of the set stands Evangeline, her face hidden behind a | ||
| CF | curtain of hair. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast banish" | ||
| CF ] Alleway, Rue des Verrièrs 5/408 | ||
| CF | > | ||
| CF | > CAST BANISH | ||
| CF | | ||
| CF | You mumble the words of the spell and banish Evangeline into the | ||
| CF | stone. The spirit is sucked wailing into its depths, there to be | ||
| CF | trapped till it is once again summoned! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/409 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | The Grand Ballroom at the Governor's Mansion | ||
| CF | An ostentatious staircase, ending at the top at a false door on the | ||
| CF | Studio wall, sweeps down into a large grand ballroom set dominated by | ||
| CF | a huge chandelier that hangs in crystalline profusion from the | ||
| CF | ceiling. On the side of the set opposite the stairs is a small raised | ||
| CF | stage for the band. The rest of the floor is clear for the dancers. | ||
| CF | The walls are lined with gilded baroque mirrors, reflecting you | ||
| CF | endlessly! | ||
| CF | | ||
| CF | Gaps in the set walls lead north and south, deeper into the Studio. | ||
| CF | | ||
| CF | Jacques Meribeaux skips around the set, occasionally glancing | ||
| CF | anxiously around. | ||
| CF | | ||
| CF | Clarissa wanders around the set. She is wringing her hands, fretfully. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] Basement 5/410 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | Basement | ||
| CF | Ventilation ducts and pipes cover the ceiling of this small set. The | ||
| CF | three walls have been painted with splashes of green and brown that | ||
| CF | you suppose is meant to represent mould and water staining. Gaps in | ||
| CF | the set walls lead north and east into the studio gloom. | ||
| CF | | ||
| CF | Near the middle of the set is the white outline of a person painted | ||
| CF | onto the grimy floor. | ||
| CF | | ||
| CF | Dripping down one of the set walls and pooling on the floor is a | ||
| CF | horrific dark substance! It looks like blood! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "summon" | ||
| CF ] Basement 5/410 | ||
| CF | > | ||
| CF | > SUMMON | ||
| CF | | ||
| CF | That's not a verb I recognise. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast summon" | ||
| CF ] Basement 5/411 | ||
| CF | > | ||
| CF | > CAST SUMMON | ||
| CF | | ||
| CF | There are many spirits inside the stone! Who do you wish to summon? | ||
| CF | | ||
| CF | (1) - Colonel Phillipe Meribeaux, the spirit of an army officer | ||
| CF | (2) - Evangeline, a wronged young woman | ||
| CF | | ||
| CF | Summon ? | ||
| Knight_Otu says (to ClubFloyd), "1" | ||
| CF ] Basement 5/411 | ||
| CF | Summon ? | ||
| CF | > 1 | ||
| CF | | ||
| CF | You undertake the strange actions and declaim all the words of the | ||
| CF | summon spell. The spirit emerges from the stone like smoke and | ||
| CF | coalesces into Colonel Phillipe Meribeaux. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast summon" | ||
| CF ] Basement 5/412 | ||
| CF | > | ||
| CF | > CAST SUMMON | ||
| CF | | ||
| CF | You undertake the strange actions and declaim all the words of the | ||
| CF | summon spell. The spirit emerges from the stone like smoke and | ||
| CF | coalesces into Evangeline. | ||
| CF | | ||
| CF | "Don't you do this, Phillipe," says the young woman in a low voice. | ||
| CF | "Don't you dare take mah baby! It's all ah got." | ||
| CF | | ||
| CF | The colonel stamps angrily away from her. "Don't be foolish, | ||
| CF | Evangeline," he snaps. "What do you think is gonna happen. You ain't | ||
| CF | got nothing. You want that poor boy to be growing up poor? He's mah | ||
| CF | son too, and ah sure as hell don't. We can take care of him. He'll | ||
| CF | grow up with good clothes and food and a good name. Ah'll make sure | ||
| CF | you get to see him. Clarissa just wants a baby. She don't care where | ||
| CF | it come from." | ||
| CF | | ||
| CF | Evangeline runs forward and grabs desperately at the Colonel's arm. | ||
| CF | "It don't have to be that way," she says. "Let's leave, me and you and | ||
| CF | Jacques. We can go south. Over into Mexico. We can have a life | ||
| CF | together." | ||
| CF | | ||
| CF | The Colonel just snorts with derision and pulls his arm out from her | ||
| CF | grasp. "With what," he says, coldly. "It's all Clarissa's family | ||
| CF | money. I leave, I lose everything. And don't tell me we don't need | ||
| CF | money. This is the real world." | ||
| CF | | ||
| CF | "I will tell her about us," says Evangeline, desperately. "I'll tell | ||
| CF | her who you been with all these years." | ||
| CF | | ||
| CF | Colonel Meribeaux just gives a cruel laugh. "You think she don't know? | ||
| CF | Why if she ain't the one who's been encouraging it given our problems | ||
| CF | procreating and all. Now ah'm gonna take that baby, Evangeline or I | ||
| CF | swear ah will have him into the poor house." | ||
| CF | | ||
| CF | Evangeline turns away weeping. Then, a strange thing happens. The | ||
| CF | light goes out of the ghost's eyes and they drift apart. It's like | ||
| CF | they can't see each other anymore. Well, that's a plot twist you | ||
| CF | didn't see coming. Turns out the Colonel is an awful person. And, by | ||
| CF | the sounds of it, so is Clarissa! | ||
| CF | | ||
| CF | > | MoyTravis says, "ghost drama" | |
| Knight_Otu asks, "You really didn't see this coming, protagonist?" | ||
| Jacqueline says, "haha. 'Turns out the Colonel is an awful person.' Yes." | ||
| Knight_Otu says (to ClubFloyd), "cast banish" | ||
| CF ] Basement 5/413 | ||
| CF | > | ||
| CF | > CAST BANISH | ||
| CF | | ||
| CF | There are many spirits here! Who do you wish to banish and entrap in | ||
| CF | the sacred stone? | ||
| CF | | ||
| CF | (1) - Evangeline, a wronged young woman | ||
| CF | (2) - Colonel Phillipe Meribeaux, the spirit of an army officer | ||
| CF | | ||
| CF | Banish ? | ||
| Knight_Otu says (to ClubFloyd), "1" | ||
| CF ] Basement 5/413 | ||
| CF | Banish ? | ||
| CF | > 1 | ||
| CF | | ||
| CF | You mumble the words of the spell and banish Evangeline into the | ||
| CF | stone. The spirit is sucked wailing into its depths, there to be | ||
| CF | trapped till it is once again summoned! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/414 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | The Grand Ballroom at the Governor's Mansion | ||
| CF | An ostentatious staircase, ending at the top at a false door on the | ||
| CF | Studio wall, sweeps down into a large grand ballroom set dominated by | ||
| CF | a huge chandelier that hangs in crystalline profusion from the | ||
| CF | ceiling. On the side of the set opposite the stairs is a small raised | ||
| CF | stage for the band. The rest of the floor is clear for the dancers. | ||
| CF | The walls are lined with gilded baroque mirrors, reflecting you | ||
| CF | endlessly! | ||
| CF | | ||
| CF | Gaps in the set walls lead north and south, deeper into the Studio. | ||
| CF | | ||
| CF | Jacques Meribeaux skips around the set, occasionally glancing | ||
| CF | anxiously around. | ||
| CF | | ||
| CF | Clarissa wanders around the set. She is wringing her hands, fretfully. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast summon" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/415 | ||
| CF | > | ||
| CF | > CAST SUMMON | ||
| CF | | ||
| CF | You undertake the strange actions and declaim all the words of the | ||
| CF | summon spell. The spirit emerges from the stone like smoke and | ||
| CF | coalesces into Evangeline. | ||
| CF | | ||
| CF | "You can't have him," yells Clarissa at Evangeline. "He's mah boy. | ||
| CF | Bought and paid for." | ||
| CF | | ||
| CF | Evangeline grabs hold of the boy's arm. "Ah'm taking him away," she | ||
| CF | says, her voice suddenly steely. "He don't love you. He needs his | ||
| CF | Momma. We're going far away from here and ain't nevah coming back. | ||
| CF | He's just another thing to you like your dresses or your house or your | ||
| CF | fancy silverware." | ||
| CF | | ||
| CF | "Momma?" wails Jacques. "Who's she? Why's she pulling me so?" | ||
| CF | | ||
| CF | "Don't you worry, honey," snaps Clarissa, grabbing the boy's other | ||
| CF | arm. "She's just a lonely mad woman who don't understand the ways of | ||
| CF | this world." She turns to Evangeline. "Why if ah evah see you again, | ||
| CF | or you evah come near mah boy, ah will have you in the asylum before | ||
| CF | you can say jack-rabbit," hisses Clarissa, her voice hard and cold. | ||
| CF | "Do you understand me? The Governor is a personal acquaintance of mine | ||
| CF | and you got nothing to bargain with. You got no hand to play with. You | ||
| CF | think this boy wants to live dirt-poor like you? Get outa here before | ||
| CF | ah summon mah husband." | ||
| CF | | ||
| CF | With a sob, Evangeline releases the boy's arm. | ||
| CF | | ||
| CF | Then, a strange thing happens. The light goes out of the ghost's eyes | ||
| CF | and they drift apart. It's like they can't see each other anymore!! | ||
| CF | | ||
| CF | > | Jacqueline asks, "So... how do they *die*?" | |
| Jacqueline says, "That's what I would like to know." | ||
| Knight_Otu says (to ClubFloyd), "cast banish" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/416 | ||
| CF | > | ||
| CF | > CAST BANISH | ||
| CF | | ||
| CF | There are many spirits here! Who do you wish to banish and entrap in | ||
| CF | the sacred stone? | ||
| CF | | ||
| CF | (1) - Evangeline, a wronged young woman | ||
| CF | (2) - Jacques Meribeaux, a ghostly young boy | ||
| CF | (3) - Clarissa Meribeaux, a faded southern belle | ||
| CF | | ||
| CF | Banish ? | Knight_Otu says, "Horribly, I'm sure." | |
| Krumar says, "I'm guessing she got shot tryingto get to her boy." | ||
| Knight_Otu says (to ClubFloyd), "1" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/416 | ||
| CF | Banish ? | ||
| CF | > 1 | ||
| CF | | ||
| CF | You mumble the words of the spell and banish Evangeline into the | ||
| CF | stone. The spirit is sucked wailing into its depths, there to be | ||
| CF | trapped till it is once again summoned! | ||
| CF | | ||
| CF | > | Knight_Otu says, "Horribly, I'm sure." | |
| Knight_Otu says, "Oops." | ||
| Knight_Otu says (to ClubFloyd), "cast banish" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/417 | ||
| CF | > | ||
| CF | > CAST BANISH | ||
| CF | | ||
| CF | There are many spirits here! Who do you wish to banish and entrap in | ||
| CF | the sacred stone? | ||
| CF | | ||
| CF | (1) - Jacques Meribeaux, a ghostly young boy | ||
| CF | (2) - Clarissa Meribeaux, a faded southern belle | ||
| CF | | ||
| CF | Banish ? | Jacqueline says, "This is still just wild how much of a game-within-a-very-different-game this is." | |
| Knight_Otu says (to ClubFloyd), "2" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/417 | ||
| CF | Banish ? | ||
| CF | > 2 | ||
| CF | | ||
| CF | You mumble the words of the spell and banish Clarissa Meribeaux into | ||
| CF | the stone. The spirit is sucked wailing into its depths, there to be | ||
| CF | trapped till it is once again summoned! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Alleway, Rue des Verrièrs 5/418 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Alleway, Rue des Verrièrs | ||
| CF | A set designer has gone to great lengths to re-imagine a narrow | ||
| CF | alleyway running between rows of townhouses in somewhere like New | ||
| CF | Orleans. The facades of the houses, propped up by beams at the back, | ||
| CF | are painted in dusky oranges, reds and creams to resemble stucco | ||
| CF | rendering. Arches, separated by ornate columns, cover the frontages, | ||
| CF | each with its own darkened window. Elaborate iron balconies, created | ||
| CF | from plywood, stretch in between each arch, complete with hanging | ||
| CF | plastic plants and vines. Here, in the semi-darkness, the false | ||
| CF | buildings feel oppressive. Like they are hiding secrets! | ||
| CF | | ||
| CF | Gloomy openings in the set walls lead south and east deeper into the | ||
| CF | studio. To the west, a brighter gap opens into the guard's break room. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "e" | ||
| CF ] Deep in the Bayou 5/419 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | Deep in the Bayou | ||
| CF | Surrounded by the trunks of enormous trees, the Bayou has been emptied | ||
| CF | for the night. It's just a rubber lined dip in the floor now, with a | ||
| CF | few sad plastic plants lying in the bottom of it. Openings in the set | ||
| CF | lead south and east into the gloom. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] Voodoo Temple 5/420 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | Voodoo Temple | ||
| CF | All the masks lining the walls of the set seem to regard you with | ||
| CF | narrowed, suspicious eyes. There are dozens of them in all shapes and | ||
| CF | sizes. In between and around them hang colourful drapes, their | ||
| CF | attractive patterns at odds with the skulls on the floor and | ||
| CF | statuettes of frightening figures in little alcoves. Unlit candles | ||
| CF | cover almost every surface and everything is draped in a patina of | ||
| CF | nylon cobwebs. Doorways in the set walls lead into the gloom to the | ||
| CF | north and south. | ||
| CF | | ||
| CF | Dominating one wall is a large ornately carved wooden throne. | ||
| CF | | ||
| CF | In front of the throne is a small black table. | ||
| CF | | ||
| CF | Gemma Bellerton, probably possessed by an ancient Voodoo Priestess, | ||
| CF | sits on the wooden throne. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "throw bones" | ||
| CF ] Voodoo Temple 5/421 | ||
| CF | > | ||
| CF | > THROW BONES | ||
| CF | | ||
| CF | You throw the bones onto the black table. They click and skitter | ||
| CF | across its dark surface forming a loose pattern. | ||
| CF | | ||
| CF | Suddenly, in the shapes they make, you can see strange images. A boy | ||
| CF | hovers behind his mother. A woman and a soldier argue in an alleyway. | ||
| CF | An old priestess gives a young woman something. In front of a row of | ||
| CF | houses, a soldier furiously stalks away from a blond woman. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast summon" | ||
| CF ] Voodoo Temple 5/422 | ||
| CF | > | ||
| CF | > CAST SUMMON | ||
| CF | | ||
| CF | There are many spirits inside the stone! Who do you wish to summon? | ||
| CF | | ||
| CF | (1) - Evangeline, a wronged young woman | ||
| CF | (2) - Clarissa Meribeaux, a faded southern belle | ||
| CF | | ||
| CF | Summon ? | ||
| Knight_Otu says (to ClubFloyd), "1" | ||
| CF ] Voodoo Temple 5/422 | ||
| CF | Summon ? | ||
| CF | > 1 | ||
| CF | | ||
| CF | You undertake the strange actions and declaim all the words of the | ||
| CF | summon spell. The spirit emerges from the stone like smoke and | ||
| CF | coalesces into Evangeline. | ||
| CF | | ||
| CF | "Ah need help," whispers Evangeline, kneeling at the feet of the old | ||
| CF | Priestess. "They done me wrong and ah need them to pay." | ||
| CF | | ||
| CF | The Priestess leans forward and puts a gnarled hand on the girl's | ||
| CF | shoulder. "How far you willing to go, girl?" she says, her voice a | ||
| CF | sharp whisper. "What you willing to do?" | ||
| CF | | ||
| CF | "Anything," replies the girl, with steely resolve. "Ah'll do anything | ||
| CF | to make them pay for what they done." | ||
| CF | | ||
| CF | "Well, then, here's what ah need you to do...." begins the Priestess, | ||
| CF | but then shakes her head in confusion. | ||
| CF | | ||
| CF | "Don't listen to her," continues the Priestess, in Gemma's voice, her | ||
| CF | face suddenly looking younger. "She's going to tell you to do | ||
| CF | something horrible. It won't end well. You should just..." | ||
| CF | | ||
| CF | The Priestess's face changes once more, becoming older in a heartbeat. | ||
| CF | "Why don't you just mind your business," she snaps to herself. "This | ||
| CF | ain't no concern of yours." | ||
| CF | | ||
| CF | "Well," she says sharply, in Gemma's voice once more. "Perhaps if you | ||
| CF | weren't so blatantly plotting to kill everyone in this story for no | ||
| CF | reason at all that I can see, then maybe I'd just let you get on with | ||
| CF | it." | ||
| CF | | ||
| CF | "Don't you tell me what to do," hisses the Priestess. "Why, you don't | ||
| CF | know jack. You only just dead. When you been dead these one hundred | ||
| CF | years, then you can have a say in these matters." | ||
| CF | | ||
| CF | Gemma sighs. "Well I can't stop you," she says. "But what's your | ||
| CF | character's motivation? You should re-consider your choices | ||
| CF | in my opinion." | ||
| CF | | ||
| CF | Then Gemma is gone and the Priestess flexes her shoulders. "Now as ah | ||
| CF | was saying before ah was so rudely interrupted, what you willing to | ||
| CF | do, girl?" | ||
| CF | | ||
| CF | Evangeline has been watching the exchange, looking utterly bewildered, | ||
| CF | her mouth gaping like a fish. "Anything," she eventually says. "Ah'll | ||
| CF | do anything for mah revenge." | ||
| CF | | ||
| CF | Then, a strange thing happens. The light goes out of the ghost's eyes | ||
| CF | and they drift apart. It's like they can't see each other anymore! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast banish" | ||
| CF ] Voodoo Temple 5/423 | ||
| CF | > | ||
| CF | > CAST BANISH | ||
| CF | | ||
| CF | There are many spirits here! Who do you wish to banish and entrap in | ||
| CF | the sacred stone? | ||
| CF | | ||
| CF | (1) - Evangeline, a wronged young woman | ||
| CF | (2) - Gemma Bellerton, in costume as a voodoo priestess | ||
| CF | | ||
| CF | Banish ? | ||
| Knight_Otu says (to ClubFloyd), "1" | ||
| CF ] Voodoo Temple 5/423 | ||
| CF | Banish ? | ||
| CF | > 1 | ||
| CF | | ||
| CF | You mumble the words of the spell and banish Evangeline into the | ||
| CF | stone. The spirit is sucked wailing into its depths, there to be | ||
| CF | trapped till it is once again summoned! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "get bones" | ||
| CF ] Voodoo Temple 5/424 | ||
| CF | > | ||
| CF | > GET BONES | ||
| CF | | ||
| CF | Taken. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Deep in the Bayou 5/425 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Deep in the Bayou | ||
| CF | Surrounded by the trunks of enormous trees, the Bayou has been emptied | ||
| CF | for the night. It's just a rubber lined dip in the floor now, with a | ||
| CF | few sad plastic plants lying in the bottom of it. Openings in the set | ||
| CF | lead south and east into the gloom. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "w" | ||
| CF ] Alleway, Rue des Verrièrs 5/426 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Alleway, Rue des Verrièrs | ||
| CF | A set designer has gone to great lengths to re-imagine a narrow | ||
| CF | alleyway running between rows of townhouses in somewhere like New | ||
| CF | Orleans. The facades of the houses, propped up by beams at the back, | ||
| CF | are painted in dusky oranges, reds and creams to resemble stucco | ||
| CF | rendering. Arches, separated by ornate columns, cover the frontages, | ||
| CF | each with its own darkened window. Elaborate iron balconies, created | ||
| CF | from plywood, stretch in between each arch, complete with hanging | ||
| CF | plastic plants and vines. Here, in the semi-darkness, the false | ||
| CF | buildings feel oppressive. Like they are hiding secrets! | ||
| CF | | ||
| CF | Gloomy openings in the set walls lead south and east deeper into the | ||
| CF | studio. To the west, a brighter gap opens into the guard's break room. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "summon" | ||
| CF ] Alleway, Rue des Verrièrs 5/426 | ||
| CF | > | ||
| CF | > SUMMON | ||
| CF | | ||
| CF | That's not a verb I recognise. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast summon" | ||
| CF ] Alleway, Rue des Verrièrs 5/427 | ||
| CF | > | ||
| CF | > CAST SUMMON | ||
| CF | | ||
| CF | There are many spirits inside the stone! Who do you wish to summon? | ||
| CF | | ||
| CF | (1) - Clarissa Meribeaux, a faded southern belle | ||
| CF | (2) - Evangeline, a wronged young woman | ||
| CF | | ||
| CF | Summon ? | ||
| Knight_Otu says (to ClubFloyd), "1" | ||
| CF ] Alleway, Rue des Verrièrs 5/427 | ||
| CF | Summon ? | ||
| CF | > 1 | ||
| CF | | ||
| CF | You undertake the strange actions and declaim all the words of the | ||
| CF | summon spell. The spirit emerges from the stone like smoke and | ||
| CF | coalesces into Clarissa Meribeaux. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/428 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | The Grand Ballroom at the Governor's Mansion | ||
| CF | An ostentatious staircase, ending at the top at a false door on the | ||
| CF | Studio wall, sweeps down into a large grand ballroom set dominated by | ||
| CF | a huge chandelier that hangs in crystalline profusion from the | ||
| CF | ceiling. On the side of the set opposite the stairs is a small raised | ||
| CF | stage for the band. The rest of the floor is clear for the dancers. | ||
| CF | The walls are lined with gilded baroque mirrors, reflecting you | ||
| CF | endlessly! | ||
| CF | | ||
| CF | Gaps in the set walls lead north and south, deeper into the Studio. | ||
| CF | | ||
| CF | Jacques Meribeaux stands, expressionless, near the wall. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast banish" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/429 | ||
| CF | > | ||
| CF | > CAST BANISH | ||
| CF | | ||
| CF | You mumble the words of the spell and banish Jacques Meribeaux into | ||
| CF | the stone. The spirit is sucked wailing into its depths, there to be | ||
| CF | trapped till it is once again summoned! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] Basement 5/430 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | Basement | ||
| CF | Ventilation ducts and pipes cover the ceiling of this small set. The | ||
| CF | three walls have been painted with splashes of green and brown that | ||
| CF | you suppose is meant to represent mould and water staining. Gaps in | ||
| CF | the set walls lead north and east into the studio gloom. | ||
| CF | | ||
| CF | Near the middle of the set is the white outline of a person painted | ||
| CF | onto the grimy floor. | ||
| CF | | ||
| CF | Colonel Meribeaux paces angrily up and down the set. | ||
| CF | | ||
| CF | Dripping down one of the set walls and pooling on the floor is a | ||
| CF | horrific dark substance! It looks like blood! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast banish" | ||
| CF ] Basement 5/431 | ||
| CF | > | ||
| CF | > CAST BANISH | ||
| CF | | ||
| CF | You mumble the words of the spell and banish Colonel Phillipe | ||
| CF | Meribeaux into the stone. The spirit is sucked wailing into its | ||
| CF | depths, there to be trapped till it is once again summoned! | ||
| CF | | ||
| CF | > | Knight_Otu says, "Easier to herd cats." | |
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/432 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | The Grand Ballroom at the Governor's Mansion | ||
| CF | An ostentatious staircase, ending at the top at a false door on the | ||
| CF | Studio wall, sweeps down into a large grand ballroom set dominated by | ||
| CF | a huge chandelier that hangs in crystalline profusion from the | ||
| CF | ceiling. On the side of the set opposite the stairs is a small raised | ||
| CF | stage for the band. The rest of the floor is clear for the dancers. | ||
| CF | The walls are lined with gilded baroque mirrors, reflecting you | ||
| CF | endlessly! | ||
| CF | | ||
| CF | Gaps in the set walls lead north and south, deeper into the Studio. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Alleway, Rue des Verrièrs 5/433 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Alleway, Rue des Verrièrs | ||
| CF | A set designer has gone to great lengths to re-imagine a narrow | ||
| CF | alleyway running between rows of townhouses in somewhere like New | ||
| CF | Orleans. The facades of the houses, propped up by beams at the back, | ||
| CF | are painted in dusky oranges, reds and creams to resemble stucco | ||
| CF | rendering. Arches, separated by ornate columns, cover the frontages, | ||
| CF | each with its own darkened window. Elaborate iron balconies, created | ||
| CF | from plywood, stretch in between each arch, complete with hanging | ||
| CF | plastic plants and vines. Here, in the semi-darkness, the false | ||
| CF | buildings feel oppressive. Like they are hiding secrets! | ||
| CF | | ||
| CF | Gloomy openings in the set walls lead south and east deeper into the | ||
| CF | studio. To the west, a brighter gap opens into the guard's break room. | ||
| CF | | ||
| CF | Clarissa stands, looking dejected, in the centre of the set. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast summon" | ||
| CF ] Alleway, Rue des Verrièrs 5/434 | ||
| CF | > | ||
| CF | > CAST SUMMON | ||
| CF | | ||
| CF | There are many spirits inside the stone! Who do you wish to summon? | ||
| CF | | ||
| CF | (1) - Evangeline, a wronged young woman | ||
| CF | (2) - Jacques Meribeaux, a ghostly young boy | ||
| CF | (3) - Colonel Phillipe Meribeaux, the spirit of an army officer | ||
| CF | | ||
| CF | Summon ? | ||
| Knight_Otu says (to ClubFloyd), "3" | ||
| CF ] Alleway, Rue des Verrièrs 5/434 | ||
| CF | Summon ? | ||
| CF | > 3 | ||
| CF | | ||
| CF | You undertake the strange actions and declaim all the words of the | ||
| CF | summon spell. The spirit emerges from the stone like smoke and | ||
| CF | coalesces into Colonel Phillipe Meribeaux. | ||
| CF | | ||
| CF | "Ah can't bear it," sobs Clarissa. "He's changed, Phillipe. He's not | ||
| CF | the same boy. There's something...evil...about him. He means us harm, | ||
| CF | ah am sure of it." | ||
| CF | | ||
| CF | "Don't be foolish, Clarissa," says the Colonel, his face red with | ||
| CF | anger. "You got what you wanted. I got you a child. Now you're telling | ||
| CF | me he ain't what you thought. He's just a young boy. Ain't nothing | ||
| CF | evil about him." | ||
| CF | | ||
| CF | "You seen it," wails Clarissa. "You seen it in his eyes when he looks | ||
| CF | at you. That's why you don't spend no time with him. That's why you're | ||
| CF | always out of the house, working. Don't tell me that's not the | ||
| CF | reason." | ||
| CF | | ||
| CF | "You know what ah think?" replies the Colonel, turning away. "Ah think | ||
| CF | you're bored of him like you get bored of every possession you evah | ||
| CF | had. You wanted a child, you got a child. Clarissa Meribeaux gets | ||
| CF | everything she wants, don't she. From her Daddy and now from me." | ||
| CF | | ||
| CF | "Don't you say that," yells Clarissa. "I know my mind. I know what I | ||
| CF | seen. Why, with that cat. It was horrible what he done, Phillipe. Ah | ||
| CF | sometimes see him looking at me the same way he looks at those | ||
| CF | animals." | ||
| CF | | ||
| CF | The Colonel snorts with derision. "You're seeing things you want to | ||
| CF | see," he says. "He's just a boy, doing what boy's do." | ||
| CF | | ||
| CF | "Ah know what ah seen," weeps Clarissa. "Ah know what he is." | ||
| CF | | ||
| CF | Then, a strange thing happens. The light goes out of the ghost's eyes | ||
| CF | and they drift apart. It's like they can't see each other anymore. Oh, | ||
| CF | dear. This doesn't sound good! | ||
| CF | | ||
| CF | > | Jacqueline says, "oh no. Not the cat." | |
| MoyTravis says, "RIP random cat." | ||
| Jacqueline presses F. | ||
| Knight_Otu says, "Just about everything they said didn't sound good, protagonist. Granted it keeps getting worse." | ||
| Knight_Otu says (to ClubFloyd), "banish" | ||
| CF ] Alleway, Rue des Verrièrs 5/434 | ||
| CF | > | ||
| CF | > BANISH | ||
| CF | | ||
| CF | That's not a verb I recognise. | ||
| CF | | ||
| CF | > | Jacqueline says, "I guess we now know why the boy is green." | |
| Knight_Otu says (to ClubFloyd), "cast banish" | ||
| CF ] Alleway, Rue des Verrièrs 5/435 | ||
| CF | > | ||
| CF | > CAST BANISH | ||
| CF | | ||
| CF | There are many spirits here! Who do you wish to banish and entrap in | ||
| CF | the sacred stone? | ||
| CF | | ||
| CF | (1) - Colonel Phillipe Meribeaux, the spirit of an army officer | ||
| CF | (2) - Clarissa Meribeaux, a faded southern belle | ||
| CF | | ||
| CF | Banish ? | ||
| Knight_Otu says (to ClubFloyd), "2" | ||
| CF ] Alleway, Rue des Verrièrs 5/435 | ||
| CF | Banish ? | ||
| CF | > 2 | ||
| CF | | ||
| CF | You mumble the words of the spell and banish Clarissa Meribeaux into | ||
| CF | the stone. The spirit is sucked wailing into its depths, there to be | ||
| CF | trapped till it is once again summoned! | ||
| CF | | ||
| CF | > | Jacqueline says, "And also, I was very wrong about the childbirth thing. My bad." | |
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/436 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | The Grand Ballroom at the Governor's Mansion | ||
| CF | An ostentatious staircase, ending at the top at a false door on the | ||
| CF | Studio wall, sweeps down into a large grand ballroom set dominated by | ||
| CF | a huge chandelier that hangs in crystalline profusion from the | ||
| CF | ceiling. On the side of the set opposite the stairs is a small raised | ||
| CF | stage for the band. The rest of the floor is clear for the dancers. | ||
| CF | The walls are lined with gilded baroque mirrors, reflecting you | ||
| CF | endlessly! | ||
| CF | | ||
| CF | Gaps in the set walls lead north and south, deeper into the Studio. | ||
| CF | | ||
| CF | > | Knight_Otu says, "It was a hypothesis that didn't grow into a theory. It happens." | |
| Jacqueline asks, "So, is the technique (sorry, trying to follow) that you roll the bones to get a hint as to where the next scene occurs, then summon the right people in that scene?" | ||
| Krumar says, "that's whatit sounds like to me." | ||
| Knight_Otu says, "Yes, that's what I'm doing. Sometimes two sentences form a single scene. Also, it seems the order of scenes matters." | ||
| Roger says, "hmmm sounds about right" | ||
| Knight_Otu says (to ClubFloyd), "cast summon" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/437 | ||
| CF | > | ||
| CF | > CAST SUMMON | ||
| CF | | ||
| CF | There are many spirits inside the stone! Who do you wish to summon? | ||
| CF | | ||
| CF | (1) - Evangeline, a wronged young woman | ||
| CF | (2) - Jacques Meribeaux, a ghostly young boy | ||
| CF | (3) - Clarissa Meribeaux, a faded southern belle | ||
| CF | | ||
| CF | Summon ? | ||
| Knight_Otu says (to ClubFloyd), "2" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/437 | ||
| CF | Summon ? | ||
| CF | > 2 | ||
| CF | | ||
| CF | You undertake the strange actions and declaim all the words of the | ||
| CF | summon spell. The spirit emerges from the stone like smoke and | ||
| CF | coalesces into Jacques Meribeaux. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast summon" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/438 | ||
| CF | > | ||
| CF | > CAST SUMMON | ||
| CF | | ||
| CF | There are many spirits inside the stone! Who do you wish to summon? | ||
| CF | | ||
| CF | (1) - Evangeline, a wronged young woman | ||
| CF | (2) - Clarissa Meribeaux, a faded southern belle | ||
| CF | | ||
| CF | Summon ? | ||
| Knight_Otu says (to ClubFloyd), "1" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/438 | ||
| CF | Summon ? | ||
| CF | > 1 | ||
| CF | | ||
| CF | You undertake the strange actions and declaim all the words of the | ||
| CF | summon spell. The spirit emerges from the stone like smoke and | ||
| CF | coalesces into Evangeline. | ||
| CF | | ||
| CF | "Ah'm gonna save him," she says. "He ain't evil. He needs his Momma." | ||
| CF | | ||
| CF | She turns and fades out of the room straight through the wall! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast summon" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/439 | ||
| CF | > | ||
| CF | > CAST SUMMON | ||
| CF | | ||
| CF | You undertake the strange actions and declaim all the words of the | ||
| CF | summon spell. The spirit emerges from the stone like smoke and | ||
| CF | coalesces into Clarissa Meribeaux. | ||
| CF | | ||
| CF | "Come along, Jacques," says Clarissa and, at least to you, her voice | ||
| CF | sounds forced and full of fear. "We gonna go for a walk in the Bayou." | ||
| CF | | ||
| CF | "I hear you been talking about me," replies Jacques, with a dry | ||
| CF | chuckle. "I hear you been telling Poppa stories." | ||
| CF | | ||
| CF | "Why, that's a strange thing to say," quavers Clarissa. "I'm sure that | ||
| CF | it's nothing. Now, let's go. Poppa will be home tonight and we ain't | ||
| CF | got long for our walk." | ||
| CF | | ||
| CF | "Why, Momma, ah would be happy to escort you on your walk," says the | ||
| CF | boy, but the way he says it makes the hair stand up on the back of | ||
| CF | your neck. There's something wrong with his eyes! | ||
| CF | | ||
| CF | It obviously frightens Clarissa also. She draws back. "What are you?" | ||
| CF | she whispers. "Where's mah boy gone?" | ||
| CF | | ||
| CF | "What do you mean, Momma?" says Jacques, innocently. "It's just me. | ||
| CF | Your boy." He grabs her wrist, and you see Clarissa wince with pain. | ||
| CF | "Now maybe it's time for our walk. Ah been looking forward to it for a | ||
| CF | long time." | ||
| CF | | ||
| CF | Then, a strange thing happens. The light goes out of the ghost's eyes | ||
| CF | and they drift apart. It's like they can't see each other anymore! You | ||
| CF | shudder. That's one creepy kid! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast banish" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/440 | ||
| CF | > | ||
| CF | > CAST BANISH | ||
| CF | | ||
| CF | There are many spirits here! Who do you wish to banish and entrap in | ||
| CF | the sacred stone? | ||
| CF | | ||
| CF | (1) - Clarissa Meribeaux, a faded southern belle | ||
| CF | (2) - Jacques Meribeaux, a ghostly young boy | ||
| CF | | ||
| CF | Banish ? | ||
| Knight_Otu says (to ClubFloyd), "1" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/440 | ||
| CF | Banish ? | ||
| CF | > 1 | ||
| CF | | ||
| CF | You mumble the words of the spell and banish Clarissa Meribeaux into | ||
| CF | the stone. The spirit is sucked wailing into its depths, there to be | ||
| CF | trapped till it is once again summoned! | ||
| CF | | ||
| CF | > | Knight_Otu asks, "She's gonna try and drown him in the bayou, isn't she? And it'll come otherwise, isn't it?" | |
| Jacqueline says, "Gosh. Yes." | ||
| Jacqueline says, "eep" | ||
| Knight_Otu says (to ClubFloyd), "cast banish" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/441 | ||
| CF | > | ||
| CF | > CAST BANISH | ||
| CF | | ||
| CF | You mumble the words of the spell and banish Jacques Meribeaux into | ||
| CF | the stone. The spirit is sucked wailing into its depths, there to be | ||
| CF | trapped till it is once again summoned! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Alleway, Rue des Verrièrs 5/442 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Alleway, Rue des Verrièrs | ||
| CF | A set designer has gone to great lengths to re-imagine a narrow | ||
| CF | alleyway running between rows of townhouses in somewhere like New | ||
| CF | Orleans. The facades of the houses, propped up by beams at the back, | ||
| CF | are painted in dusky oranges, reds and creams to resemble stucco | ||
| CF | rendering. Arches, separated by ornate columns, cover the frontages, | ||
| CF | each with its own darkened window. Elaborate iron balconies, created | ||
| CF | from plywood, stretch in between each arch, complete with hanging | ||
| CF | plastic plants and vines. Here, in the semi-darkness, the false | ||
| CF | buildings feel oppressive. Like they are hiding secrets! | ||
| CF | | ||
| CF | Gloomy openings in the set walls lead south and east deeper into the | ||
| CF | studio. To the west, a brighter gap opens into the guard's break room. | ||
| CF | | ||
| CF | The Colonel stands in the centre of the set, his face set in a scowl. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "e" | ||
| CF ] Deep in the Bayou 5/443 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | Deep in the Bayou | ||
| CF | Surrounded by the trunks of enormous trees, the Bayou has been emptied | ||
| CF | for the night. It's just a rubber lined dip in the floor now, with a | ||
| CF | few sad plastic plants lying in the bottom of it. Openings in the set | ||
| CF | lead south and east into the gloom. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast summon" | ||
| CF ] Deep in the Bayou 5/444 | ||
| CF | > | ||
| CF | > CAST SUMMON | ||
| CF | | ||
| CF | There are many spirits inside the stone! Who do you wish to summon? | ||
| CF | | ||
| CF | (1) - Clarissa Meribeaux, a faded southern belle | ||
| CF | (2) - Jacques Meribeaux, a ghostly young boy | ||
| CF | | ||
| CF | Summon ? | ||
| Knight_Otu says (to ClubFloyd), "1" | ||
| CF ] Deep in the Bayou 5/444 | ||
| CF | Summon ? | ||
| CF | > 1 | ||
| CF | | ||
| CF | You undertake the strange actions and declaim all the words of the | ||
| CF | summon spell. The spirit emerges from the stone like smoke and | ||
| CF | coalesces into Clarissa Meribeaux. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast summon" | ||
| CF ] Deep in the Bayou 5/445 | ||
| CF | > | ||
| CF | > CAST SUMMON | ||
| CF | | ||
| CF | You undertake the strange actions and declaim all the words of the | ||
| CF | summon spell. The spirit emerges from the stone like smoke and | ||
| CF | coalesces into Jacques Meribeaux. | ||
| CF | | ||
| CF | The ghosts in the room continue to drift around, as if they are | ||
| CF | oblivious of one another! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "w" | ||
| CF ] Alleway, Rue des Verrièrs 5/446 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Alleway, Rue des Verrièrs | ||
| CF | A set designer has gone to great lengths to re-imagine a narrow | ||
| CF | alleyway running between rows of townhouses in somewhere like New | ||
| CF | Orleans. The facades of the houses, propped up by beams at the back, | ||
| CF | are painted in dusky oranges, reds and creams to resemble stucco | ||
| CF | rendering. Arches, separated by ornate columns, cover the frontages, | ||
| CF | each with its own darkened window. Elaborate iron balconies, created | ||
| CF | from plywood, stretch in between each arch, complete with hanging | ||
| CF | plastic plants and vines. Here, in the semi-darkness, the false | ||
| CF | buildings feel oppressive. Like they are hiding secrets! | ||
| CF | | ||
| CF | Gloomy openings in the set walls lead south and east deeper into the | ||
| CF | studio. To the west, a brighter gap opens into the guard's break room. | ||
| CF | | ||
| CF | The Colonel stands in the centre of the set, his face set in a scowl. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast banish" | ||
| CF ] Alleway, Rue des Verrièrs 5/447 | ||
| CF | > | ||
| CF | > CAST BANISH | ||
| CF | | ||
| CF | You mumble the words of the spell and banish Colonel Phillipe | ||
| CF | Meribeaux into the stone. The spirit is sucked wailing into its | ||
| CF | depths, there to be trapped till it is once again summoned! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "e" | ||
| CF ] Deep in the Bayou 5/448 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | Deep in the Bayou | ||
| CF | Surrounded by the trunks of enormous trees, the Bayou has been emptied | ||
| CF | for the night. It's just a rubber lined dip in the floor now, with a | ||
| CF | few sad plastic plants lying in the bottom of it. Openings in the set | ||
| CF | lead south and east into the gloom. | ||
| CF | | ||
| CF | In the corner of the set, Jacques Meribeaux stands malevolently, half | ||
| CF | covered in shadow. | ||
| CF | | ||
| CF | Clarissa runs back and forth across the set, her hair in disarray. She | ||
| CF | looks terrified. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast summon" | ||
| CF ] Deep in the Bayou 5/449 | ||
| CF | > | ||
| CF | > CAST SUMMON | ||
| CF | | ||
| CF | You undertake the strange actions and declaim all the words of the | ||
| CF | summon spell. The spirit emerges from the stone like smoke and | ||
| CF | coalesces into Colonel Phillipe Meribeaux. | ||
| CF | | ||
| CF | The ghosts in the room continue to drift around, as if they are | ||
| CF | oblivious of one another! | ||
| CF | | ||
| CF | > | Jacqueline asks, "We need the boy?" | |
| Knight_Otu asks, "Final showdown time with everyone?" | ||
| Jacqueline says, "I think so, yeah" | ||
| Knight_Otu says, "He should be here." | ||
| Jacqueline says, "well, I'm not sure everyone" | ||
| Knight_Otu says (to ClubFloyd), "l" | ||
| CF ] Deep in the Bayou 5/450 | ||
| CF | > | ||
| CF | > L | ||
| CF | | ||
| CF | Deep in the Bayou | ||
| CF | Surrounded by the trunks of enormous trees, the Bayou has been emptied | ||
| CF | for the night. It's just a rubber lined dip in the floor now, with a | ||
| CF | few sad plastic plants lying in the bottom of it. Openings in the set | ||
| CF | lead south and east into the gloom. | ||
| CF | | ||
| CF | The Colonel stands in the centre of the set, his face set in a scowl. | ||
| CF | | ||
| CF | In the corner of the set, Jacques Meribeaux stands malevolently, half | ||
| CF | covered in shadow. | ||
| CF | | ||
| CF | Clarissa runs back and forth across the set, her hair in disarray. She | ||
| CF | looks terrified. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "w" | ||
| CF ] Alleway, Rue des Verrièrs 5/451 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Alleway, Rue des Verrièrs | ||
| CF | A set designer has gone to great lengths to re-imagine a narrow | ||
| CF | alleyway running between rows of townhouses in somewhere like New | ||
| CF | Orleans. The facades of the houses, propped up by beams at the back, | ||
| CF | are painted in dusky oranges, reds and creams to resemble stucco | ||
| CF | rendering. Arches, separated by ornate columns, cover the frontages, | ||
| CF | each with its own darkened window. Elaborate iron balconies, created | ||
| CF | from plywood, stretch in between each arch, complete with hanging | ||
| CF | plastic plants and vines. Here, in the semi-darkness, the false | ||
| CF | buildings feel oppressive. Like they are hiding secrets! | ||
| CF | | ||
| CF | Gloomy openings in the set walls lead south and east deeper into the | ||
| CF | studio. To the west, a brighter gap opens into the guard's break room. | ||
| CF | | ||
| CF | > | Jacqueline asks, "Is this scene just Clarissa and the boy?" | |
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/452 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | The Grand Ballroom at the Governor's Mansion | ||
| CF | An ostentatious staircase, ending at the top at a false door on the | ||
| CF | Studio wall, sweeps down into a large grand ballroom set dominated by | ||
| CF | a huge chandelier that hangs in crystalline profusion from the | ||
| CF | ceiling. On the side of the set opposite the stairs is a small raised | ||
| CF | stage for the band. The rest of the floor is clear for the dancers. | ||
| CF | The walls are lined with gilded baroque mirrors, reflecting you | ||
| CF | endlessly! | ||
| CF | | ||
| CF | Gaps in the set walls lead north and south, deeper into the Studio. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] Basement 5/453 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | Basement | ||
| CF | Ventilation ducts and pipes cover the ceiling of this small set. The | ||
| CF | three walls have been painted with splashes of green and brown that | ||
| CF | you suppose is meant to represent mould and water staining. Gaps in | ||
| CF | the set walls lead north and east into the studio gloom. | ||
| CF | | ||
| CF | Near the middle of the set is the white outline of a person painted | ||
| CF | onto the grimy floor. | ||
| CF | | ||
| CF | Dripping down one of the set walls and pooling on the floor is a | ||
| CF | horrific dark substance! It looks like blood! | ||
| CF | | ||
| CF | > | Knight_Otu says, "They didn't interact when they were alone." | |
| Knight_Otu says (to ClubFloyd), "e" | ||
| CF ] The Cemetery of St. Louise de Marillac 5/454 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | The Cemetery of St. Louise de Marillac | ||
| CF | What a set this is! Mallet Studios must have actually spent some real | ||
| CF | money on this. The large space, bounded by walls painted with distant | ||
| CF | scenery, is row after row of forbidding tombs, ornamented gravestones | ||
| CF | and imposing hooded statues. Vines and tropical looking plastic plants | ||
| CF | wind over everything, giving a real atmosphere of age and shadowy | ||
| CF | menace. Openings in the set walls lead north and west deeper into the | ||
| CF | studio. | ||
| CF | | ||
| CF | To one side of the set is a row of freshly filled in graves! | ||
| CF | | ||
| CF | > | Jacqueline says, "Oh" | |
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Voodoo Temple 5/455 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Voodoo Temple | ||
| CF | All the masks lining the walls of the set seem to regard you with | ||
| CF | narrowed, suspicious eyes. There are dozens of them in all shapes and | ||
| CF | sizes. In between and around them hang colourful drapes, their | ||
| CF | attractive patterns at odds with the skulls on the floor and | ||
| CF | statuettes of frightening figures in little alcoves. Unlit candles | ||
| CF | cover almost every surface and everything is draped in a patina of | ||
| CF | nylon cobwebs. Doorways in the set walls lead into the gloom to the | ||
| CF | north and south. | ||
| CF | | ||
| CF | Dominating one wall is a large ornately carved wooden throne. | ||
| CF | | ||
| CF | In front of the throne is a small black table. | ||
| CF | | ||
| CF | Evangeline stands half hidden in the shadows, hair hiding her face. | ||
| CF | | ||
| CF | Gemma Bellerton, probably possessed by an ancient Voodoo Priestess, | ||
| CF | sits on the wooden throne. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast banish" | ||
| CF ] Voodoo Temple 5/456 | ||
| CF | > | ||
| CF | > CAST BANISH | ||
| CF | | ||
| CF | There are many spirits here! Who do you wish to banish and entrap in | ||
| CF | the sacred stone? | ||
| CF | | ||
| CF | (1) - Evangeline, a wronged young woman | ||
| CF | (2) - Gemma Bellerton, in costume as a voodoo priestess | ||
| CF | | ||
| CF | Banish ? | ||
| Knight_Otu says (to ClubFloyd), "1" | ||
| CF ] Voodoo Temple 5/456 | ||
| CF | Banish ? | ||
| CF | > 1 | ||
| CF | | ||
| CF | You mumble the words of the spell and banish Evangeline into the | ||
| CF | stone. The spirit is sucked wailing into its depths, there to be | ||
| CF | trapped till it is once again summoned! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Deep in the Bayou 5/457 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Deep in the Bayou | ||
| CF | Surrounded by the trunks of enormous trees, the Bayou has been emptied | ||
| CF | for the night. It's just a rubber lined dip in the floor now, with a | ||
| CF | few sad plastic plants lying in the bottom of it. Openings in the set | ||
| CF | lead south and east into the gloom. | ||
| CF | | ||
| CF | The Colonel stands in the centre of the set, his face set in a scowl. | ||
| CF | | ||
| CF | In the corner of the set, Jacques Meribeaux stands malevolently, half | ||
| CF | covered in shadow. | ||
| CF | | ||
| CF | Clarissa runs back and forth across the set, her hair in disarray. She | ||
| CF | looks terrified. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast summon" | ||
| CF ] Deep in the Bayou 5/458 | ||
| CF | > | ||
| CF | > CAST SUMMON | ||
| CF | | ||
| CF | You undertake the strange actions and declaim all the words of the | ||
| CF | summon spell. The spirit emerges from the stone like smoke and | ||
| CF | coalesces into Evangeline. | ||
| CF | | ||
| CF | Something odd is happening! As you release the last of the four | ||
| CF | ghosts, the scenery comes alive. The bayou fills with ghostly water | ||
| CF | and a warm breeze blows across your face. The set is full of the | ||
| CF | chittering of insects, the sounds of birds and the smell of brackish | ||
| CF | swamp water. Branches and leaves grow out of the set walls, casting | ||
| CF | their moving shadows over everything. | ||
| CF | | ||
| CF | "Why you brought me here, Momma?" asks Jacques, standing on the edge | ||
| CF | of the Bayou, his voice a low snarl. "Poppa's gonna come looking. What | ||
| CF | you planning? What you gonna tell him?" | ||
| CF | | ||
| CF | Clarissa stands behind him, a rock clenched in her fist. "Don't call | ||
| CF | me Momma," she suddenly yells, raising the rock high. "You ain't mah | ||
| CF | boy!" | ||
| CF | | ||
| CF | She brings the rock down and it connects with the boy's head with a | ||
| CF | sharp crack. He falls into the ghostly water, face down. Clarissa | ||
| CF | drops to her knees gasping and weeping and still holding the rock | ||
| CF | cradled to her breast. | ||
| CF | | ||
| CF | Suddenly, out of the shadows dashes Evangeline, a wickedly sharp | ||
| CF | kitchen knife in her hand. She darts forward and slices Clarissa's | ||
| CF | throat from ear to ear! You turn away in horror! Clarissa falls, blood | ||
| CF | soaking the front of her dress. "He was mah boy," snarls Evangeline at | ||
| CF | Clarissa's lifeless body. "You had no right." Then, seeming to hear | ||
| CF | something in the distance, she turns and runs out of the set, straight | ||
| CF | through the wall! | ||
| CF | | ||
| CF | The Colonel runs up to Clarissa's body and lifts it in his arms. "What | ||
| CF | have ah done," he yells and hugs the body close to his chest. "Ah | ||
| CF | should have listened to you." | ||
| CF | | ||
| CF | He stands up and releases Clarissa. "She did this," he snarls. "There | ||
| CF | needs to be a reckoning." | ||
| CF | | ||
| CF | Then, as you watch, a strange thing happens. The bodies of Jacques and | ||
| CF | Clarissa become even more transparent and gradually they fade away | ||
| CF | into nothing along with the ghostly scenery. Their story must be done! | ||
| CF | | ||
| CF | > | Jacqueline says, "ah" | |
| Krumar exclaims, "Exciting!" | ||
| Jacqueline says, "I did not see all four of them coming 'together' like that" | ||
| Jacqueline says, "So now it's Evangeline and the Colonel." | ||
| Knight_Otu says, "Well, I guess I was partially wrong here. Of course, I should have seen it coming that the last showdown is in the bloodied basement." | ||
| Knight_Otu says (to ClubFloyd), "cast banish" | ||
| CF ] Deep in the Bayou 5/459 | ||
| CF | > | ||
| CF | > CAST BANISH | ||
| CF | | ||
| CF | You mumble the words of the spell and banish Colonel Phillipe | ||
| CF | Meribeaux into the stone. The spirit is sucked wailing into its | ||
| CF | depths, there to be trapped till it is once again summoned! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] Voodoo Temple 5/460 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | Voodoo Temple | ||
| CF | All the masks lining the walls of the set seem to regard you with | ||
| CF | narrowed, suspicious eyes. There are dozens of them in all shapes and | ||
| CF | sizes. In between and around them hang colourful drapes, their | ||
| CF | attractive patterns at odds with the skulls on the floor and | ||
| CF | statuettes of frightening figures in little alcoves. Unlit candles | ||
| CF | cover almost every surface and everything is draped in a patina of | ||
| CF | nylon cobwebs. Doorways in the set walls lead into the gloom to the | ||
| CF | north and south. | ||
| CF | | ||
| CF | Dominating one wall is a large ornately carved wooden throne. | ||
| CF | | ||
| CF | In front of the throne is a small black table. | ||
| CF | | ||
| CF | Gemma Bellerton, probably possessed by an ancient Voodoo Priestess, | ||
| CF | sits on the wooden throne. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] The Cemetery of St. Louise de Marillac 5/461 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | The Cemetery of St. Louise de Marillac | ||
| CF | What a set this is! Mallet Studios must have actually spent some real | ||
| CF | money on this. The large space, bounded by walls painted with distant | ||
| CF | scenery, is row after row of forbidding tombs, ornamented gravestones | ||
| CF | and imposing hooded statues. Vines and tropical looking plastic plants | ||
| CF | wind over everything, giving a real atmosphere of age and shadowy | ||
| CF | menace. Openings in the set walls lead north and west deeper into the | ||
| CF | studio. | ||
| CF | | ||
| CF | To one side of the set is a row of freshly filled in graves! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "w" | ||
| CF ] Basement 5/462 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Basement | ||
| CF | Ventilation ducts and pipes cover the ceiling of this small set. The | ||
| CF | three walls have been painted with splashes of green and brown that | ||
| CF | you suppose is meant to represent mould and water staining. Gaps in | ||
| CF | the set walls lead north and east into the studio gloom. | ||
| CF | | ||
| CF | Near the middle of the set is the white outline of a person painted | ||
| CF | onto the grimy floor. | ||
| CF | | ||
| CF | Evangeline stands quietly in the shadows, hair hiding her face. | ||
| CF | | ||
| CF | Dripping down one of the set walls and pooling on the floor is a | ||
| CF | horrific dark substance! It looks like blood! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast summon" | ||
| CF ] Basement 5/463 | ||
| CF | > | ||
| CF | > CAST SUMMON | ||
| CF | | ||
| CF | You undertake the strange actions and declaim all the words of the | ||
| CF | summon spell. The spirit emerges from the stone like smoke and | ||
| CF | coalesces into Colonel Phillipe Meribeaux. | ||
| CF | | ||
| CF | "You!" yells the Colonel. "You done this! You took mah family away | ||
| CF | from me!" | ||
| CF | | ||
| CF | "No ah did not," says Evangeline, calmly. "It was you done this. You | ||
| CF | with your thoughtless arrogance and your greed. You took mah boy away | ||
| CF | from me. Did you think ah was just gonna lie down? Did you think ah | ||
| CF | was just gonna accept what you done? Nevah. You know you done wrong | ||
| CF | and you will not never rest until you accept what you done. This is | ||
| CF | mah curse on you, Phillipe Meribeaux. Now, you do what you come here | ||
| CF | to do and be damned." | ||
| CF | | ||
| CF | With a howl of rage, the Colonel draws his cutlass and runs it | ||
| CF | straight through Evangeline's breast! You turn away in horror! "No!" | ||
| CF | he screams at her, as she slides to the floor, her body enclosed by | ||
| CF | the white outline. "Ah will nevah forgive you no matter how long ah | ||
| CF | live. You did this, not me!" | ||
| CF | | ||
| CF | He stands over Evangeline's body, swaying back and forth. "You did | ||
| CF | this, not me," he whispers. | ||
| CF | | ||
| CF | But then a strange thing happens! Evangeline becomes more and more | ||
| CF | transparent until her body completely disappears. Her story must be | ||
| CF | over! You watch the Colonel expectantly but he doesn't disappear! His | ||
| CF | body expands into a thing of darkness and shadows. He becomes a | ||
| CF | terrible malevolent spirit, howling back and forth across the set! | ||
| CF | | ||
| CF | > | MoyTravis says, "So, like. Are we gonna recruit the ghosts or." | |
| Knight_Otu says, "Someone's mad." | ||
| Roger says, "not sure" | ||
| Knight_Otu says, "I have the suspicion that we're recruiting theirzombie bodies." | ||
| Knight_Otu says (to ClubFloyd), "cast banish" | ||
| CF ] Basement 5/464 | ||
| CF | > | ||
| CF | > CAST BANISH | ||
| CF | | ||
| CF | You mumble the words of the spell and banish the terrible malevolent | ||
| CF | ghost of the Colonel into the stone. The spirit is sucked wailing into | ||
| CF | its depths, there to be trapped till it is once again summoned! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "e" | ||
| CF ] The Cemetery of St. Louise de Marillac 5/465 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | The Cemetery of St. Louise de Marillac | ||
| CF | What a set this is! Mallet Studios must have actually spent some real | ||
| CF | money on this. The large space, bounded by walls painted with distant | ||
| CF | scenery, is row after row of forbidding tombs, ornamented gravestones | ||
| CF | and imposing hooded statues. Vines and tropical looking plastic plants | ||
| CF | wind over everything, giving a real atmosphere of age and shadowy | ||
| CF | menace. Openings in the set walls lead north and west deeper into the | ||
| CF | studio. | ||
| CF | | ||
| CF | To one side of the set is a row of freshly filled in graves! | ||
| CF | | ||
| CF | > | Jacqueline says, "Honestly, I have no idea how this ties to the Dr Horrow plot. I think the author is just trying for a Xyzzy for best puzzle." | |
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Voodoo Temple 5/466 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | Voodoo Temple | ||
| CF | All the masks lining the walls of the set seem to regard you with | ||
| CF | narrowed, suspicious eyes. There are dozens of them in all shapes and | ||
| CF | sizes. In between and around them hang colourful drapes, their | ||
| CF | attractive patterns at odds with the skulls on the floor and | ||
| CF | statuettes of frightening figures in little alcoves. Unlit candles | ||
| CF | cover almost every surface and everything is draped in a patina of | ||
| CF | nylon cobwebs. Doorways in the set walls lead into the gloom to the | ||
| CF | north and south. | ||
| CF | | ||
| CF | Dominating one wall is a large ornately carved wooden throne. | ||
| CF | | ||
| CF | In front of the throne is a small black table. | ||
| CF | | ||
| CF | Gemma Bellerton, probably possessed by an ancient Voodoo Priestess, | ||
| CF | sits on the wooden throne. | ||
| CF | | ||
| CF | The Priestess turns and looks at you. "You done well," she croaks. | ||
| CF | "Now you fetch that boy to me and we'll end this once and for all." | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast bones" | ||
| CF ] Voodoo Temple 5/466 | ||
| CF | > | ||
| CF | > CAST BONES | ||
| CF | | ||
| CF | I didn't understand that sentence. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "throw bones" | ||
| CF ] Voodoo Temple 5/467 | ||
| CF | > | ||
| CF | > THROW BONES | ||
| CF | | ||
| CF | You throw the bones onto the black table. They click and skitter | ||
| CF | across its dark surface. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast summon" | ||
| CF ] Voodoo Temple 5/468 | ||
| CF | > | ||
| CF | > CAST SUMMON | ||
| CF | | ||
| CF | The spirit of the Colonel howls out of the stone and rages around the | ||
| CF | set. The Priestess seems unconcerned. "Now you listen to me, boy," she | ||
| CF | says, raising her voice to be heard over the ghost's din. "It's time | ||
| CF | to break Evangeline's curse. It's time you accepted what you done and | ||
| CF | took your share of the blame. You been raging round these parts for | ||
| CF | more'n a hundred years. And we all been stuck here with you. Now I | ||
| CF | command you to let us go. Accept what you done, Phillipe Meribeaux and | ||
| CF | be saved." She holds out her arms towards the ghost as if to embrace | ||
| CF | it. | ||
| CF | | ||
| CF | "Nevah," moans the spirit of the Colonel. "Ah will nevah accept it. Ah | ||
| CF | will walk this place for eternity if that's what it takes." | ||
| CF | | ||
| CF | The old Priestess seems a little surprised by this response, to be | ||
| CF | honest. As if she wasn't expecting it. "Don't you want to be finally | ||
| CF | free?" she says, hopefully. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "z" | ||
| CF ] Voodoo Temple 5/469 | ||
| CF | > | ||
| CF | > Z | ||
| CF | | ||
| CF | Time passes. | ||
| CF | | ||
| CF | The ghost seems to get even angrier if that's possible. It swirls | ||
| CF | around the Priestess, making her hair fly around her face and | ||
| CF | billowing her dress. "Free?" he says. "How can ah be free when it was | ||
| CF | Evangeline what done wrong. Ah am not to blame." | ||
| CF | | ||
| CF | The Priestess is silent for a moment. "Well, then. Ah got no choice," | ||
| CF | she says and thrusts out a hand towards the spirit. "With the power of | ||
| CF | the ancient ones, ah command thee to leave this plane and be damned | ||
| CF | for eternity. By mah ancient blood, ah have the right to do so." | ||
| CF | | ||
| CF | There is an instant of silence as the ghost digests this. "No," it | ||
| CF | says, "ah don't think ah will, old woman." | ||
| CF | | ||
| CF | This seems to completely surprise the old Priestess, leaving her | ||
| CF | nonplussed. "Well....." she begins, but then her face | ||
| CF | changes. | ||
| CF | | ||
| CF | "Leave this to me, Élise," she says, determinedly, and it's Gemma's | ||
| CF | voice coming out of the Priestess's mouth! "I've dealt with his sort | ||
| CF | before." | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "z" | ||
| CF ] Voodoo Temple 5/470 | ||
| CF | > | ||
| CF | > Z | ||
| CF | | ||
| CF | Time passes. | ||
| CF | | ||
| CF | "Who in tarnation are you?" asks the ghost, seemingly a little put | ||
| CF | out. "This ain't your business." | ||
| CF | | ||
| CF | "Never you mind about that," snaps Gemma. "What the hell do you think | ||
| CF | you're doing? I know your type. You're a thick headed, weak willed, | ||
| CF | foolish and vain little man. Well, Élise is gone now. They're all | ||
| CF | gone, anyone who might have been bothered by your little act. It's | ||
| CF | just me. And I'll make eternity seem like forever to you, just you | ||
| CF | wait and see." | ||
| CF | | ||
| CF | Wow. Go, Gemma. The ghost triples its efforts. It roars around Gemma, | ||
| CF | buffeting all the props, and the whole set shakes with its rage. "You | ||
| CF | can't speak to me like that," it screams. "Ah am Colonel Phillipe | ||
| CF | Meribeaux, formerly of...." | ||
| CF | | ||
| CF | But Gemma doesn't let him finish. "Formerly of an idiot!" she yells | ||
| CF | right back and advances on him, poking her finger at his chest. | ||
| CF | "Formerly of a weak man who stole his lover's baby because he was so | ||
| CF | ashamed of his little problem! Formerly of a man who was so | ||
| CF | afraid of his own child that he let his wife kill him while he hid in | ||
| CF | the shadows and watched. You think I don't know?" | ||
| CF | | ||
| CF | Ouch. That's got to sting. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "z" | ||
| CF ] Voodoo Temple 6/471 | ||
| CF | > | ||
| CF | > Z | ||
| CF | | ||
| CF | Time passes. | ||
| CF | | ||
| CF | The ghost stops completely and the air is still. "Even so," it says, | ||
| CF | and there is desperation in the Colonel's voice. "Ah cannot rest. Ah | ||
| CF | cannot. They're waiting for me in the place beyond. Ah cannot face | ||
| CF | them." | ||
| CF | | ||
| CF | "Yes you can," says Gemma, and her voice is gentler now. "Let it go. | ||
| CF | Leave this place. You can face them. All you need to do to lift | ||
| CF | Evangeline's curse is to accept what you did. It's either that, or," | ||
| CF | and here she shrugs and looks at the ghost directly, her eyes flinty, | ||
| CF | "spend an eternity here. With me." | ||
| CF | | ||
| CF | "Well," says the ghost, reluctantly, "Ah suppose ah could accept some | ||
| CF | of the blame for the proceedi...." But he doesn't get chance to | ||
| CF | finish. His dark spirit becomes transparent and then winks out | ||
| CF | completely. | ||
| CF | | ||
| CF | You look at Gemma. "Hmm," she says to you "I suppose that's the best | ||
| CF | we're going to get. Well, bye then." But you don't get a chance to | ||
| CF | respond. Gemma's spirit becomes insubstantial and then disappears. The | ||
| CF | last thing you hear before she's gone completely is the old | ||
| CF | Priestess's croaky voice. "Not bad," she says. "We'll make a witch of | ||
| CF | you yet." | ||
| CF | | ||
| CF | Suddenly, a hidden compartment in the black table pops open with a | ||
| CF | click. | ||
| CF | | ||
| CF | You have survived a perilous situation! | ||
| CF | | ||
| CF | > | MoyTravis says, "to be honest, that wasn't very perilous" | |
| MoyTravis says, "more, uh, trucking-y." | ||
| MoyTravis says, "I guess trucking can be perilous. If they gave us a ghost truck that'd be pretty fun." | ||
| Knight_Otu says, "And to be more honest, that pretty much was agame of its own, lengthwise." | ||
| Knight_Otu says (to ClubFloyd), "drop wheelbarrow" | ||
| CF ] Voodoo Temple 6/472 | ||
| CF | > | ||
| CF | > DROP WHEELBARROW | ||
| CF | | ||
| CF | You let go of the wheelbarrow's handles. | ||
| CF | | ||
| CF | > | Krumar says, "That was pretty cool." | |
| Jacqueline asks, "What is 'trucking'?" | ||
| Knight_Otu says (to ClubFloyd), "x compartment" | ||
| CF ] Voodoo Temple 6/473 | ||
| CF | > | ||
| CF | > X COMPARTMENT | ||
| CF | | ||
| CF | The compartment is a small space in the table that had been cleverly | ||
| CF | hidden as part of the design. | ||
| CF | | ||
| CF | In the small compartment is a wicked little voodoo doll. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "get doll" | ||
| CF ] Voodoo Temple 6/474 | ||
| CF | > | ||
| CF | > GET DOLL | ||
| CF | | ||
| CF | Taken. | ||
| CF | | ||
| CF | > | Jacqueline asks, "Is that like being 'on rails' but with more twists and turns?" | |
| MoyTravis says, "Oh, I just meant that, like. We were mostly picking things up and putting them down." | ||
| Jacqueline says, "True, but with a method to the madness." | ||
| MoyTravis says, "Mechanically, it's "take objects A, B into Some Room, dump them on the floor, take objects A, C into Some Room"" | ||
| Jacqueline says (to ClubFloyd), "x doll" | ||
| CF ] Voodoo Temple 6/475 | ||
| CF | > | ||
| CF | > X DOLL | ||
| CF | | ||
| CF | The featureless little doll is made from coarse sacking and roughly | ||
| CF | stitched into the shape of a person. Out from its breast sticks a bone | ||
| CF | needle! | ||
| CF | | ||
| CF | > | MoyTravis says, "very, you know, now we're delivering the red and blue ghosts to the Safeway now." | |
| Jacqueline asks, "Do we pull the needle out?" | ||
| MoyTravis asks, "Prolly?" | ||
| Knight_Otu says (to ClubFloyd), "x needle" | ||
| CF ] Voodoo Temple 6/476 | ||
| CF | > | ||
| CF | > X NEEDLE | ||
| CF | | ||
| CF | The sharp needle has been carved from white bone! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "get it" | ||
| CF ] Voodoo Temple 6/477 | ||
| CF | > | ||
| CF | > GET IT | ||
| CF | | ||
| CF | You pull the needle out of the doll. | ||
| CF | | ||
| CF | > | Knight_Otu says, "Well, we don't insta-lose for doing so." | |
| Knight_Otu says (to ClubFloyd), "i" | ||
| CF ] Voodoo Temple 6/478 | ||
| CF | > | ||
| CF | > I | ||
| CF | | ||
| CF | You are carrying a bone needle, a wicked little voodoo doll, a milk | ||
| CF | bottle full of blood, an evil book of black magic, a small brass key, | ||
| CF | a tea caddy and a stained crimson robe. You are wearing a crucifix, a | ||
| CF | gold pocketwatch, a grey suit and a jaunty hat. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "read book" | ||
| CF ] Voodoo Temple 6/479 | ||
| CF | > | ||
| CF | > READ BOOK | ||
| CF | | ||
| CF | You cautiously open the cover of the book. The pages inside are | ||
| CF | yellowed and ancient and marked with mould. It seems to be a book of | ||
| CF | black magic! According to the title page, the book is called "Malleus | ||
| CF | Malum Habentis Mortem" - whatever that means. You can't understand | ||
| CF | most of it, and much of it is so faded and stained that you can't read | ||
| CF | it, but flicking through, there are a few pages you can make out. | ||
| CF | | ||
| CF | One page is titled "Summon," another "Raise Dead" and a third is | ||
| CF | "Banish". You could probably READ each of these pages. Read Summon, | ||
| CF | for example. | ||
| CF | | ||
| CF | > | Jacqueline says, "huh. I... expected something to happen when you pulled the needle out." | |
| Knight_Otu says (to ClubFloyd), "read raise dead" | ||
| CF ] Voodoo Temple 6/480 | ||
| CF | > | ||
| CF | > READ RAISE DEAD | ||
| CF | | ||
| CF | The page is titled "For thee Raising of most real Bodies of the Dead | ||
| CF | from their dreadful Eternal Sleep under goode Earth". The dense text | ||
| CF | begins "And only by the power of blood upon the soil under which these | ||
| CF | bodies are interred, can this spell be successful, for without the | ||
| CF | blood of a human in thee earth there shall be no link to this life to | ||
| CF | which the dead can make their own..." and then it's just warning after | ||
| CF | dire warning and you lose interest. | ||
| CF | | ||
| CF | According to the instructions at the end, you simply say "Mortuos | ||
| CF | surgere et e sepulcris!" really loudly three times. | ||
| CF | | ||
| CF | It seems straightforward enough. You could probably cast this raise | ||
| CF | dead spell if you had a mind to. | ||
| CF | | ||
| CF | > | Knight_Otu says, "Maybe something did, maybe it didn't." | |
| Jacqueline says, "true" | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] The Cemetery of St. Louise de Marillac 6/481 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | The Cemetery of St. Louise de Marillac | ||
| CF | What a set this is! Mallet Studios must have actually spent some real | ||
| CF | money on this. The large space, bounded by walls painted with distant | ||
| CF | scenery, is row after row of forbidding tombs, ornamented gravestones | ||
| CF | and imposing hooded statues. Vines and tropical looking plastic plants | ||
| CF | wind over everything, giving a real atmosphere of age and shadowy | ||
| CF | menace. Openings in the set walls lead north and west deeper into the | ||
| CF | studio. | ||
| CF | | ||
| CF | To one side of the set is a row of freshly filled in graves! | ||
| CF | | ||
| CF | > | Jacqueline says, "It's a little weird that the PC's description of the book has not changed after all we've just been though." | |
| Knight_Otu says (to ClubFloyd), "cast raise dead" | ||
| CF ] The Cemetery of St. Louise de Marillac 6/482 | ||
| CF | > | ||
| CF | > CAST RAISE DEAD | ||
| CF | | ||
| CF | You go through the incantation, but the raise dead spell does nothing. | ||
| CF | There seems to be something missing. | ||
| CF | | ||
| CF | > | MoyTravis asks, "Wait can we talk to Gemma?" | |
| Knight_Otu says, "I think she's gone." | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Voodoo Temple 6/483 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Voodoo Temple | ||
| CF | All the masks lining the walls of the set seem to regard you with | ||
| CF | narrowed, suspicious eyes. There are dozens of them in all shapes and | ||
| CF | sizes. In between and around them hang colourful drapes, their | ||
| CF | attractive patterns at odds with the skulls on the floor and | ||
| CF | statuettes of frightening figures in little alcoves. Unlit candles | ||
| CF | cover almost every surface and everything is draped in a patina of | ||
| CF | nylon cobwebs. Doorways in the set walls lead into the gloom to the | ||
| CF | north and south. | ||
| CF | | ||
| CF | Dominating one wall is a large ornately carved wooden throne. | ||
| CF | | ||
| CF | In front of the throne is a small black table. | ||
| CF | | ||
| CF | A small compartment in the table is open. | ||
| CF | | ||
| CF | Scattered across the table are small fragments of bone. | ||
| CF | | ||
| CF | You can also see a wheelbarrow (which contains a sacred voodoo stone) | ||
| CF | here. | ||
| CF | | ||
| CF | > | Krumar asks, "Do you need to put the blood on the ground for it to work?" | |
| Jacqueline says, "Yeah, I think Gemma is gone." | ||
| MoyTravis asks, "Err. Wait. Was Gemma the actress or the spirit?" | ||
| Jacqueline says, "Both" | ||
| Knight_Otu says, "Yes." | ||
| Knight_Otu says (to ClubFloyd), "get wheelbarrow" | ||
| CF ] Voodoo Temple 6/484 | ||
| CF | > | ||
| CF | > GET WHEELBARROW | ||
| CF | | ||
| CF | You grab hold of the wheelbarrow's handles. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] The Cemetery of St. Louise de Marillac 6/485 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | The Cemetery of St. Louise de Marillac | ||
| CF | What a set this is! Mallet Studios must have actually spent some real | ||
| CF | money on this. The large space, bounded by walls painted with distant | ||
| CF | scenery, is row after row of forbidding tombs, ornamented gravestones | ||
| CF | and imposing hooded statues. Vines and tropical looking plastic plants | ||
| CF | wind over everything, giving a real atmosphere of age and shadowy | ||
| CF | menace. Openings in the set walls lead north and west deeper into the | ||
| CF | studio. | ||
| CF | | ||
| CF | To one side of the set is a row of freshly filled in graves! | ||
| CF | | ||
| CF | > | ||
| DavidW has arrived. | ||
| Knight_Otu says (to ClubFloyd), "cast raise dead" | ||
| CF ] The Cemetery of St. Louise de Marillac 6/486 | ||
| CF | > | ||
| CF | > CAST RAISE DEAD | ||
| CF | | ||
| CF | You go through the incantation, but the raise dead spell does nothing. | ||
| CF | There seems to be something missing. | ||
| CF | | ||
| CF | > | Knight_Otu exclaims, "David!" | |
| Jacqueline says, "Hello, David." | ||
| MoyTravis asks, "Oh did Gemma die?" | ||
| MoyTravis says, "Oh, hey David." | ||
| DavidW says, "hi. Sorry, I overslept" | ||
| Jacqueline asks, "Gemma was cut up by an axe, right?" | ||
| Krumar says, "Hello David." | ||
| Jacqueline says, "And then 'went to visit her aunt' or something." | ||
| Knight_Otu says, "Yeah, pretty much all our mortal co-actors have died." | ||
| Krumar asks, "Can we raise those co-actors?" | ||
| DavidW says, "Gemma was not axed, iirc." | ||
| MoyTravis says, "Oh, for some reason I thought she just got possessed and didn't die." | ||
| Jacqueline says, "Right, like our other actor buddy who 'went on to pursue other opportunities' but really died in a vat of acid." | ||
| Knight_Otu says, "I think the axe victim was someone else. Gemma I think was the victim of a ritual." | ||
| Jacqueline says, "Oh. Okay." | ||
| Jacqueline says, "Yeah, that makes sense." | ||
| Knight_Otu says (to ClubFloyd), "put blood on graves" | ||
| CF ] The Cemetery of St. Louise de Marillac 6/487 | ||
| CF | > | ||
| CF | > PUT BLOOD ON GRAVES | ||
| CF | | ||
| CF | You pour the blood onto the graves. It glistens horribly for a moment | ||
| CF | then sinks into the soil. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast raise dead" | ||
| CF ] The Cemetery of St. Louise de Marillac 7/488 | ||
| CF | > | ||
| CF | > CAST RAISE DEAD | ||
| CF | | ||
| CF | You go through the incantation. At first, you think nothing is going | ||
| CF | to happen, but then a hand rises through the earth of a grave! A | ||
| CF | horrific green hand! | ||
| CF | | ||
| CF | More hands come through the soil and you step back in terror as a | ||
| CF | horde of zombies slowly emerge from the graves, clawing their way out! | ||
| CF | One by one, they lurch to their feet. They are dressed in tattered | ||
| CF | clothing, and their flaking green skin hangs from their bones. | ||
| CF | | ||
| CF | Wait a moment. You recognise some of these zombies! They were extras | ||
| CF | on the set of the movie being filmed here. You were in scenes with | ||
| CF | them! But now they are the horrifying undead! | ||
| CF | | ||
| CF | Oh no! They see you and begin to move towards you in a shambling mass, | ||
| CF | holding out their decaying hands towards you and groaning! | ||
| CF | | ||
| CF | You are in a perilous situation. | ||
| CF | | ||
| CF | The zombies see the voodoo doll! As one, they begin to moan and sway. | ||
| CF | "The power," they moan in unison, their voices like gravel. "The power | ||
| CF | of the Priestess!" They put their arms down and continue to shamble | ||
| CF | around the graveyard. That was close! | ||
| CF | | ||
| CF | You have survived a perilous situation! | ||
| CF | | ||
| CF | > | DavidW says, "I think the axe victim was Melissa, maybe? I replayed everything after we ended our session last week, but my notes are on the other machine." | |
| Knight_Otu says, "Yeah, that sounds right." | ||
| DavidW says, "You can revisit the fridge in the crypt to find out again." | ||
| Jacqueline says, "So, this voodoo doll is like the crucifix." | ||
| DavidW says, "yes" | ||
| Knight_Otu says, "(You're in danger! Oh, you're out of danger, well done!)" | ||
| Jacqueline says, "It is the tool to keep these things in check, and we are gifted it before we actually need it." | ||
| Jacqueline says (to KO), "Yeah" | ||
| DavidW says, "I played up to the end of this studio, so I haven't missed the plot, at least." | ||
| Krumar asks, "Do you think manipulating the doll would affect them, like with the needle?" | ||
| DavidW says, "oh! That reminds me! I found that we missed an item in studio 5." | ||
| Knight_Otu asks, "So I guess we're mostly done in this studio. David, do you want to pick things upfrom here, or should I continue?" | ||
| DavidW says, "You're almost done here." | ||
| Knight_Otu says, "A thing we missed? Could be important." | ||
| Knight_Otu says (to ClubFloyd), "drop wheelbarrow" | ||
| CF ] The Cemetery of St. Louise de Marillac 7/489 | ||
| CF | > | ||
| CF | > DROP WHEELBARROW | ||
| CF | | ||
| CF | You let go of the wheelbarrow's handles. | ||
| CF | | ||
| CF | > | DavidW says, "if the zombies are risen and you have the doll, you just have to leave the studio. Events will happen." | |
| Knight_Otu says, "Let me guess, the zombies will eat the security guard." | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Voodoo Temple 7/490 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | Voodoo Temple | ||
| CF | All the masks lining the walls of the set seem to regard you with | ||
| CF | narrowed, suspicious eyes. There are dozens of them in all shapes and | ||
| CF | sizes. In between and around them hang colourful drapes, their | ||
| CF | attractive patterns at odds with the skulls on the floor and | ||
| CF | statuettes of frightening figures in little alcoves. Unlit candles | ||
| CF | cover almost every surface and everything is draped in a patina of | ||
| CF | nylon cobwebs. Doorways in the set walls lead into the gloom to the | ||
| CF | north and south. | ||
| CF | | ||
| CF | Dominating one wall is a large ornately carved wooden throne. | ||
| CF | | ||
| CF | In front of the throne is a small black table. | ||
| CF | | ||
| CF | A small compartment in the table is open. | ||
| CF | | ||
| CF | Scattered across the table are small fragments of bone. | ||
| CF | | ||
| CF | The zombie horde shambles up behind you, holding their arms out | ||
| CF | towards the wicked little voodoo doll you are carrying! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Deep in the Bayou 7/491 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | Deep in the Bayou | ||
| CF | Surrounded by the trunks of enormous trees, the Bayou has been emptied | ||
| CF | for the night. It's just a rubber lined dip in the floor now, with a | ||
| CF | few sad plastic plants lying in the bottom of it. Openings in the set | ||
| CF | lead south and east into the gloom. | ||
| CF | | ||
| CF | The zombie horde shambles up behind you, holding their arms out | ||
| CF | towards the wicked little voodoo doll you are carrying! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "w" | ||
| CF ] Alleway, Rue des Verrièrs 7/492 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | Alleway, Rue des Verrièrs | ||
| CF | A set designer has gone to great lengths to re-imagine a narrow | ||
| CF | alleyway running between rows of townhouses in somewhere like New | ||
| CF | Orleans. The facades of the houses, propped up by beams at the back, | ||
| CF | are painted in dusky oranges, reds and creams to resemble stucco | ||
| CF | rendering. Arches, separated by ornate columns, cover the frontages, | ||
| CF | each with its own darkened window. Elaborate iron balconies, created | ||
| CF | from plywood, stretch in between each arch, complete with hanging | ||
| CF | plastic plants and vines. Here, in the semi-darkness, the false | ||
| CF | buildings feel oppressive. Like they are hiding secrets! | ||
| CF | | ||
| CF | Gloomy openings in the set walls lead south and east deeper into the | ||
| CF | studio. To the west, a brighter gap opens into the guard's break room. | ||
| CF | | ||
| CF | The zombie horde shambles up behind you, holding their arms out | ||
| CF | towards the wicked little voodoo doll you are carrying! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "w" | ||
| CF ] Guard's Break Room 8/493 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | Guard's Break Room | ||
| CF | Someone has carved out a comfortable nook in this little space in | ||
| CF | between the door and the studio proper. There's a small table next to | ||
| CF | a comfy chair in one corner and on the table is a lit lamp, creating a | ||
| CF | welcoming pool of light in the gloom. A dingy gap in the wall to the | ||
| CF | east leads deeper into the studio and the door out to the lot, to the | ||
| CF | west, lies open. | ||
| CF | | ||
| CF | A Security Guard sits in the chair, feet up on the small table, | ||
| CF | reading a newspaper. | ||
| CF | | ||
| CF | The zombie horde shambles up behind you, holding their arms out | ||
| CF | towards the wicked little voodoo doll you are carrying! | ||
| CF | | ||
| CF | Oh no! The zombies see the poor Security Guard sitting in her comfy | ||
| CF | chair and begin to move towards her! She leaps up and screams but she | ||
| CF | has no time to escape. The zombies are on her! They fasten on to her | ||
| CF | exposed flesh and bite. It isn't long before she goes down under the | ||
| CF | mass of decaying bodies. | ||
| CF | | ||
| CF | The zombies back away, their grisly work done. But then, the Security | ||
| CF | Guard opens her eyes and sits up! No! She's been infected! She's | ||
| CF | turned into a zombie! She stands unsteadily, her skin already an | ||
| CF | unpleasant green. | ||
| CF | | ||
| CF | She looks down at herself, and then back up at you. "Well," she says, | ||
| CF | bitterly, "thanks a lot." With a sigh of resignation, she joins the | ||
| CF | zombie horde. "Right, you lot," she says, "You're with me now. No more | ||
| CF | of your nonsense. And," and here she turns to you, "while I might not | ||
| CF | be able to eat you because of that doll thing for some reason, don't | ||
| CF | think we're just going to be your puppets. We're still our own people, | ||
| CF | even though we're zombies now." She glances at the other zombies, | ||
| CF | stumbling around mindlessly, "OK," she concedes, "some of us." | ||
| CF | | ||
| CF | You have survived a perilous situation! | ||
| CF | | ||
| CF | > | DavidW says, "Talk to the guard now." | |
| Knight_Otu says (to ClubFloyd), "talk to guard" | ||
| CF ] Guard's Break Room 8/494 | ||
| CF | > | ||
| CF | > TALK TO GUARD | ||
| CF | | ||
| CF | This is a little awkward. "Sorry?" you venture. | ||
| CF | | ||
| CF | "So you should be," snaps back the Security Guard. "Fifteen years I've | ||
| CF | worked here and I've always managed to avoid these things. Then you | ||
| CF | come along. Still, I suppose there's no use crying over spilled milk. | ||
| CF | I'll have to make the best of it I suppose." | ||
| CF | | ||
| CF | (1) - "What's it like, being a zombie?" | ||
| CF | (2) - "So you knew about the zombies then?" | ||
| CF | | ||
| CF | You say > | ||
| Knight_Otu says (to ClubFloyd), "2" | ||
| CF ] Guard's Break Room 8/494 | ||
| CF | You say > | ||
| CF | > 2 | ||
| CF | | ||
| CF | "So you all knew about the zombies then?" you ask. | ||
| CF | | ||
| CF | "Sort of," says the Security Guard. "Most of us knew, But it was just | ||
| CF | actors, you know? They never bothered us. Most of the time, depending | ||
| CF | on what studio you're in, they give you something to keep you safe." | ||
| CF | | ||
| CF | She sighs heavily. "We did all feel pretty bad about it to tell the | ||
| CF | truth." | ||
| CF | | ||
| CF | (1) - "Why didn't you tell anyone?" | ||
| CF | (2) - "Didn't you think you should do something about it?" | ||
| CF | | ||
| CF | You say > | ||
| Knight_Otu says (to ClubFloyd), "2" | ||
| CF ] Guard's Break Room 8/494 | ||
| CF | You say > | ||
| CF | > 2 | ||
| CF | | ||
| CF | "Don't you think you should have told someone or done something about | ||
| CF | it?" you say. | ||
| CF | | ||
| CF | "Yeah, right," says the Security Guard. "And what would we have done? | ||
| CF | We're just security. Someone did say something once. Lost his job you | ||
| CF | might say. And when I say job, I mean life. From what I heard, he | ||
| CF | ended up as one of these things. And even if they don't kill us, some | ||
| CF | of us still need these jobs." | ||
| CF | | ||
| CF | She shakes her head and looks suddenly angry and sad. "I do feel bad, | ||
| CF | though," she says. "I feel like all these years I've been ignoring the | ||
| CF | truth and pretending it wasn't happening. Just to keep my job. There's | ||
| CF | something about being dead. It strips away all the layers of | ||
| CF | self-deception you seem to think you need when you're alive." | ||
| CF | | ||
| CF | (1) - "There's a way you can make it right!" | ||
| CF | | ||
| CF | You say > | ||
| Knight_Otu says (to ClubFloyd), "1" | ||
| CF ] Guard's Break Room 8/494 | ||
| CF | You say > | ||
| CF | > 1 | ||
| CF | | ||
| CF | "How about I offer you a way to make it right," you say. | ||
| CF | | ||
| CF | "Oh yeah," she replies, scornfully, "and how are you going to do that? | ||
| CF | Make me magically alive again? Send me back in time to undo some of | ||
| CF | the poorer decisions I made in life?" She snorts with derision. "Don't | ||
| CF | tell me you're going to go to the police and call me, an undead | ||
| CF | zombie, as a witness." | ||
| CF | | ||
| CF | (1) - "Arnie is summoning a demonic army." | ||
| CF | (2) - "I'm building an undead army to stop Arnie Mallet. You in?" | ||
| CF | | ||
| CF | You say > | ||
| Knight_Otu says (to ClubFloyd), "1" | ||
| CF ] Guard's Break Room 8/494 | ||
| CF | You say > | ||
| CF | > 1 | ||
| CF | | ||
| CF | "Arnie Mallet and his Cult are about to summon a terrible demon and | ||
| CF | all his minions," you say. | ||
| CF | | ||
| CF | "Oh dear," says the Security Guard. "So? Sounds a bit like a living | ||
| CF | person's problem to me. I'm dead. I don't think I can be of much | ||
| CF | help." | ||
| CF | | ||
| CF | (1) - "I'm building an undead army to stop him. You in?" | ||
| CF | | ||
| CF | You say > | ||
| Knight_Otu says (to ClubFloyd), "1" | ||
| CF ] Guard's Break Room 8/494 | ||
| CF | You say > | ||
| CF | > 1 | ||
| CF | | ||
| CF | "I'm building an undead army," you say. "Join up. We can defeat Arnie | ||
| CF | and his Cult and all the demons they're summoning!" | ||
| CF | | ||
| CF | "What, you've persuaded all the undead to join you in defeating | ||
| CF | Arnie's Cult?" says the Security Guard, then she breaks into gales of | ||
| CF | what, you feel, is unfair laughter. "Oh, that's a good one," she | ||
| CF | eventually says. "That's done me good, that has." Then she looks | ||
| CF | closely at you. "Oh, you're being serious?" | ||
| CF | | ||
| CF | You nod. | ||
| CF | | ||
| CF | The Guard thinks for a moment. "And you've already got some of the | ||
| CF | undead to join up?" | ||
| CF | | ||
| CF | You nod again. | ||
| CF | | ||
| CF | The Guard glances at the horde of shambling zombies milling around her | ||
| CF | as if to assess them. "Hmm," she says, and you cross your fingers | ||
| CF | behind your back, "I've heard worse ideas I suppose. It would be nice | ||
| CF | to do something positive about all the years we all spent ignoring | ||
| CF | what was going on." She pauses and thinks for a long time, and you | ||
| CF | hold your breath. "Right," she says, eventually, "Let's do it. I've | ||
| CF | got a horde of zombies here. Where do you need us?" | ||
| CF | | ||
| CF | "In the southern end of the studio lot," you say, unable to hide the | ||
| CF | delight in your voice. | ||
| CF | | ||
| CF | The guard nods brusquely and turns to leave. "Oh," she says. And, by | ||
| CF | the way, don't think I've forgotten about who's fault it is that I'm a | ||
| CF | zombie now." | ||
| CF | | ||
| CF | (1) - "Goodbye." | ||
| CF | | ||
| CF | You say > | ||
| Knight_Otu says (to ClubFloyd), "1" | ||
| CF ] Guard's Break Room 8/494 | ||
| CF | You say > | ||
| CF | > 1 | ||
| CF | | ||
| CF | "Goodbye," you say, "and thank you!" | ||
| CF | | ||
| CF | The Security Guard turns way from you. "Come on, you lot," she says | ||
| CF | with a resigned sigh and leads them shambling out of the studio. | ||
| CF | | ||
| CF | You have grown your Undead Army! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "score" | ||
| CF ] Guard's Break Room 8/494 | ||
| CF | > | ||
| CF | > SCORE | ||
| CF | | ||
| CF | You're still in one piece. That's a good start. | ||
| CF | | ||
| CF | You are building an undead army! So far, it consists of, a horde of | ||
| CF | shambling zombies led by an understandably annoyed Security Guard, the | ||
| CF | Count, the Countess and their bloodthirsty vampire thralls. | ||
| CF | | ||
| CF | You have survived eight perilous situations! | ||
| CF | | ||
| CF | - You avoided the murderous attentions of the Cult of Astaroth! | ||
| CF | - You managed to escape from the Cult's Lair! | ||
| CF | - You killed a crazed Cultist with a wooden stake! | ||
| CF | - You chopped a relatively blameless security guard into little | ||
| CF | pieces with a huge axe! | ||
| CF | - You protected yourself from vampires with a simple golden | ||
| CF | crucifix! | ||
| CF | - You managed to sort out a bunch of squabbling ghosts! | ||
| CF | - A horde of shambling zombies stopped attacking you because you | ||
| CF | were holding a voodoo doll of power! | ||
| CF | - You inadvertently led a horde of zombies to a poor Security | ||
| CF | Guard and they bit and infected her! | ||
| CF | | ||
| CF | > | Knight_Otu says, "Oopsies." | |
| MoyTravis says, "I agree that the tone's all over the place in, like, a way that doesn't quite mesh." | ||
| Knight_Otu says, "I kind of liked the atmosphere in this studio. Better than the campy vampire studio." | ||
| DavidW says, "btw, I found out that with the guard in studio 5, you can kill him by dropping the sandbag on him and he falls into the acid. The crucifix is in his hand at the edge of the pool in that case." | ||
| Jacqueline asks, "So. Which studio do we go to next in order to inadvertently kill another security guard?" | ||
| Krumar says, "I like how it is tied together by different studios." | ||
| DavidW says, "Please return to studio 5 briefly." | ||
| Knight_Otu says, "I think if there's an item in studio 5 we may .. right." | ||
| Knight_Otu says (to ClubFloyd), "w" | ||
| CF ] Studio Lot North 8/495 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Studio Lot North | ||
| CF | The northern end of the huge lot, oppressively surrounded by the | ||
| CF | looming, darkened studio buildings, is overlooked to the north by the | ||
| CF | ugly and squat offices, their windows watching over the lot like great | ||
| CF | eyes. Who knows what lurks behind them. To the west, the door to | ||
| CF | Studio 1 is closed. To the east, the open Studio 2 door. On each door, | ||
| CF | a sign. The lot continues to the south into shadow. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] Studio Lot South 8/496 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | Studio Lot South | ||
| CF | Here, the lot is surrounded on three sides by Studios, looming out of | ||
| CF | the night like ancient guardians. The lot continues to the north into | ||
| CF | shadow. To the east side is the door to Studio 3, to the west, Studio | ||
| CF | 4 and to the south the door to Studio 5 where you have spent so much | ||
| CF | time over the last two weeks. A sign over each door proclaims the | ||
| CF | movie that is being made there. | ||
| CF | | ||
| CF | A horde of shambling zombies, led by a slightly less decomposed | ||
| CF | Security Guard, stumble around. | ||
| CF | | ||
| CF | Vampire thralls stand in a surly group, shooting suspicious glances at | ||
| CF | you. | ||
| CF | | ||
| CF | Over by the studio walls, the Count stands listlessly, staring off | ||
| CF | into the sky. | ||
| CF | | ||
| CF | The Countess paces impatiently around the lot. | ||
| CF | | ||
| CF | A dead cultist lies sprawled on the ground, his face frozen in a | ||
| CF | horrifying rictus. | ||
| CF | | ||
| CF | The Countess wanders over to you when you enter the lot. "Nice work," | ||
| CF | she says, gesturing with one thumb at the zombies. "Me and Chloe are | ||
| CF | getting on well at least. And the rest of them, despite the lack of | ||
| CF | speed or any independent thought, will be great cannon fodder." | ||
| CF | | ||
| CF | The Countess grins at you. "Now get out there and find us more undead | ||
| CF | recruits!" | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] Studio Waiting Room 8/497 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | Studio Waiting Room | ||
| CF | The dim lights barely illuminate the scattering of uncomfortable | ||
| CF | chairs where actors are supposed to spend their time between takes. A | ||
| CF | door to the north leads outside and dark doorways lead to the east and | ||
| CF | west deeper into the studio. | ||
| CF | | ||
| CF | The kitchen counter along one wall, stained with coffee mug rings, | ||
| CF | holds the accumulated detritus of a hundred extras' various drink | ||
| CF | making ingredients. | ||
| CF | | ||
| CF | > | DavidW says, "That's how we learn the zombie guard is Chloe." | |
| DavidW says (to ClubFloyd), "e" | ||
| CF ] Studio Store 8/498 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | Studio Store | ||
| CF | Props from a hundred bad movies loom out of the dim light in piles on | ||
| CF | the floor and stacked on metal shelving. Wide hangers hold arrays of | ||
| CF | multi-colored clothing. There may be a storage methodology at work | ||
| CF | here, but you can't see it. To your eyes, it just looks like random | ||
| CF | piles of junk made from cloth and plywood. Dimly lit doorways in the | ||
| CF | west and south walls lead into shadow. | ||
| CF | | ||
| CF | A rolled up rug is next to an open trapdoor, leading down into a | ||
| CF | brightly lit room. | ||
| CF | | ||
| CF | A sewing machine sits on a workbench in front of the clothes hangers. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x machine" | ||
| CF ] Studio Store 8/499 | ||
| CF | > | ||
| CF | > X MACHINE | ||
| CF | | ||
| CF | The sewing machine looks old and heavy. A small compartment on the top | ||
| CF | is closed. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "open it" | ||
| CF ] Studio Store 8/500 | ||
| CF | > | ||
| CF | > OPEN IT | ||
| CF | | ||
| CF | You open the sewing machine, revealing a reel of strong cotton. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take cotton" | ||
| CF ] Studio Store 8/501 | ||
| CF | > | ||
| CF | > TAKE COTTON | ||
| CF | | ||
| CF | Taken. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x it" | ||
| CF ] Studio Store 8/502 | ||
| CF | > | ||
| CF | > X IT | ||
| CF | | ||
| CF | Strong black cotton wound onto a reel. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x doll" | ||
| CF ] Studio Store 8/503 | ||
| CF | > | ||
| CF | > X DOLL | ||
| CF | | ||
| CF | The featureless little doll is made from coarse sacking and roughly | ||
| CF | stitched into the shape of a person. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x needle" | ||
| CF ] Studio Store 8/504 | ||
| CF | > | ||
| CF | > X NEEDLE | ||
| CF | | ||
| CF | The sharp needle has been carved from white bone! | ||
| CF | | ||
| CF | > | DavidW says, "We have a needle and thread now." | |
| Knight_Otu says, "And likely no sewing talent." | ||
| DavidW says (to ClubFloyd), "sew robe" | ||
| CF ] Studio Store 8/505 | ||
| CF | > | ||
| CF | > SEW ROBE | ||
| CF | | ||
| CF | Usually, you would sew a thing TO another thing. | ||
| CF | | ||
| CF | > | Roger says, "So what? Sew buttons" | |
| DavidW says, "I don't know what to sew." | ||
| DavidW says, "So I suggest visiting a new studio now." | ||
| DavidW says, "And I haven't visited any of the other three." | ||
| Knight_Otu says (to ClubFloyd), "w" | ||
| CF ] Studio Waiting Room 8/506 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Studio Waiting Room | ||
| CF | The dim lights barely illuminate the scattering of uncomfortable | ||
| CF | chairs where actors are supposed to spend their time between takes. A | ||
| CF | door to the north leads outside and dark doorways lead to the east and | ||
| CF | west deeper into the studio. | ||
| CF | | ||
| CF | The kitchen counter along one wall, stained with coffee mug rings, | ||
| CF | holds the accumulated detritus of a hundred extras' various drink | ||
| CF | making ingredients. | ||
| CF | | ||
| CF | > | Jacqueline says (to Roger), "ITYM 'Sew what?'" | |
| Jacqueline smiles. | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Studio Lot South 8/507 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | Studio Lot South | ||
| CF | Here, the lot is surrounded on three sides by Studios, looming out of | ||
| CF | the night like ancient guardians. The lot continues to the north into | ||
| CF | shadow. To the east side is the door to Studio 3, to the west, Studio | ||
| CF | 4 and to the south the door to Studio 5 where you have spent so much | ||
| CF | time over the last two weeks. A sign over each door proclaims the | ||
| CF | movie that is being made there. | ||
| CF | | ||
| CF | A horde of shambling zombies, led by a slightly less decomposed | ||
| CF | Security Guard, stumble around. | ||
| CF | | ||
| CF | Vampire thralls stand in a surly group, shooting suspicious glances at | ||
| CF | you. | ||
| CF | | ||
| CF | Over by the studio walls, the Count stands listlessly, staring off | ||
| CF | into the sky. | ||
| CF | | ||
| CF | The Countess paces impatiently around the lot. | ||
| CF | | ||
| CF | A dead cultist lies sprawled on the ground, his face frozen in a | ||
| CF | horrifying rictus. | ||
| CF | | ||
| CF | The Countess shoots you a troubled glance. "It's getting late." | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x sign 4" | ||
| CF ] Studio Lot South 8/508 | ||
| CF | > | ||
| CF | > X SIGN 4 | ||
| CF | | ||
| CF | "The Vengeance of the Monster" and, under the title, "Dir: Cecil | ||
| CF | DeCrancy". | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x sign 3" | ||
| CF ] Studio Lot South 8/509 | ||
| CF | > | ||
| CF | > X SIGN 3 | ||
| CF | | ||
| CF | The title, "The Curse of the Mummy of Death", the director, "Susan | ||
| CF | McDougal". | ||
| CF | | ||
| CF | > | Knight_Otu says, "So, Frankenstein's monster, the mummy, or the werewolf." | |
| Jacqueline wonders if this was a two hour game for *anyone* who voted in the comp. | ||
| Knight_Otu says, "Any preferences on who to free first" | ||
| Jacqueline asks, "Hm. Mummy?" | ||
| MoyTravis says, "Yeah this ain't a 2-hour game." | ||
| MoyTravis asks, "Mummy?" | ||
| DavidW says, "I dunno. We'll need all three I think. I like mummy next, sure." | ||
| DavidW says, "We might get a scarab as an anti-mummy token." | ||
| Knight_Otu nods. | ||
| Knight_Otu says (to ClubFloyd), "e" | ||
| CF ] Studio Menagerie 8/510 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | (first opening Studio 3 door) | ||
| CF | | ||
| CF | Studio Menagerie | ||
| CF | This small dingy room is filled with mostly empty cages for the | ||
| CF | animals the Studio uses in its movies. It smells quite bad, to be | ||
| CF | honest. A door lies open to the west and, opposite it, a relatively | ||
| CF | brightly lit space in the wall opens up to the east. | ||
| CF | | ||
| CF | Ew. Spiders. You have a thing about spiders. And snakes. Scorpions, | ||
| CF | you really don't like. And you hate a cockroach. First and only time | ||
| CF | you came here, your friend Billy Ambler, who was an extra on the | ||
| CF | movie, had forced you to hold a snake. | ||
| CF | | ||
| CF | "They're pretty tame," he had said, "but be careful, or they get awful | ||
| CF | mad." | ||
| CF | | ||
| CF | You had been very careful to be careful, and had handed the snake back | ||
| CF | to Billy as soon as you could. Come to think of it, you've not seen | ||
| CF | him for a while. He was only an extra, playing a robed Badari | ||
| CF | tribesman, but still, he could have asked you to come and watch his | ||
| CF | one scene. | ||
| CF | | ||
| CF | Leaning against one of the cages is a leather whip. | ||
| CF | | ||
| CF | Hanging on the wall is the Menagerie keeper's worn stetson hat. | ||
| CF | | ||
| CF | Wilma, the studio sheep, sits contentedly in the corner of the room. A | ||
| CF | lead trails from a collar around her neck. | ||
| CF | | ||
| CF | Rats skitter and scratch in their cage. | ||
| CF | | ||
| CF | A cage full of cockroaches chitter and scurry. | ||
| CF | | ||
| CF | A hissing mass of snakes writhe around their cage. | ||
| CF | | ||
| CF | Caged scorpions wave their tails menacingly. | ||
| CF | | ||
| CF | Spiders lurk in the corners of their cage. | ||
| CF | | ||
| CF | On one side of the room, a large cage contains a huge crocodile. | ||
| CF | | ||
| CF | > | DavidW says, "Silver might repel the werewolf. But I have no idea what would repel a Frankie." | |
| MoyTravis says, "Is this a pet puzzle." | ||
| Krumar says, "Fire probably." | ||
| Knight_Otu says, "Our protagonist is doing it again. Billy is dead, my friend." | ||
| Knight_Otu says (to ClubFloyd), "x cages" | ||
| CF ] Studio Menagerie 8/511 | ||
| CF | > | ||
| CF | > X CAGES | ||
| CF | | ||
| CF | The empty cages fill most of the room. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x whip" | ||
| CF ] Studio Menagerie 8/512 | ||
| CF | > | ||
| CF | > X WHIP | ||
| CF | | ||
| CF | A long thin piece of leather. You thank your lucky stars that you were | ||
| CF | taught how to crack a whip at stageschool. | ||
| CF | | ||
| CF | > | Jacqueline says, "Also, I'm glad they're totally avoiding the Indiana Jones tropes (not)." | |
| DavidW says, "See if the croc has a large tummy lump." | ||
| Knight_Otu says (to ClubFloyd), "get whip" | ||
| CF ] Studio Menagerie 8/513 | ||
| CF | > | ||
| CF | > GET WHIP | ||
| CF | | ||
| CF | Buster's whip! You've been longing to have a go with this, but Buster | ||
| CF | would never let anyone touch it. It was one of the first things they | ||
| CF | taught you in stageschool - how to CRACK a WHIP. They said it was | ||
| CF | going to come in useful for all sorts of movies and that no good actor | ||
| CF | could go into the business without at least having the basics of | ||
| CF | on-screen whip cracking down. | ||
| CF | | ||
| CF | > | Roger says, "we're on a whipping streak" | |
| DavidW says (to ClubFloyd), "exits" | ||
| CF ] Studio Menagerie 8/513 | ||
| CF | > | ||
| CF | > EXITS | ||
| CF | | ||
| CF | That's not a verb I recognise. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x hat" | ||
| CF ] Studio Menagerie 8/514 | ||
| CF | > | ||
| CF | > X HAT | ||
| CF | | ||
| CF | (the jaunty hat) | ||
| CF | Ever so slightly too small for your head. You dread to think how many | ||
| CF | other heads have worn this prop over the years. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x crocodile" | ||
| CF ] Studio Menagerie 8/515 | ||
| CF | > | ||
| CF | > X CROCODILE | ||
| CF | | ||
| CF | The huge crocodile just stares back at you with heavy lidded eyes. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x stetson" | ||
| CF ] Studio Menagerie 8/516 | ||
| CF | > | ||
| CF | > X STETSON | ||
| CF | | ||
| CF | The old hat is worn and stained through many years service of animal | ||
| CF | husbandry. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "wear it" | ||
| CF ] Studio Menagerie 8/517 | ||
| CF | > | ||
| CF | > WEAR IT | ||
| CF | | ||
| CF | (first taking Buster's Stetson) | ||
| CF | You'd have to take the jaunty hat off first. | ||
| CF | | ||
| CF | > | Knight_Otu asks, "What? No two hats?" | |
| Knight_Otu says (to ClubFloyd), "x sheep" | ||
| CF ] Studio Menagerie 8/518 | ||
| CF | > | ||
| CF | > X SHEEP | ||
| CF | | ||
| CF | Wilma is a small sheep. She's kind of the studio pet. She must getting | ||
| CF | quite old now and her temperament isn't great, to be honest. Around | ||
| CF | her neck is a collar, and, attached to it, a lead. | ||
| CF | | ||
| CF | > | DavidW says, "I guess if we get to be Zaphod we can wear two hats." | |
| Knight_Otu says, "With how learning-resistant as we are, surely our skull is thick enough for two hats." | ||
| Knight_Otu says (to ClubFloyd), "x rats" | ||
| CF ] Studio Menagerie 8/519 | ||
| CF | > | ||
| CF | > X RATS | ||
| CF | | ||
| CF | The rats scurry around the cage and bare their fangs at you. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x snakes" | ||
| CF ] Studio Menagerie 8/520 | ||
| CF | > | ||
| CF | > X SNAKES | ||
| CF | | ||
| CF | The snakes are a boiling hissing mass of scales. Their forked tongues | ||
| CF | flick out like they are trying to taste you. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x roaches" | ||
| CF ] Studio Menagerie 8/521 | ||
| CF | > | ||
| CF | > X ROACHES | ||
| CF | | ||
| CF | The roaches are huge! They're almost the size of small dinner plates. | ||
| CF | They wave their antennae at you threateningly. | ||
| CF | | ||
| CF | > | ||
| Jacqueline says (to ClubFloyd), "pet roach" | ||
| CF ] Studio Menagerie 8/522 | ||
| CF | > | ||
| CF | > PET ROACH | ||
| CF | | ||
| CF | You doubt that would help here. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x scorpions" | ||
| CF ] Studio Menagerie 8/523 | ||
| CF | > | ||
| CF | > X SCORPIONS | ||
| CF | | ||
| CF | The scorpions rear their stingers at you. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x spiders" | ||
| CF ] Studio Menagerie 8/524 | ||
| CF | > | ||
| CF | > X SPIDERS | ||
| CF | | ||
| CF | The black spiders, each with a little red hourglass on their back, | ||
| CF | raise their front legs at you. | ||
| CF | | ||
| CF | > | DavidW says, "I do hope no one opens all these cages." | |
| Knight_Otu says (to ClubFloyd), "l" | ||
| CF ] Studio Menagerie 8/525 | ||
| CF | > | ||
| CF | > L | ||
| CF | | ||
| CF | Studio Menagerie | ||
| CF | This small dingy room is filled with mostly empty cages for the | ||
| CF | animals the Studio uses in its movies. It smells quite bad, to be | ||
| CF | honest. A door lies open to the west and, opposite it, a relatively | ||
| CF | brightly lit space in the wall opens up to the east. | ||
| CF | | ||
| CF | Wilma, the studio sheep, sits contentedly in the corner of the room. A | ||
| CF | lead trails from a collar around her neck. | ||
| CF | | ||
| CF | Rats skitter and scratch in their cage. | ||
| CF | | ||
| CF | A cage full of cockroaches chitter and scurry. | ||
| CF | | ||
| CF | A hissing mass of snakes writhe around their cage. | ||
| CF | | ||
| CF | Caged scorpions wave their tails menacingly. | ||
| CF | | ||
| CF | Spiders lurk in the corners of their cage. | ||
| CF | | ||
| CF | On one side of the room, a large cage contains a huge crocodile. | ||
| CF | | ||
| CF | > | DavidW says, "oh, black widows" | |
| Knight_Otu says (to ClubFloyd), "x lead" | ||
| CF ] Studio Menagerie 8/526 | ||
| CF | > | ||
| CF | > X LEAD | ||
| CF | | ||
| CF | The long lead is attached to Wilma's collar. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x collar" | ||
| CF ] Studio Menagerie 8/527 | ||
| CF | > | ||
| CF | > X COLLAR | ||
| CF | | ||
| CF | The collar round Wilma's neck is attached to a long lead. | ||
| CF | | ||
| CF | > | Knight_Otu says, "I'm thinking we don#t do anything with the cages unless we absolutely have to." | |
| Knight_Otu says (to ClubFloyd), "SAVE" | ||
| Knight_Otu says (to ClubFloyd), "cf7" | ||
| CF | > | ||
| CF | > SAVE | ||
| CF | %% Enter a save filename to write: | ||
| CF ] Studio Menagerie 8/527 | ||
| CF | > SAVEOk. | ||
| CF | | ||
| CF | > | DavidW says, "agreed" | |
| Jacqueline says, "Good idea" | ||
| Knight_Otu says (to ClubFloyd), "e" | ||
| CF ] The Shrine of the Sphinx 8/528 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | It's always a surprise, this, even though you've been on set a few | ||
| CF | times. Compared to the smaller sets of the other Studios, the openness | ||
| CF | of this one is unexpected. It's a desert scene that covers most of the | ||
| CF | hanger like Studio. You can see all across it, even though the lights | ||
| CF | way up on the ceiling are slightly dimmed for the night. | ||
| CF | | ||
| CF | The Shrine of the Sphinx | ||
| CF | They've only bothered to actually build the front legs of the Sphinx. | ||
| CF | For longer shots, you assume they use the matte backdrop of the whole | ||
| CF | thing painted onto the Studio wall to the set's left. The Sphinx's | ||
| CF | legs extend out from the Studio walls and between them is the Mummy's | ||
| CF | shrine, carved from greyish sandy painted construction foam. | ||
| CF | | ||
| CF | To the west, there is an opening in the Studio wall. Southwest, | ||
| CF | towards the other side of the Studio, you can see distant sand dunes. | ||
| CF | The set opens out to the south to reveal some sort of building and | ||
| CF | beyond it, a group of ruins. To the southeast, you can see the tops of | ||
| CF | a group of tents. | ||
| CF | | ||
| CF | Oh no! There seems to be someone else here on set. The light from a | ||
| CF | flickering torch plays fitfully around the tents to the southeast. | ||
| CF | | ||
| CF | In the distance, a torch flickers near to the tents. | ||
| CF | | ||
| CF | > | DavidW says, "But I can't help but think they'll block our exit later." | |
| Krumar asks, "Do you tend to get stuck in the studios until you solve their puzzles?" | ||
| Jacqueline asks, "So, we don't actually see another person, but we see a tent and a torch?" | ||
| DavidW says (to Krumar), "no" | ||
| Jacqueline says (to Krumar), "I'm not sure we are trapped in teh set, but we've tended to solve the sets one by one." | ||
| Krumar says, "Thank you." | ||
| Knight_Otu says, "I think the torch is that ofa security guard." | ||
| DavidW says, "sofa, so good" | ||
| Knight_Otu says, "Who apparently we need to kill to get their protective charm." | ||
| Knight_Otu says (to ClubFloyd), "x leg" | ||
| CF ] The Shrine of the Sphinx 8/528 | ||
| CF | > | ||
| CF | > X LEG | ||
| CF | | ||
| CF | You can't see any such thing. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x sphinx" | ||
| CF ] The Shrine of the Sphinx 8/528 | ||
| CF | > | ||
| CF | > X SPHINX | ||
| CF | | ||
| CF | Which do you mean, the sphinx's front legs, the matte backdrop or The | ||
| CF | Shrine of the Sphinx? | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "front" | ||
| CF ] The Shrine of the Sphinx 8/529 | ||
| CF | > | ||
| CF | > FRONT | ||
| CF | | ||
| CF | The Sphinx's legs, made from blocks of sandy painted foam and ending | ||
| CF | in something akin to lion's feet and claws, extend out into the set | ||
| CF | from the Studio wall. A tightly focussed shot, and you suppose these | ||
| CF | could represent the whole thing. | ||
| CF | | ||
| CF | The torchlight moves southwest to flicker around the ruins. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x backdrop" | ||
| CF ] The Shrine of the Sphinx 8/530 | ||
| CF | > | ||
| CF | > X BACKDROP | ||
| CF | | ||
| CF | It's a painting of the Sphinx set against a sea of dunes. It's quite | ||
| CF | well done. | ||
| CF | | ||
| CF | > | Jacqueline says, "Okay, so the torch is moving. Got it." | |
| Knight_Otu says (to ClubFloyd), "x shrine" | ||
| CF ] The Shrine of the Sphinx 8/531 | ||
| CF | > | ||
| CF | > X SHRINE | ||
| CF | | ||
| CF | (the Mummy's shrine) | ||
| CF | The shrine, a tall block carved with vaguely egyptian looking figures | ||
| CF | and made from construction foam, sits between the two front legs of | ||
| CF | the Sphinx. | ||
| CF | | ||
| CF | The torchlight moves northwest to play around the dunes. | ||
| CF | | ||
| CF | Oh no! It looks like it's heading your way! You are in a perilous | ||
| CF | situation! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "w" | ||
| CF ] Studio Menagerie 8/532 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Studio Menagerie | ||
| CF | This small dingy room is filled with mostly empty cages for the | ||
| CF | animals the Studio uses in its movies. It smells quite bad, to be | ||
| CF | honest. A door lies open to the west and, opposite it, a relatively | ||
| CF | brightly lit space in the wall opens up to the east. | ||
| CF | | ||
| CF | Wilma, the studio sheep, sits contentedly in the corner of the room. A | ||
| CF | lead trails from a collar around her neck. | ||
| CF | | ||
| CF | Rats skitter and scratch in their cage. | ||
| CF | | ||
| CF | A cage full of cockroaches chitter and scurry. | ||
| CF | | ||
| CF | A hissing mass of snakes writhe around their cage. | ||
| CF | | ||
| CF | Caged scorpions wave their tails menacingly. | ||
| CF | | ||
| CF | Spiders lurk in the corners of their cage. | ||
| CF | | ||
| CF | On one side of the room, a large cage contains a huge crocodile. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "z" | ||
| CF ] Studio Menagerie 8/533 | ||
| CF | > | ||
| CF | > Z | ||
| CF | | ||
| CF | Time passes. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "z" | ||
| CF ] Studio Menagerie 8/534 | ||
| CF | > | ||
| CF | > Z | ||
| CF | | ||
| CF | Time passes. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "z" | ||
| CF ] Studio Menagerie 8/535 | ||
| CF | > | ||
| CF | > Z | ||
| CF | | ||
| CF | Time passes. | ||
| CF | | ||
| CF | > | DavidW says, "shoulda gone southeast, I think" | |
| Knight_Otu says, "Maybe." | ||
| Knight_Otu says (to ClubFloyd), "e" | ||
| CF ] The Shrine of the Sphinx 8/536 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | The Shrine of the Sphinx | ||
| CF | They've only bothered to actually build the front legs of the Sphinx. | ||
| CF | For longer shots, you assume they use the matte backdrop of the whole | ||
| CF | thing painted onto the Studio wall to the set's left. The Sphinx's | ||
| CF | legs extend out from the Studio walls and between them is the Mummy's | ||
| CF | shrine, carved from greyish sandy painted construction foam. | ||
| CF | | ||
| CF | To the west, there is an opening in the Studio wall. Southwest, | ||
| CF | towards the other side of the Studio, you can see distant sand dunes. | ||
| CF | The set opens out to the south to reveal some sort of building and | ||
| CF | beyond it, a group of ruins. To the southeast, you can see the tops of | ||
| CF | a group of tents. | ||
| CF | | ||
| CF | In the distance, a torch flickers near to the desert dunes. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] Archaeological Dig Site 8/537 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | Archaeological Dig Site | ||
| CF | The dark entrance to the Mummy's tombs leads down a ladder through a | ||
| CF | hole in the ground in-between the exposed ancient buildings. But | ||
| CF | they're not actually buildings. They're just the front walls of | ||
| CF | buildings held up with wooden scaffolding at the back. | ||
| CF | | ||
| CF | Here, right in the middle of the Studio, you can see all across the | ||
| CF | huge set. To the north is the looming Sphinx, to the west, rolling | ||
| CF | sand dunes. On the east side of the building are the tops of some | ||
| CF | colorful tents and to the south of you, what seem like ruins. | ||
| CF | | ||
| CF | This must be the entrance to the tomb of the ancient pharaoh | ||
| CF | Nefer-Kare! According to the script to The Curse of the Mummy of | ||
| CF | Death, which you'd manage to get a glimpse of while Billy had been | ||
| CF | trying to commit his line to memory, he had been "the most evil of all | ||
| CF | the rulers of ancient Egypt." | ||
| CF | | ||
| CF | In the distance, a torch flickers near to the desert dunes. | ||
| CF | | ||
| CF | The torchlight moves northeast to glimmer around the Sphinx. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x ladder" | ||
| CF ] Archaeological Dig Site 8/538 | ||
| CF | > | ||
| CF | > X LADDER | ||
| CF | | ||
| CF | The ladder leads down into darkness. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x buildings" | ||
| CF ] Archaeological Dig Site 8/539 | ||
| CF | > | ||
| CF | > X BUILDINGS | ||
| CF | | ||
| CF | Constructed from what seems like plywood, and propped up with wooden | ||
| CF | scaffolding, the ancient building frontages surround the entrance to | ||
| CF | the Mummy's tomb. | ||
| CF | | ||
| CF | The torchlight moves southeast to play around the tents. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "d" | ||
| CF ] The Tomb of Nefer-Kare 8/540 | ||
| CF | > | ||
| CF | > D | ||
| CF | | ||
| CF | | ||
| CF | The Tomb of Nefer-Kare | ||
| CF | Above you, the square hole in the ceiling lets in just enough light to | ||
| CF | see the whole of this small, stone lined room. The air is oppressive, | ||
| CF | and dust, in a thick layer, covers the floor, stirring up with each of | ||
| CF | your footsteps. A wooden ladder stretches up into the studio. | ||
| CF | | ||
| CF | Against the walls of three sides of the tomb are ranks of closed | ||
| CF | ornate sarcophagi! | ||
| CF | | ||
| CF | On the north wall, all by itself, rests one huge closed golden | ||
| CF | sarcophagus. | ||
| CF | | ||
| CF | In the centre of the room, eerily lit by the light from the studio | ||
| CF | above, is a single stone pedestal. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x sarcophagi" | ||
| CF ] The Tomb of Nefer-Kare 8/540 | ||
| CF | > | ||
| CF | > X SARCOPHAGI | ||
| CF | | ||
| CF | Which do you mean, the ornate sarcophagi or the golden sarcophagus? | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "ornate" | ||
| CF ] The Tomb of Nefer-Kare 8/541 | ||
| CF | > | ||
| CF | > ORNATE | ||
| CF | | ||
| CF | They're all made from stone and about the size of a large man. Strange | ||
| CF | hieroglyphs cover the front of each. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x hieroglyphs" | ||
| CF ] The Tomb of Nefer-Kare 8/542 | ||
| CF | > | ||
| CF | > X HIEROGLYPHS | ||
| CF | | ||
| CF | You cannot make sense of the strange figures. But there's something | ||
| CF | about them. Disturbingly, they seem to swim in and out of focus as if | ||
| CF | they hold some terrible power! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x golden" | ||
| CF ] The Tomb of Nefer-Kare 8/543 | ||
| CF | > | ||
| CF | > X GOLDEN | ||
| CF | | ||
| CF | (the golden sarcophagus) | ||
| CF | The huge sarcophagus seems to be made from pure gold! It is in the | ||
| CF | shape of a man, with crossed arms. The carved face has pitiless blank | ||
| CF | black eyes that seem to stare into your very soul! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x pedestal" | ||
| CF ] The Tomb of Nefer-Kare 8/544 | ||
| CF | > | ||
| CF | > X PEDESTAL | ||
| CF | | ||
| CF | It's a single unadorned stone emerging from the floor of the tomb to | ||
| CF | about waist height. The top is flat, with a slight circular depression | ||
| CF | in the centre. | ||
| CF | | ||
| CF | > | DavidW says, "We don't want to open any of these without a protective token of some sort." | |
| Knight_Otu says (to ClubFloyd), "x depression" | ||
| CF ] The Tomb of Nefer-Kare 8/545 | ||
| CF | > | ||
| CF | > X DEPRESSION | ||
| CF | | ||
| CF | The little circular depression is about a quarter of an inch deep and | ||
| CF | a little bit smaller than your hand. | ||
| CF | | ||
| CF | > | Knight_Otu says, "Yeah." | |
| Jacqueline nods. | ||
| Knight_Otu says (to ClubFloyd), "u" | ||
| CF ] Archaeological Dig Site 8/546 | ||
| CF | > | ||
| CF | > U | ||
| CF | | ||
| CF | | ||
| CF | Archaeological Dig Site | ||
| CF | The dark entrance to the Mummy's tombs leads down a ladder through a | ||
| CF | hole in the ground in-between the exposed ancient buildings. But | ||
| CF | they're not actually buildings. They're just the front walls of | ||
| CF | buildings held up with wooden scaffolding at the back. | ||
| CF | | ||
| CF | Here, right in the middle of the Studio, you can see all across the | ||
| CF | huge set. To the north is the looming Sphinx, to the west, rolling | ||
| CF | sand dunes. On the east side of the building are the tops of some | ||
| CF | colorful tents and to the south of you, what seem like ruins. | ||
| CF | | ||
| CF | In the distance, a torch flickers near to the tents. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "w" | ||
| CF ] Deep in the Desert 8/547 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Deep in the Desert | ||
| CF | A small sea (well, seven) of waist high sand dunes rise up from the | ||
| CF | floor until they hit the painted backdrop of a deep blue sky with a | ||
| CF | horizon of shimmering dunes stretching out into the far distance. To | ||
| CF | the northeast, you can see the sphinx rising up against the studio | ||
| CF | wall, to the east is a cluster of buildings and southeast some sort of | ||
| CF | ruin. | ||
| CF | | ||
| CF | In the distance, a torch flickers near to the tents. | ||
| CF | | ||
| CF | The torchlight moves southwest to glimmer around the ruins. | ||
| CF | | ||
| CF | Oh no! It looks like it's heading your way! You are in a perilous | ||
| CF | situation! | ||
| CF | | ||
| CF | > | Jacqueline says, "I was going to ask if we should check out the torch, but apparently that is perilous." | |
| Knight_Otu says (to ClubFloyd), "e" | ||
| CF ] Archaeological Dig Site 8/548 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | Archaeological Dig Site | ||
| CF | The dark entrance to the Mummy's tombs leads down a ladder through a | ||
| CF | hole in the ground in-between the exposed ancient buildings. But | ||
| CF | they're not actually buildings. They're just the front walls of | ||
| CF | buildings held up with wooden scaffolding at the back. | ||
| CF | | ||
| CF | Here, right in the middle of the Studio, you can see all across the | ||
| CF | huge set. To the north is the looming Sphinx, to the west, rolling | ||
| CF | sand dunes. On the east side of the building are the tops of some | ||
| CF | colorful tents and to the south of you, what seem like ruins. | ||
| CF | | ||
| CF | In the distance, a torch flickers near to the ruins. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "e" | ||
| CF ] The Tent City of the Badari 8/549 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | The Tent City of the Badari | ||
| CF | The city comprises, in total, of four small tents and a large one | ||
| CF | arranged around a campfire. At least they're quite colorful. Some | ||
| CF | buildings rear out of the set to the west, to the northwest is the | ||
| CF | Sphinx and southwest of you, a ruin. | ||
| CF | | ||
| CF | This was the scene of Billy's line. He was supposed to emerge from the | ||
| CF | tent, brandishing a scimitar, and say "Who goes there?". This was | ||
| CF | before his eventual on-set death scene as a completely different extra | ||
| CF | who got pierced by spears through some elaborate trap or other. It's | ||
| CF | always nice when they give an extra a line. You hope Billy builds on | ||
| CF | it and gets a better part next time! | ||
| CF | | ||
| CF | In the distance, a torch flickers near to the ruins. | ||
| CF | | ||
| CF | The torchlight moves northwest to flicker around the dunes. | ||
| CF | | ||
| CF | > | Knight_Otu asks, "Protagonist, must we do this every studio?" | |
| Knight_Otu says (to ClubFloyd), "x tents" | ||
| CF ] The Tent City of the Badari 8/550 | ||
| CF | > | ||
| CF | > X TENTS | ||
| CF | | ||
| CF | (the small tents) | ||
| CF | The small canvas tents are really just a sheet of canvas stretched | ||
| CF | over a wooden frame and painted to look like a colorful tent. They | ||
| CF | don't even have a real opening. | ||
| CF | | ||
| CF | > | MoyTravis says, "Yes. We must." | |
| Knight_Otu says (to ClubFloyd), "hide" | ||
| CF ] The Tent City of the Badari 8/551 | ||
| CF | > | ||
| CF | > HIDE | ||
| CF | | ||
| CF | There's nothing you really need to hide from. | ||
| CF | | ||
| CF | The torchlight moves northeast to play around the Sphinx. | ||
| CF | | ||
| CF | Oh no! It looks like it's heading your way! You are in a perilous | ||
| CF | situation! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "hide" | ||
| CF ] The Tent City of the Badari 8/552 | ||
| CF | > | ||
| CF | > HIDE | ||
| CF | | ||
| CF | You back into the darker shadows of the set as the torchlight flickers | ||
| CF | ever closer. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "z" | ||
| CF ] The Tent City of the Badari 8/553 | ||
| CF | > | ||
| CF | > Z | ||
| CF | | ||
| CF | Time passes. | ||
| CF | | ||
| CF | A security guard wanders in from the northwest. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x guard" | ||
| CF ] The Tent City of the Badari 8/554 | ||
| CF | > | ||
| CF | > X GUARD | ||
| CF | | ||
| CF | The guard is an older white-haired gentleman, resplendent in his red | ||
| CF | uniform. He shines his torch carefully around the set, peering into | ||
| CF | the nooks and crannies. Around his wrist, the guard is wearing what | ||
| CF | seems to be a shiny bronze bracelet. As you look, he touches it, as if | ||
| CF | to check it's still there. | ||
| CF | | ||
| CF | > | Jacqueline says, "Kill it" | |
| Jacqueline says, "Kidding." | ||
| Jacqueline says, "And I said 'it' before it was revealed to be an old guy." | ||
| MoyTravis says, "No we're definitely going to kill whoever this is by the time we're outta here." | ||
| MoyTravis says, "That's how the game rolls." | ||
| Jacqueline says, "I mean, yes." | ||
| Jacqueline says, "But I'm not here for it." | ||
| Knight_Otu says, "Unfortunately, we clearly have to kill another innocent person." | ||
| Krumar says, "Just bring in your current army and take it." | ||
| Knight_Otu says (to ClubFloyd), "z" | ||
| CF ] The Tent City of the Badari 8/555 | ||
| CF | > | ||
| CF | > Z | ||
| CF | | ||
| CF | Time passes. | ||
| CF | | ||
| CF | The security guard wanders southwest towards the ruins. You come out | ||
| CF | of hiding. | ||
| CF | | ||
| CF | > | Jacqueline says, "I'm guessing that in each studio we will (a) be surprised to learn a friend of ours was killed in the course of their acting job and (b) kill a security guard." | |
| MoyTravis says, "Yep that's the formula." | ||
| DavidW says, "I haven't seen any obvious way to kill this guard yet." | ||
| Knight_Otu says, "I'm not quite yet seeing a way to kill the guard. Unless we do free one of the ani..." | ||
| MoyTravis says, "HMM." | ||
| DavidW says, "yeah, the menagerie is the only option so far." | ||
| Knight_Otu says, "We take the sheep onto the set. We open one of the cages. The guard brings thesheep home. Death." | ||
| DavidW says, "Unless there's a pitfall under the dunes." | ||
| Jacqueline says, "We didn't kill Chloe until the very end of her section." | ||
| Jacqueline says, "Give it time." | ||
| DavidW asks, "What about the large tent and campfire here?" | ||
| Knight_Otu says, "Well, we are responsible for her death, but it wasn't us that killed her, directly, at least." | ||
| Knight_Otu says (to ClubFloyd), "x campfire" | ||
| CF ] The Tent City of the Badari 8/556 | ||
| CF | > | ||
| CF | > X CAMPFIRE | ||
| CF | | ||
| CF | A small bundle of stuck together sticks, surrounded by a circle of | ||
| CF | carved foam rocks. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x tent" | ||
| CF ] The Tent City of the Badari 8/556 | ||
| CF | > | ||
| CF | > X TENT | ||
| CF | | ||
| CF | Which do you mean, the large tent or the small tents? | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "large" | ||
| CF ] The Tent City of the Badari 8/557 | ||
| CF | > | ||
| CF | > LARGE | ||
| CF | | ||
| CF | The domed, open fronted tent is made from colorful, patterned canvas. | ||
| CF | | ||
| CF | The torchlight moves northwest to flicker around the dunes. | ||
| CF | | ||
| CF | > | Jacqueline says (to KO), "If I were a voodoo priestess I would ask you to at least consider a little bit how you contributed to Chloe's death." | |
| Knight_Otu says (to ClubFloyd), "enter tent" | ||
| CF ] The Tent City of the Badari 8/557 | ||
| CF | > | ||
| CF | > ENTER TENT | ||
| CF | | ||
| CF | Which do you mean, the large tent or the small tents? | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "large" | ||
| CF ] The Tent City of the Badari 8/558 | ||
| CF | > | ||
| CF | > LARGE | ||
| CF | | ||
| CF | You get into the large tent. | ||
| CF | | ||
| CF | > | Knight_Otu says, "I am saying we contributed. We are at fault. We just didn't swing the zombie curse ourselves." | |
| Jacqueline says, "Ah." | ||
| Jacqueline says, "(Also, I was joking.)" | ||
| Knight_Otu says (to ClubFloyd), "l" | ||
| CF ] The Tent City of the Badari 8/559 | ||
| CF | > | ||
| CF | > L | ||
| CF | | ||
| CF | The Tent City of the Badari (in the large tent) | ||
| CF | The city comprises, in total, of four small tents and a large one | ||
| CF | arranged around a campfire. At least they're quite colorful. Some | ||
| CF | buildings rear out of the set to the west, to the northwest is the | ||
| CF | Sphinx and southwest of you, a ruin. | ||
| CF | | ||
| CF | In the distance, a torch flickers near to the desert dunes. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "out" | ||
| CF ] The Tent City of the Badari 8/560 | ||
| CF | > | ||
| CF | > OUT | ||
| CF | | ||
| CF | You get out of the large tent. | ||
| CF | | ||
| CF | The Tent City of the Badari | ||
| CF | The city comprises, in total, of four small tents and a large one | ||
| CF | arranged around a campfire. At least they're quite colorful. Some | ||
| CF | buildings rear out of the set to the west, to the northwest is the | ||
| CF | Sphinx and southwest of you, a ruin. | ||
| CF | | ||
| CF | In the distance, a torch flickers near to the desert dunes. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "sw" | ||
| CF ] The Ruins of Men-nefer 8/561 | ||
| CF | > | ||
| CF | > SW | ||
| CF | | ||
| CF | | ||
| CF | The Ruins of Men-nefer | ||
| CF | This is quite a set! Against the southern studio wall of the studio | ||
| CF | are the fronts of a row of crumbling ruins. They are all covered in | ||
| CF | statues and carvings of monsters and ancient gods - really impressive | ||
| CF | work by the set designer. They loom over you, the faces of the | ||
| CF | statues, they seem to leer at you, giving a terrible air of horrifying | ||
| CF | menace to the whole set! | ||
| CF | | ||
| CF | Opposite the ruins, to the north, you can see some buildings. Dunes | ||
| CF | rise up from the ground to the northwest and northeast are some | ||
| CF | distant tents. | ||
| CF | | ||
| CF | Right in the centre of the row of ruins is an entranceway to a dark | ||
| CF | passage, leading south. You can see a little way in. There seem to be | ||
| CF | holes in the floor and narrow slots in the wall. Part way down, | ||
| CF | slumped against one wall, is an evilly grinning skeleton! Further | ||
| CF | along, and you can see a pile of bones near one of the wall slots. | ||
| CF | | ||
| CF | In the distance, a torch flickers near to the desert dunes. | ||
| CF | | ||
| CF | The torchlight moves northeast to glimmer around the Sphinx. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x skeleton" | ||
| CF ] The Ruins of Men-nefer 8/562 | ||
| CF | > | ||
| CF | > X SKELETON | ||
| CF | | ||
| CF | Lying propped up against the wall, just next to the holes in the | ||
| CF | floor, the skeleton seems to be giving you a hideous knowing smile! | ||
| CF | | ||
| CF | > | Krumar says, "This might be our friend." | |
| Jacqueline says (to ClubFloyd), "search skeleton" | ||
| CF ] The Ruins of Men-nefer 8/563 | ||
| CF | > | ||
| CF | > SEARCH SKELETON | ||
| CF | | ||
| CF | Lying propped up against the wall, just next to the holes in the | ||
| CF | floor, the skeleton seems to be giving you a hideous knowing smile! | ||
| CF | | ||
| CF | The torchlight moves southeast to flicker around the tents. | ||
| CF | | ||
| CF | Oh no! It looks like it's heading your way! You are in a perilous | ||
| CF | situation! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Archaeological Dig Site 8/564 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Archaeological Dig Site | ||
| CF | The dark entrance to the Mummy's tombs leads down a ladder through a | ||
| CF | hole in the ground in-between the exposed ancient buildings. But | ||
| CF | they're not actually buildings. They're just the front walls of | ||
| CF | buildings held up with wooden scaffolding at the back. | ||
| CF | | ||
| CF | Here, right in the middle of the Studio, you can see all across the | ||
| CF | huge set. To the north is the looming Sphinx, to the west, rolling | ||
| CF | sand dunes. On the east side of the building are the tops of some | ||
| CF | colorful tents and to the south of you, what seem like ruins. | ||
| CF | | ||
| CF | In the distance, a torch flickers near to the tents. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "z" | ||
| CF ] Archaeological Dig Site 8/565 | ||
| CF | > | ||
| CF | > Z | ||
| CF | | ||
| CF | Time passes. | ||
| CF | | ||
| CF | The torchlight moves southwest to glimmer around the ruins. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "z" | ||
| CF ] Archaeological Dig Site 8/566 | ||
| CF | > | ||
| CF | > Z | ||
| CF | | ||
| CF | Time passes. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "z" | ||
| CF ] Archaeological Dig Site 8/567 | ||
| CF | > | ||
| CF | > Z | ||
| CF | | ||
| CF | Time passes. | ||
| CF | | ||
| CF | The torchlight moves northwest to play around the dunes. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] The Ruins of Men-nefer 8/568 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | The Ruins of Men-nefer | ||
| CF | This is quite a set! Against the southern studio wall of the studio | ||
| CF | are the fronts of a row of crumbling ruins. They are all covered in | ||
| CF | statues and carvings of monsters and ancient gods - really impressive | ||
| CF | work by the set designer. They loom over you, the faces of the | ||
| CF | statues, they seem to leer at you, giving a terrible air of horrifying | ||
| CF | menace to the whole set! | ||
| CF | | ||
| CF | Opposite the ruins, to the north, you can see some buildings. Dunes | ||
| CF | rise up from the ground to the northwest and northeast are some | ||
| CF | distant tents. | ||
| CF | | ||
| CF | Right in the centre of the row of ruins is an entranceway to a dark | ||
| CF | passage, leading south. You can see a little way in. There seem to be | ||
| CF | holes in the floor and narrow slots in the wall. Part way down, | ||
| CF | slumped against one wall, is an evilly grinning skeleton! Further | ||
| CF | along, and you can see a pile of bones near one of the wall slots. | ||
| CF | | ||
| CF | In the distance, a torch flickers near to the desert dunes. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x statues" | ||
| CF ] The Ruins of Men-nefer 8/569 | ||
| CF | > | ||
| CF | > X STATUES | ||
| CF | | ||
| CF | The designer who did this really does have talent. All of the various | ||
| CF | monsters and gods seem to stare directly at you menacingly wherever | ||
| CF | you stand. It's like they are guarding the entrance to the dingy | ||
| CF | passageway. | ||
| CF | | ||
| CF | The torchlight moves northeast to flicker around the Sphinx. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x carvings" | ||
| CF ] The Ruins of Men-nefer 8/570 | ||
| CF | > | ||
| CF | > X CARVINGS | ||
| CF | | ||
| CF | The designer who did this really does have talent. All of the various | ||
| CF | monsters and gods seem to stare directly at you menacingly wherever | ||
| CF | you stand. It's like they are guarding the entrance to the dingy | ||
| CF | passageway. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x entranceway" | ||
| CF ] The Ruins of Men-nefer 8/571 | ||
| CF | > | ||
| CF | > X ENTRANCEWAY | ||
| CF | | ||
| CF | The passageway leads south into darkness. | ||
| CF | | ||
| CF | The torchlight moves southeast to play around the tents. | ||
| CF | | ||
| CF | Oh no! It looks like it's heading your way! You are in a perilous | ||
| CF | situation! | ||
| CF | | ||
| CF | > | DavidW says, "I kinda want to SAVE then go south, but not in a perilous situation." | |
| Knight_Otu says (to ClubFloyd), "x holes" | ||
| CF ] The Ruins of Men-nefer 8/572 | ||
| CF | > | ||
| CF | > X HOLES | ||
| CF | | ||
| CF | It's a strange square pattern of small evenly spaced holes on the | ||
| CF | floor. Just next to them is propped a grinning skeleton. | ||
| CF | | ||
| CF | > | Krumar asks, "can you hide again?" | |
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Archaeological Dig Site 8/573 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Archaeological Dig Site | ||
| CF | The dark entrance to the Mummy's tombs leads down a ladder through a | ||
| CF | hole in the ground in-between the exposed ancient buildings. But | ||
| CF | they're not actually buildings. They're just the front walls of | ||
| CF | buildings held up with wooden scaffolding at the back. | ||
| CF | | ||
| CF | Here, right in the middle of the Studio, you can see all across the | ||
| CF | huge set. To the north is the looming Sphinx, to the west, rolling | ||
| CF | sand dunes. On the east side of the building are the tops of some | ||
| CF | colorful tents and to the south of you, what seem like ruins. | ||
| CF | | ||
| CF | In the distance, a torch flickers near to the tents. | ||
| CF | | ||
| CF | The torchlight moves southwest to flicker around the ruins. | ||
| CF | | ||
| CF | > | Knight_Otu says, "I think it's sufficient to go heree." | |
| Jacqueline says, "That designer really had talent - it's almost as if the eyes are following you." | ||
| Jacqueline says, "God bless our niave little PC." | ||
| Knight_Otu says, "We probably had to hide once to see that the guard has their protectiva charm." | ||
| Knight_Otu says (to ClubFloyd), "z" | ||
| CF ] Archaeological Dig Site 8/574 | ||
| CF | > | ||
| CF | > Z | ||
| CF | | ||
| CF | Time passes. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "z" | ||
| CF ] Archaeological Dig Site 8/575 | ||
| CF | > | ||
| CF | > Z | ||
| CF | | ||
| CF | Time passes. | ||
| CF | | ||
| CF | The torchlight moves northwest to glimmer around the dunes. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] The Ruins of Men-nefer 8/576 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | The Ruins of Men-nefer | ||
| CF | This is quite a set! Against the southern studio wall of the studio | ||
| CF | are the fronts of a row of crumbling ruins. They are all covered in | ||
| CF | statues and carvings of monsters and ancient gods - really impressive | ||
| CF | work by the set designer. They loom over you, the faces of the | ||
| CF | statues, they seem to leer at you, giving a terrible air of horrifying | ||
| CF | menace to the whole set! | ||
| CF | | ||
| CF | Opposite the ruins, to the north, you can see some buildings. Dunes | ||
| CF | rise up from the ground to the northwest and northeast are some | ||
| CF | distant tents. | ||
| CF | | ||
| CF | Right in the centre of the row of ruins is an entranceway to a dark | ||
| CF | passage, leading south. You can see a little way in. There seem to be | ||
| CF | holes in the floor and narrow slots in the wall. Part way down, | ||
| CF | slumped against one wall, is an evilly grinning skeleton! Further | ||
| CF | along, and you can see a pile of bones near one of the wall slots. | ||
| CF | | ||
| CF | In the distance, a torch flickers near to the desert dunes. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "SAVE" | ||
| Knight_Otu says (to ClubFloyd), "cf8" | ||
| CF | > | ||
| CF | > SAVE | ||
| CF | %% Enter a save filename to write: | ||
| CF ] The Ruins of Men-nefer 8/576 | ||
| CF | > SAVEOk. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x slots" | ||
| CF ] The Ruins of Men-nefer 8/577 | ||
| CF | > | ||
| CF | > X SLOTS | ||
| CF | | ||
| CF | Opposite one another in pairs and spaced evenly down both walls of the | ||
| CF | passage, the vertical slots go from ceiling to floor. | ||
| CF | | ||
| CF | The torchlight moves northeast to play around the Sphinx. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] The Ruins of Men-nefer 8/577 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | You bravely step into the gloom. Oh no! As soon as your foot hits the | ||
| CF | floor of the passage you realise your terrible mistake! Suddenly, a | ||
| CF | small forest of razor sharp spears shoot out through the floor! They | ||
| CF | pierce your body agonizingly! They retreat slowly, releasing your poor | ||
| CF | perforated body, and you fall to the floor next to the grinning | ||
| CF | skeleton, which seems to embrace you in its bony arms. Your vision | ||
| CF | darkens until everything is black. | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | ***Roll Credits. The End*** | ||
| CF | | ||
| CF | | ||
| CF | You built an undead army! It consisted of, a horde of shambling | ||
| CF | zombies led by an understandably annoyed Security Guard, the Count, | ||
| CF | the Countess and their bloodthirsty vampire thralls. | ||
| CF | | ||
| CF | You managed to survive eight perilous situations! | ||
| CF | | ||
| CF | - You avoided the murderous attentions of the Cult of Astaroth! | ||
| CF | - You managed to escape from the Cult's Lair! | ||
| CF | - You killed a crazed Cultist with a wooden stake! | ||
| CF | - You chopped a relatively blameless security guard into little | ||
| CF | pieces with a huge axe! | ||
| CF | - You protected yourself from vampires with a simple golden | ||
| CF | crucifix! | ||
| CF | - You managed to sort out a bunch of squabbling ghosts! | ||
| CF | - A horde of shambling zombies stopped attacking you because you | ||
| CF | were holding a voodoo doll of power! | ||
| CF | - You inadvertently led a horde of zombies to a poor Security | ||
| CF | Guard and they bit and infected her! | ||
| CF | | ||
| CF | | ||
| CF | Would you like to RESTART, RESTORE a saved game, QUIT or UNDO the last | ||
| CF | command? | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "undo" | ||
| CF ] The Ruins of Men-nefer 8/577 | ||
| CF | | ||
| CF | > UNDO | ||
| CF | | ||
| CF | The Ruins of Men-nefer | ||
| CF | [Previous turn undone.] | ||
| CF | | ||
| CF | > | MoyTravis asks, "Is that our first game over?" | |
| Jacqueline exclaims, "I think so!" | ||
| Knight_Otu says, "As expected." | ||
| MoyTravis exclaims, "Nifty!" | ||
| Knight_Otu says (to ClubFloyd), "get skeleton" | ||
| CF ] The Ruins of Men-nefer 8/578 | ||
| CF | > | ||
| CF | > GET SKELETON | ||
| CF | | ||
| CF | You can't reach the skeleton from here. | ||
| CF | | ||
| CF | > | Jacqueline says, "I was beginning to wonder if we could die" | |
| DavidW says (to ClubFloyd), "x pile of bones" | ||
| CF ] The Ruins of Men-nefer 8/579 | ||
| CF | > | ||
| CF | > X PILE OF BONES | ||
| CF | | ||
| CF | The pile of bones, next to one of the slots in the wall, are too far | ||
| CF | down the dingy passageway to make out any detail. | ||
| CF | | ||
| CF | The torchlight moves southeast to flicker around the tents. | ||
| CF | | ||
| CF | Oh no! It looks like it's heading your way! You are in a perilous | ||
| CF | situation! | ||
| CF | | ||
| CF | > | Krumar says, "May be we can send the guard in there." | |
| DavidW says, "I think he'd know better." | ||
| Knight_Otu says, "Hm." | ||
| Knight_Otu says (to ClubFloyd), "hide" | ||
| CF ] The Ruins of Men-nefer 8/580 | ||
| CF | > | ||
| CF | > HIDE | ||
| CF | | ||
| CF | You back into the darker shadows of the set as the torchlight flickers | ||
| CF | ever closer. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "z" | ||
| CF ] The Ruins of Men-nefer 8/581 | ||
| CF | > | ||
| CF | > Z | ||
| CF | | ||
| CF | Time passes. | ||
| CF | | ||
| CF | A security guard wanders in from the northeast. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "push guard" | ||
| CF ] Studio Lot South 8/582 | ||
| CF | > | ||
| CF | > PUSH GUARD | ||
| CF | | ||
| CF | Your movement attracts the attention of the security guard. | ||
| CF | | ||
| CF | "Well, now," he says, "you can't be in here! I can't be having you | ||
| CF | young whippersnappers running around. There's all sorts of mischief | ||
| CF | you could get into!" He shakes his head with a rueful smile. "Come on, | ||
| CF | let's be getting you somewhere safe." | ||
| CF | | ||
| CF | You struggle feebly, but it's no use - he's stronger than he looks. | ||
| CF | The Guard shuffles you outside the studio. "You should be getting | ||
| CF | home," he says and pats your shoulder, "it's late." He disappears back | ||
| CF | inside the studio. | ||
| CF | | ||
| CF | Studio Lot South | ||
| CF | Here, the lot is surrounded on three sides by Studios, looming out of | ||
| CF | the night like ancient guardians. The lot continues to the north into | ||
| CF | shadow. To the east side is the door to Studio 3, to the west, Studio | ||
| CF | 4 and to the south the door to Studio 5 where you have spent so much | ||
| CF | time over the last two weeks. A sign over each door proclaims the | ||
| CF | movie that is being made there. | ||
| CF | | ||
| CF | A horde of shambling zombies, led by a slightly less decomposed | ||
| CF | Security Guard, stumble around. | ||
| CF | | ||
| CF | Vampire thralls stand in a surly group, shooting suspicious glances at | ||
| CF | you. | ||
| CF | | ||
| CF | Over by the studio walls, the Count stands listlessly, staring off | ||
| CF | into the sky. | ||
| CF | | ||
| CF | The Countess paces impatiently around the lot. | ||
| CF | | ||
| CF | A dead cultist lies sprawled on the ground, his face frozen in a | ||
| CF | horrifying rictus. | ||
| CF | | ||
| CF | "Hurry," says the countess, impatiently. "It won't be long before | ||
| CF | we'll be in real trouble." | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "undo" | ||
| CF ] The Ruins of Men-nefer 8/581 | ||
| CF | | ||
| CF | > UNDO | ||
| CF | | ||
| CF | The Ruins of Men-nefer | ||
| CF | [Previous turn undone.] | ||
| CF | | ||
| CF | > | Krumar says, "Thanks for trying." | |
| Knight_Otu says, "I do hope the impatience of the countess is just that, and not a hard time limit." | ||
| MoyTravis says, "It's incredibly silly that we're just wandering around the sets with an undead army and just, like, letting the security guard gently shoo us outside." | ||
| DavidW says, "I hope we're not on a timer." | ||
| MoyTravis says, "...that'd be an incredibly mean thing to do, setting the game on a timer." | ||
| MoyTravis says, "I doubt." | ||
| Knight_Otu says (to ClubFloyd), "z" | ||
| CF ] The Ruins of Men-nefer 8/582 | ||
| CF | > | ||
| CF | > Z | ||
| CF | | ||
| CF | Time passes. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "z" | ||
| CF ] The Ruins of Men-nefer 8/583 | ||
| CF | > | ||
| CF | > Z | ||
| CF | | ||
| CF | Time passes. | ||
| CF | | ||
| CF | The security guard wanders northwest towards the dunes. You come out | ||
| CF | of hiding. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "i" | ||
| CF ] The Ruins of Men-nefer 8/584 | ||
| CF | > | ||
| CF | > I | ||
| CF | | ||
| CF | You are carrying Buster's Stetson, a leather whip, a reel of strong | ||
| CF | cotton, a bone needle, a wicked little voodoo doll, a strawberry milk | ||
| CF | bottle, an evil book of black magic, a small brass key, a tea caddy | ||
| CF | and a stained crimson robe. You are wearing a crucifix, a gold | ||
| CF | pocketwatch, a grey suit and a jaunty hat. | ||
| CF | | ||
| CF | > | DavidW asks, "Have we seen anywhere in this place to use the whip?" | |
| DavidW asks, "If we crack the whip while hiding in the ruins, would that startle the guard into doing something stupid?" | ||
| Krumar says, "They did make a lot of point about talking about cracking the whip." | ||
| Krumar says, "It may also control some of the animals." | ||
| DavidW asks, "Do we bring Wilma the sheep to this deadly passage?" | ||
| Jacqueline says, "I fear for Wilma's safety." | ||
| Krumar says, "This makes me feel bad too." | ||
| DavidW says, "I'm trying to think of something to try." | ||
| DavidW says, "Nothing is clearly obvious to me in this studio yet." | ||
| Krumar asks, "Could we try the sarcophogus?" | ||
| DavidW says, "The depression in the pedestal may be for our gold pocketwatch, I suppose." | ||
| DavidW says, "Assuming a sacrifice of gold is wanted there." | ||
| Knight_Otu says, "Sorry, connection hickup." | ||
| DavidW says (to Krumar), "opening the sarcophagi without the bracelet is likely certain death." | ||
| Knight_Otu says, "Yeah, I think we have to scare Wilma into the death passage via whip cracking." | ||
| Jacqueline weeps, silently. | ||
| Knight_Otu says, "Our protagonist is a naive person willing to do the most cruel things." | ||
| Jacqueline's finger lingers over the F key. | ||
| DavidW asks, "Even if we do defeat Arnie, how the heck will we deal with our own undead army afterwards?" | ||
| Jacqueline says, "I was wondering about that too." | ||
| MoyTravis says, "Badly, probably." | ||
| Knight_Otu asks, "Join them?" | ||
| Jacqueline asks, "Like, just release them into the world?" | ||
| MoyTravis says, "Or the army comes in at the end and shoots everybody." | ||
| Jacqueline says, "My guess is we should take care of them at the end. Like, protect the rest of the world from them." | ||
| DavidW asks (of Moy), "A third army?" | ||
| Knight_Otu says, "Add two more, and we have a battle of the five armies." | ||
| Krumar says, "After you get good at all this killing I say you just keep going with your undead army." | ||
| Jacqueline says, "Or else take the army to, say, a residential boarding school for nascent security guards and release the army there, then walk away into the sunet." | ||
| MoyTravis says, "Like, the normal one. Like, in the ending to The Mist." | ||
| Krumar says, "I think it's time to decend into madness and try to kill the innocent sheep." | ||
| MoyTravis says, "Yep let's go." | ||
| DavidW says, "I'm curious if at some point, we'll find scissors in one of these studios." | ||
| Knight_Otu says, "Well, let's try something." | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Archaeological Dig Site 8/585 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Archaeological Dig Site | ||
| CF | The dark entrance to the Mummy's tombs leads down a ladder through a | ||
| CF | hole in the ground in-between the exposed ancient buildings. But | ||
| CF | they're not actually buildings. They're just the front walls of | ||
| CF | buildings held up with wooden scaffolding at the back. | ||
| CF | | ||
| CF | Here, right in the middle of the Studio, you can see all across the | ||
| CF | huge set. To the north is the looming Sphinx, to the west, rolling | ||
| CF | sand dunes. On the east side of the building are the tops of some | ||
| CF | colorful tents and to the south of you, what seem like ruins. | ||
| CF | | ||
| CF | In the distance, a torch flickers near to the desert dunes. | ||
| CF | | ||
| CF | The torchlight moves northeast to play around the Sphinx. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "z" | ||
| CF ] Archaeological Dig Site 8/586 | ||
| CF | > | ||
| CF | > Z | ||
| CF | | ||
| CF | Time passes. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "z" | ||
| CF ] Archaeological Dig Site 8/587 | ||
| CF | > | ||
| CF | > Z | ||
| CF | | ||
| CF | Time passes. | ||
| CF | | ||
| CF | The torchlight moves southeast to glimmer around the tents. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] The Shrine of the Sphinx 8/588 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | The Shrine of the Sphinx | ||
| CF | They've only bothered to actually build the front legs of the Sphinx. | ||
| CF | For longer shots, you assume they use the matte backdrop of the whole | ||
| CF | thing painted onto the Studio wall to the set's left. The Sphinx's | ||
| CF | legs extend out from the Studio walls and between them is the Mummy's | ||
| CF | shrine, carved from greyish sandy painted construction foam. | ||
| CF | | ||
| CF | To the west, there is an opening in the Studio wall. Southwest, | ||
| CF | towards the other side of the Studio, you can see distant sand dunes. | ||
| CF | The set opens out to the south to reveal some sort of building and | ||
| CF | beyond it, a group of ruins. To the southeast, you can see the tops of | ||
| CF | a group of tents. | ||
| CF | | ||
| CF | In the distance, a torch flickers near to the tents. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "w" | ||
| CF ] Studio Menagerie 8/589 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Studio Menagerie | ||
| CF | This small dingy room is filled with mostly empty cages for the | ||
| CF | animals the Studio uses in its movies. It smells quite bad, to be | ||
| CF | honest. A door lies open to the west and, opposite it, a relatively | ||
| CF | brightly lit space in the wall opens up to the east. | ||
| CF | | ||
| CF | Wilma, the studio sheep, sits contentedly in the corner of the room. A | ||
| CF | lead trails from a collar around her neck. | ||
| CF | | ||
| CF | Rats skitter and scratch in their cage. | ||
| CF | | ||
| CF | A cage full of cockroaches chitter and scurry. | ||
| CF | | ||
| CF | A hissing mass of snakes writhe around their cage. | ||
| CF | | ||
| CF | Caged scorpions wave their tails menacingly. | ||
| CF | | ||
| CF | Spiders lurk in the corners of their cage. | ||
| CF | | ||
| CF | On one side of the room, a large cage contains a huge crocodile. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "get lead" | ||
| CF ] Studio Menagerie 8/590 | ||
| CF | > | ||
| CF | > GET LEAD | ||
| CF | | ||
| CF | You grab Wilma's lead. The sheep looks at you hopefully. | ||
| CF | | ||
| CF | > | Krumar says, "That makes it worse." | |
| Knight_Otu says, "Darnit Wilma. Don't make this even worse." | ||
| Knight_Otu asks, "Do we open a cage?" | ||
| DavidW says, "no" | ||
| Knight_Otu says (to ClubFloyd), "e" | ||
| CF ] The Shrine of the Sphinx 8/591 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | The Shrine of the Sphinx | ||
| CF | They've only bothered to actually build the front legs of the Sphinx. | ||
| CF | For longer shots, you assume they use the matte backdrop of the whole | ||
| CF | thing painted onto the Studio wall to the set's left. The Sphinx's | ||
| CF | legs extend out from the Studio walls and between them is the Mummy's | ||
| CF | shrine, carved from greyish sandy painted construction foam. | ||
| CF | | ||
| CF | To the west, there is an opening in the Studio wall. Southwest, | ||
| CF | towards the other side of the Studio, you can see distant sand dunes. | ||
| CF | The set opens out to the south to reveal some sort of building and | ||
| CF | beyond it, a group of ruins. To the southeast, you can see the tops of | ||
| CF | a group of tents. | ||
| CF | | ||
| CF | Wilma snuffles around just nearby. | ||
| CF | | ||
| CF | In the distance, a torch flickers near to the tents. | ||
| CF | | ||
| CF | The torchlight moves southwest to flicker around the ruins. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] Archaeological Dig Site 8/592 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | Archaeological Dig Site | ||
| CF | The dark entrance to the Mummy's tombs leads down a ladder through a | ||
| CF | hole in the ground in-between the exposed ancient buildings. But | ||
| CF | they're not actually buildings. They're just the front walls of | ||
| CF | buildings held up with wooden scaffolding at the back. | ||
| CF | | ||
| CF | Here, right in the middle of the Studio, you can see all across the | ||
| CF | huge set. To the north is the looming Sphinx, to the west, rolling | ||
| CF | sand dunes. On the east side of the building are the tops of some | ||
| CF | colorful tents and to the south of you, what seem like ruins. | ||
| CF | | ||
| CF | Wilma stands near your legs, looking bored. | ||
| CF | | ||
| CF | In the distance, a torch flickers near to the ruins. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "z" | ||
| CF ] Archaeological Dig Site 8/593 | ||
| CF | > | ||
| CF | > Z | ||
| CF | | ||
| CF | Time passes. | ||
| CF | | ||
| CF | The torchlight moves northwest to glimmer around the dunes. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] The Ruins of Men-nefer 8/594 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | The Ruins of Men-nefer | ||
| CF | This is quite a set! Against the southern studio wall of the studio | ||
| CF | are the fronts of a row of crumbling ruins. They are all covered in | ||
| CF | statues and carvings of monsters and ancient gods - really impressive | ||
| CF | work by the set designer. They loom over you, the faces of the | ||
| CF | statues, they seem to leer at you, giving a terrible air of horrifying | ||
| CF | menace to the whole set! | ||
| CF | | ||
| CF | Opposite the ruins, to the north, you can see some buildings. Dunes | ||
| CF | rise up from the ground to the northwest and northeast are some | ||
| CF | distant tents. | ||
| CF | | ||
| CF | Right in the centre of the row of ruins is an entranceway to a dark | ||
| CF | passage, leading south. You can see a little way in. There seem to be | ||
| CF | holes in the floor and narrow slots in the wall. Part way down, | ||
| CF | slumped against one wall, is an evilly grinning skeleton! Further | ||
| CF | along, and you can see a pile of bones near one of the wall slots. | ||
| CF | | ||
| CF | Wilma snuffles around just nearby. | ||
| CF | | ||
| CF | In the distance, a torch flickers near to the desert dunes. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "drop lead" | ||
| CF ] The Ruins of Men-nefer 8/595 | ||
| CF | > | ||
| CF | > DROP LEAD | ||
| CF | | ||
| CF | You let go of Wilma's lead. Wilma just looks at you and continues to | ||
| CF | stand there, quietly. | ||
| CF | | ||
| CF | The torchlight moves northeast to play around the Sphinx. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "SAVE" | ||
| Knight_Otu says (to ClubFloyd), "cf9" | ||
| CF | > | ||
| CF | > SAVE | ||
| CF | %% Enter a save filename to write: | ||
| CF ] The Ruins of Men-nefer 8/595 | ||
| CF | > SAVEOk. | ||
| CF | | ||
| CF | > | Jacqueline says, "I hate this." | |
| Knight_Otu says (to ClubFloyd), "crack whip" | ||
| CF ] The Ruins of Men-nefer 8/596 | ||
| CF | > | ||
| CF | > CRACK WHIP | ||
| CF | | ||
| CF | You crack the whip. It makes a satisfying sharp cracking sound. | ||
| CF | | ||
| CF | > | Knight_Otu says, "Well." | |
| Krumar asks, "Push the sheep?" | ||
| Knight_Otu says (to ClubFloyd), "push sheep" | ||
| CF ] The Ruins of Men-nefer 8/597 | ||
| CF | > | ||
| CF | > PUSH SHEEP | ||
| CF | | ||
| CF | Wilma swiftly turns her head and snaps at your fingers with yellowing | ||
| CF | teeth. | ||
| CF | | ||
| CF | The torchlight moves southeast to flicker around the tents. | ||
| CF | | ||
| CF | Oh no! It looks like it's heading your way! You are in a perilous | ||
| CF | situation! | ||
| CF | | ||
| CF | > | DavidW says, "Wilma didn't read the script." | |
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Archaeological Dig Site 8/598 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Archaeological Dig Site | ||
| CF | The dark entrance to the Mummy's tombs leads down a ladder through a | ||
| CF | hole in the ground in-between the exposed ancient buildings. But | ||
| CF | they're not actually buildings. They're just the front walls of | ||
| CF | buildings held up with wooden scaffolding at the back. | ||
| CF | | ||
| CF | Here, right in the middle of the Studio, you can see all across the | ||
| CF | huge set. To the north is the looming Sphinx, to the west, rolling | ||
| CF | sand dunes. On the east side of the building are the tops of some | ||
| CF | colorful tents and to the south of you, what seem like ruins. | ||
| CF | | ||
| CF | In the distance, a torch flickers near to the tents. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "z" | ||
| CF ] Archaeological Dig Site 8/599 | ||
| CF | > | ||
| CF | > Z | ||
| CF | | ||
| CF | Time passes. | ||
| CF | | ||
| CF | The torchlight moves southwest to glimmer around the ruins. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "z" | ||
| CF ] Archaeological Dig Site 8/600 | ||
| CF | > | ||
| CF | > Z | ||
| CF | | ||
| CF | Time passes. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "z" | ||
| CF ] Archaeological Dig Site 8/601 | ||
| CF | > | ||
| CF | > Z | ||
| CF | | ||
| CF | Time passes. | ||
| CF | | ||
| CF | The torchlight moves northwest to flicker around the dunes. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] The Ruins of Men-nefer 8/602 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | The Ruins of Men-nefer | ||
| CF | This is quite a set! Against the southern studio wall of the studio | ||
| CF | are the fronts of a row of crumbling ruins. They are all covered in | ||
| CF | statues and carvings of monsters and ancient gods - really impressive | ||
| CF | work by the set designer. They loom over you, the faces of the | ||
| CF | statues, they seem to leer at you, giving a terrible air of horrifying | ||
| CF | menace to the whole set! | ||
| CF | | ||
| CF | Opposite the ruins, to the north, you can see some buildings. Dunes | ||
| CF | rise up from the ground to the northwest and northeast are some | ||
| CF | distant tents. | ||
| CF | | ||
| CF | Right in the centre of the row of ruins is an entranceway to a dark | ||
| CF | passage, leading south. You can see a little way in. There seem to be | ||
| CF | holes in the floor and narrow slots in the wall. Part way down, | ||
| CF | slumped against one wall, is an evilly grinning skeleton! Further | ||
| CF | along, and you can see a pile of bones near one of the wall slots. | ||
| CF | | ||
| CF | In the distance, a torch flickers near to the desert dunes. | ||
| CF | | ||
| CF | Wilma, the studio sheep is standing quietly here. A lead trails from a | ||
| CF | collar around her neck. | ||
| CF | | ||
| CF | > | Knight_Otu asks, "The guard just let Wilma stay here?" | |
| Krumar says, "She was just sittign in the other room." | ||
| Knight_Otu says (to ClubFloyd), "hide" | ||
| CF ] The Ruins of Men-nefer 8/603 | ||
| CF | > | ||
| CF | > HIDE | ||
| CF | | ||
| CF | There's nothing you really need to hide from. | ||
| CF | | ||
| CF | The torchlight moves northeast to play around the Sphinx. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "z" | ||
| CF ] The Ruins of Men-nefer 8/604 | ||
| CF | > | ||
| CF | > Z | ||
| CF | | ||
| CF | Time passes. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "z" | ||
| CF ] The Ruins of Men-nefer 8/605 | ||
| CF | > | ||
| CF | > Z | ||
| CF | | ||
| CF | Time passes. | ||
| CF | | ||
| CF | The torchlight moves southeast to flicker around the tents. | ||
| CF | | ||
| CF | Oh no! It looks like it's heading your way! You are in a perilous | ||
| CF | situation! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "hide" | ||
| CF ] The Ruins of Men-nefer 8/606 | ||
| CF | > | ||
| CF | > HIDE | ||
| CF | | ||
| CF | You back into the darker shadows of the set as the torchlight flickers | ||
| CF | ever closer. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "z" | ||
| CF ] The Ruins of Men-nefer 8/607 | ||
| CF | > | ||
| CF | > Z | ||
| CF | | ||
| CF | Time passes. | ||
| CF | | ||
| CF | A security guard wanders in from the northeast. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "z" | ||
| CF ] The Ruins of Men-nefer 8/608 | ||
| CF | > | ||
| CF | > Z | ||
| CF | | ||
| CF | Time passes. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "crack whip" | ||
| CF ] Studio Lot South 8/609 | ||
| CF | > | ||
| CF | > CRACK WHIP | ||
| CF | | ||
| CF | Your movement attracts the attention of the security guard. | ||
| CF | | ||
| CF | "Well, now," he says, "you can't be in here! I can't be having you | ||
| CF | young whippersnappers running around. There's all sorts of mischief | ||
| CF | you could get into!" He shakes his head with a rueful smile. "Come on, | ||
| CF | let's be getting you somewhere safe." | ||
| CF | | ||
| CF | You struggle feebly, but it's no use - he's stronger than he looks. | ||
| CF | The Guard shuffles you outside the studio. "You should be getting | ||
| CF | home," he says and pats your shoulder, "it's late." He disappears back | ||
| CF | inside the studio. | ||
| CF | | ||
| CF | Studio Lot South | ||
| CF | Here, the lot is surrounded on three sides by Studios, looming out of | ||
| CF | the night like ancient guardians. The lot continues to the north into | ||
| CF | shadow. To the east side is the door to Studio 3, to the west, Studio | ||
| CF | 4 and to the south the door to Studio 5 where you have spent so much | ||
| CF | time over the last two weeks. A sign over each door proclaims the | ||
| CF | movie that is being made there. | ||
| CF | | ||
| CF | A horde of shambling zombies, led by a slightly less decomposed | ||
| CF | Security Guard, stumble around. | ||
| CF | | ||
| CF | Vampire thralls stand in a surly group, shooting suspicious glances at | ||
| CF | you. | ||
| CF | | ||
| CF | Over by the studio walls, the Count stands listlessly, staring off | ||
| CF | into the sky. | ||
| CF | | ||
| CF | The Countess paces impatiently around the lot. | ||
| CF | | ||
| CF | A dead cultist lies sprawled on the ground, his face frozen in a | ||
| CF | horrifying rictus. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "undo" | ||
| CF ] The Ruins of Men-nefer 8/608 | ||
| CF | | ||
| CF | > UNDO | ||
| CF | | ||
| CF | The Ruins of Men-nefer | ||
| CF | [Previous turn undone.] | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "z" | ||
| CF ] The Ruins of Men-nefer 8/609 | ||
| CF | > | ||
| CF | > Z | ||
| CF | | ||
| CF | Time passes. | ||
| CF | | ||
| CF | The security guard wanders northwest towards the dunes. You come out | ||
| CF | of hiding. | ||
| CF | | ||
| CF | > | Krumar asks, "could you scare the sheep with something like one of the snakes?" | |
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Archaeological Dig Site 8/610 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Archaeological Dig Site | ||
| CF | The dark entrance to the Mummy's tombs leads down a ladder through a | ||
| CF | hole in the ground in-between the exposed ancient buildings. But | ||
| CF | they're not actually buildings. They're just the front walls of | ||
| CF | buildings held up with wooden scaffolding at the back. | ||
| CF | | ||
| CF | Here, right in the middle of the Studio, you can see all across the | ||
| CF | huge set. To the north is the looming Sphinx, to the west, rolling | ||
| CF | sand dunes. On the east side of the building are the tops of some | ||
| CF | colorful tents and to the south of you, what seem like ruins. | ||
| CF | | ||
| CF | In the distance, a torch flickers near to the desert dunes. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Studio Lot South 8/611 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | The Shrine of the Sphinx | ||
| CF | They've only bothered to actually build the front legs of the Sphinx. | ||
| CF | For longer shots, you assume they use the matte backdrop of the whole | ||
| CF | thing painted onto the Studio wall to the set's left. The Sphinx's | ||
| CF | legs extend out from the Studio walls and between them is the Mummy's | ||
| CF | shrine, carved from greyish sandy painted construction foam. | ||
| CF | | ||
| CF | To the west, there is an opening in the Studio wall. Southwest, | ||
| CF | towards the other side of the Studio, you can see distant sand dunes. | ||
| CF | The set opens out to the south to reveal some sort of building and | ||
| CF | beyond it, a group of ruins. To the southeast, you can see the tops of | ||
| CF | a group of tents. | ||
| CF | | ||
| CF | In the distance, a torch flickers near to the desert dunes. | ||
| CF | | ||
| CF | A security guard wanders in from the southwest. | ||
| CF | | ||
| CF | "Well, now," he says, "you can't be in here! I can't be having you | ||
| CF | young whippersnappers running around. There's all sorts of mischief | ||
| CF | you could get into!" He shakes his head with a rueful smile. "Come on, | ||
| CF | let's be getting you somewhere safe." | ||
| CF | | ||
| CF | You struggle feebly, but it's no use - he's stronger than he looks. | ||
| CF | The Guard shuffles you outside the studio. "You should be getting | ||
| CF | home," he says and pats your shoulder, "it's late." He disappears back | ||
| CF | inside the studio. | ||
| CF | | ||
| CF | Studio Lot South | ||
| CF | Here, the lot is surrounded on three sides by Studios, looming out of | ||
| CF | the night like ancient guardians. The lot continues to the north into | ||
| CF | shadow. To the east side is the door to Studio 3, to the west, Studio | ||
| CF | 4 and to the south the door to Studio 5 where you have spent so much | ||
| CF | time over the last two weeks. A sign over each door proclaims the | ||
| CF | movie that is being made there. | ||
| CF | | ||
| CF | A horde of shambling zombies, led by a slightly less decomposed | ||
| CF | Security Guard, stumble around. | ||
| CF | | ||
| CF | Vampire thralls stand in a surly group, shooting suspicious glances at | ||
| CF | you. | ||
| CF | | ||
| CF | Over by the studio walls, the Count stands listlessly, staring off | ||
| CF | into the sky. | ||
| CF | | ||
| CF | The Countess paces impatiently around the lot. | ||
| CF | | ||
| CF | A dead cultist lies sprawled on the ground, his face frozen in a | ||
| CF | horrifying rictus. | ||
| CF | | ||
| CF | > | Jacqueline says, "hrm" | |
| Knight_Otu says, "Dangit" | ||
| Knight_Otu says (to ClubFloyd), "undo" | ||
| CF ] Archaeological Dig Site 8/610 | ||
| CF | | ||
| CF | > UNDO | ||
| CF | | ||
| CF | Archaeological Dig Site | ||
| CF | [Previous turn undone.] | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "z" | ||
| CF ] Archaeological Dig Site 8/611 | ||
| CF | > | ||
| CF | > Z | ||
| CF | | ||
| CF | Time passes. | ||
| CF | | ||
| CF | The torchlight moves northeast to play around the Sphinx. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "z" | ||
| CF ] Archaeological Dig Site 8/612 | ||
| CF | > | ||
| CF | > Z | ||
| CF | | ||
| CF | Time passes. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "z" | ||
| CF ] Archaeological Dig Site 8/613 | ||
| CF | > | ||
| CF | > Z | ||
| CF | | ||
| CF | Time passes. | ||
| CF | | ||
| CF | The torchlight moves southeast to flicker around the tents. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] The Shrine of the Sphinx 8/614 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | The Shrine of the Sphinx | ||
| CF | They've only bothered to actually build the front legs of the Sphinx. | ||
| CF | For longer shots, you assume they use the matte backdrop of the whole | ||
| CF | thing painted onto the Studio wall to the set's left. The Sphinx's | ||
| CF | legs extend out from the Studio walls and between them is the Mummy's | ||
| CF | shrine, carved from greyish sandy painted construction foam. | ||
| CF | | ||
| CF | To the west, there is an opening in the Studio wall. Southwest, | ||
| CF | towards the other side of the Studio, you can see distant sand dunes. | ||
| CF | The set opens out to the south to reveal some sort of building and | ||
| CF | beyond it, a group of ruins. To the southeast, you can see the tops of | ||
| CF | a group of tents. | ||
| CF | | ||
| CF | In the distance, a torch flickers near to the tents. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "w" | ||
| CF ] Studio Menagerie 8/615 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Studio Menagerie | ||
| CF | This small dingy room is filled with mostly empty cages for the | ||
| CF | animals the Studio uses in its movies. It smells quite bad, to be | ||
| CF | honest. A door lies open to the west and, opposite it, a relatively | ||
| CF | brightly lit space in the wall opens up to the east. | ||
| CF | | ||
| CF | Rats skitter and scratch in their cage. | ||
| CF | | ||
| CF | A cage full of cockroaches chitter and scurry. | ||
| CF | | ||
| CF | A hissing mass of snakes writhe around their cage. | ||
| CF | | ||
| CF | Caged scorpions wave their tails menacingly. | ||
| CF | | ||
| CF | Spiders lurk in the corners of their cage. | ||
| CF | | ||
| CF | On one side of the room, a large cage contains a huge crocodile. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x snakes" | ||
| CF ] Studio Menagerie 8/616 | ||
| CF | > | ||
| CF | > X SNAKES | ||
| CF | | ||
| CF | The snakes are a boiling hissing mass of scales. Their forked tongues | ||
| CF | flick out like they are trying to taste you. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "SAVE" | ||
| Knight_Otu says (to ClubFloyd), "cf10" | ||
| CF | > | ||
| CF | > SAVE | ||
| CF | %% Enter a save filename to write: | ||
| CF ] Studio Menagerie 8/616 | ||
| CF | > SAVEOk. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "open snake cage" | ||
| CF ] Studio Menagerie 8/617 | ||
| CF | > | ||
| CF | > OPEN SNAKE CAGE | ||
| CF | | ||
| CF | You open the cage, but the snakes writhe nervously and refuse to | ||
| CF | emerge. There must be something here they don't like. You quickly | ||
| CF | close the cage again. | ||
| CF | | ||
| CF | > | Jacqueline says, "huh" | |
| Jacqueline says, "HUH" | ||
| MoyTravis says, "Is there an Indiana Jones joke somewhere in here." | ||
| Knight_Otu says (to ClubFloyd), "open crocodile cage" | ||
| CF ] Studio Menagerie 8/618 | ||
| CF | > | ||
| CF | > OPEN CROCODILE CAGE | ||
| CF | | ||
| CF | You see the crocodile's huge stained teeth and think better of it! | ||
| CF | You'd definitely want someone between you and that thing before you | ||
| CF | opened the cage up! | ||
| CF | | ||
| CF | > | MoyTravis says, "It feels like there might be." | |
| DavidW says, "perhaps there's an order to this." | ||
| Roger says, "Do we have a mongoose in our pocket" | ||
| Knight_Otu says (to ClubFloyd), "open spider cage" | ||
| CF ] Studio Menagerie 8/619 | ||
| CF | > | ||
| CF | > OPEN SPIDER CAGE | ||
| CF | | ||
| CF | You open the cage, but the spiders wave their front legs nervously and | ||
| CF | refuse to emerge. There must be something here they don't like. You | ||
| CF | quickly close the cage again. | ||
| CF | | ||
| CF | > | Krumar says, "Snakes might want a rat." | |
| Knight_Otu says (to ClubFloyd), "open rat cage" | ||
| CF ] Studio Menagerie 8/620 | ||
| CF | > | ||
| CF | > OPEN RAT CAGE | ||
| CF | | ||
| CF | You open the cage, but the rats squeak nervously and refuse to emerge. | ||
| CF | There must be something here they don't like. You quickly close the | ||
| CF | cage again. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "l" | ||
| CF ] Studio Menagerie 8/621 | ||
| CF | > | ||
| CF | > L | ||
| CF | | ||
| CF | Studio Menagerie | ||
| CF | This small dingy room is filled with mostly empty cages for the | ||
| CF | animals the Studio uses in its movies. It smells quite bad, to be | ||
| CF | honest. A door lies open to the west and, opposite it, a relatively | ||
| CF | brightly lit space in the wall opens up to the east. | ||
| CF | | ||
| CF | Rats skitter and scratch in their cage. | ||
| CF | | ||
| CF | A cage full of cockroaches chitter and scurry. | ||
| CF | | ||
| CF | A hissing mass of snakes writhe around their cage. | ||
| CF | | ||
| CF | Caged scorpions wave their tails menacingly. | ||
| CF | | ||
| CF | Spiders lurk in the corners of their cage. | ||
| CF | | ||
| CF | On one side of the room, a large cage contains a huge crocodile. | ||
| CF | | ||
| CF | > | DavidW says, "It's strange when the scary critters are themselves scared." | |
| Knight_Otu says (to ClubFloyd), "open roach cage" | ||
| CF ] Studio Menagerie 8/622 | ||
| CF | > | ||
| CF | > OPEN ROACH CAGE | ||
| CF | | ||
| CF | You open the cage, but the roaches hiss nervously and refuse to | ||
| CF | emerge. There must be something here they don't like. You quickly | ||
| CF | close the cage again. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "open scorpion cage" | ||
| CF ] Studio Menagerie 8/623 | ||
| CF | > | ||
| CF | > OPEN SCORPION CAGE | ||
| CF | | ||
| CF | You open the cage, but the scorpions wave their tails nervously and | ||
| CF | refuse to emerge. There must be something here they don't like. You | ||
| CF | quickly close the cage again. | ||
| CF | | ||
| CF | > | Krumar asks, "Could we be carrying something they don't like?" | |
| Knight_Otu says (to ClubFloyd), "e" | ||
| CF ] The Shrine of the Sphinx 8/624 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | The Shrine of the Sphinx | ||
| CF | They've only bothered to actually build the front legs of the Sphinx. | ||
| CF | For longer shots, you assume they use the matte backdrop of the whole | ||
| CF | thing painted onto the Studio wall to the set's left. The Sphinx's | ||
| CF | legs extend out from the Studio walls and between them is the Mummy's | ||
| CF | shrine, carved from greyish sandy painted construction foam. | ||
| CF | | ||
| CF | To the west, there is an opening in the Studio wall. Southwest, | ||
| CF | towards the other side of the Studio, you can see distant sand dunes. | ||
| CF | The set opens out to the south to reveal some sort of building and | ||
| CF | beyond it, a group of ruins. To the southeast, you can see the tops of | ||
| CF | a group of tents. | ||
| CF | | ||
| CF | In the distance, a torch flickers near to the tents. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "drop stetson" | ||
| CF ] The Shrine of the Sphinx 8/625 | ||
| CF | > | ||
| CF | > DROP STETSON | ||
| CF | | ||
| CF | Dropped. | ||
| CF | | ||
| CF | The torchlight moves southwest to glimmer around the ruins. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "w" | ||
| CF ] Studio Menagerie 8/626 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Studio Menagerie | ||
| CF | This small dingy room is filled with mostly empty cages for the | ||
| CF | animals the Studio uses in its movies. It smells quite bad, to be | ||
| CF | honest. A door lies open to the west and, opposite it, a relatively | ||
| CF | brightly lit space in the wall opens up to the east. | ||
| CF | | ||
| CF | Rats skitter and scratch in their cage. | ||
| CF | | ||
| CF | A cage full of cockroaches chitter and scurry. | ||
| CF | | ||
| CF | A hissing mass of snakes writhe around their cage. | ||
| CF | | ||
| CF | Caged scorpions wave their tails menacingly. | ||
| CF | | ||
| CF | Spiders lurk in the corners of their cage. | ||
| CF | | ||
| CF | On one side of the room, a large cage contains a huge crocodile. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "open rat cage" | ||
| CF ] Studio Menagerie 8/627 | ||
| CF | > | ||
| CF | > OPEN RAT CAGE | ||
| CF | | ||
| CF | You open the cage, but the rats squeak nervously and refuse to emerge. | ||
| CF | There must be something here they don't like. You quickly close the | ||
| CF | cage again. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "i" | ||
| CF ] Studio Menagerie 8/628 | ||
| CF | > | ||
| CF | > I | ||
| CF | | ||
| CF | You are carrying a leather whip, a reel of strong cotton, a bone | ||
| CF | needle, a wicked little voodoo doll, a strawberry milk bottle, an evil | ||
| CF | book of black magic, a small brass key, a tea caddy and a stained | ||
| CF | crimson robe. You are wearing a crucifix, a gold pocketwatch, a grey | ||
| CF | suit and a jaunty hat. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "e" | ||
| CF ] The Shrine of the Sphinx 8/629 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | The Shrine of the Sphinx | ||
| CF | They've only bothered to actually build the front legs of the Sphinx. | ||
| CF | For longer shots, you assume they use the matte backdrop of the whole | ||
| CF | thing painted onto the Studio wall to the set's left. The Sphinx's | ||
| CF | legs extend out from the Studio walls and between them is the Mummy's | ||
| CF | shrine, carved from greyish sandy painted construction foam. | ||
| CF | | ||
| CF | To the west, there is an opening in the Studio wall. Southwest, | ||
| CF | towards the other side of the Studio, you can see distant sand dunes. | ||
| CF | The set opens out to the south to reveal some sort of building and | ||
| CF | beyond it, a group of ruins. To the southeast, you can see the tops of | ||
| CF | a group of tents. | ||
| CF | | ||
| CF | In the distance, a torch flickers near to the ruins. | ||
| CF | | ||
| CF | You can also see Buster's Stetson here. | ||
| CF | | ||
| CF | The torchlight moves northwest to play around the dunes. | ||
| CF | | ||
| CF | Oh no! It looks like it's heading your way! You are in a perilous | ||
| CF | situation! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "w" | ||
| CF ] Studio Menagerie 8/630 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Studio Menagerie | ||
| CF | This small dingy room is filled with mostly empty cages for the | ||
| CF | animals the Studio uses in its movies. It smells quite bad, to be | ||
| CF | honest. A door lies open to the west and, opposite it, a relatively | ||
| CF | brightly lit space in the wall opens up to the east. | ||
| CF | | ||
| CF | Rats skitter and scratch in their cage. | ||
| CF | | ||
| CF | A cage full of cockroaches chitter and scurry. | ||
| CF | | ||
| CF | A hissing mass of snakes writhe around their cage. | ||
| CF | | ||
| CF | Caged scorpions wave their tails menacingly. | ||
| CF | | ||
| CF | Spiders lurk in the corners of their cage. | ||
| CF | | ||
| CF | On one side of the room, a large cage contains a huge crocodile. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "z" | ||
| CF ] Studio Menagerie 8/631 | ||
| CF | > | ||
| CF | > Z | ||
| CF | | ||
| CF | Time passes. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "z" | ||
| CF ] Studio Menagerie 8/632 | ||
| CF | > | ||
| CF | > Z | ||
| CF | | ||
| CF | Time passes. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "z" | ||
| CF ] Studio Menagerie 8/633 | ||
| CF | > | ||
| CF | > Z | ||
| CF | | ||
| CF | Time passes. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "z" | ||
| CF ] Studio Menagerie 8/634 | ||
| CF | > | ||
| CF | > Z | ||
| CF | | ||
| CF | Time passes. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "e" | ||
| CF ] Studio Lot South 8/635 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | The Shrine of the Sphinx | ||
| CF | They've only bothered to actually build the front legs of the Sphinx. | ||
| CF | For longer shots, you assume they use the matte backdrop of the whole | ||
| CF | thing painted onto the Studio wall to the set's left. The Sphinx's | ||
| CF | legs extend out from the Studio walls and between them is the Mummy's | ||
| CF | shrine, carved from greyish sandy painted construction foam. | ||
| CF | | ||
| CF | To the west, there is an opening in the Studio wall. Southwest, | ||
| CF | towards the other side of the Studio, you can see distant sand dunes. | ||
| CF | The set opens out to the south to reveal some sort of building and | ||
| CF | beyond it, a group of ruins. To the southeast, you can see the tops of | ||
| CF | a group of tents. | ||
| CF | | ||
| CF | In the distance, a torch flickers near to the desert dunes. | ||
| CF | | ||
| CF | You can also see Buster's Stetson here. | ||
| CF | | ||
| CF | A security guard wanders in from the southwest. | ||
| CF | | ||
| CF | "Well, now," he says, "you can't be in here! I can't be having you | ||
| CF | young whippersnappers running around. There's all sorts of mischief | ||
| CF | you could get into!" He shakes his head with a rueful smile. "Come on, | ||
| CF | let's be getting you somewhere safe." | ||
| CF | | ||
| CF | You struggle feebly, but it's no use - he's stronger than he looks. | ||
| CF | The Guard shuffles you outside the studio. "You should be getting | ||
| CF | home," he says and pats your shoulder, "it's late." He disappears back | ||
| CF | inside the studio. | ||
| CF | | ||
| CF | Studio Lot South | ||
| CF | Here, the lot is surrounded on three sides by Studios, looming out of | ||
| CF | the night like ancient guardians. The lot continues to the north into | ||
| CF | shadow. To the east side is the door to Studio 3, to the west, Studio | ||
| CF | 4 and to the south the door to Studio 5 where you have spent so much | ||
| CF | time over the last two weeks. A sign over each door proclaims the | ||
| CF | movie that is being made there. | ||
| CF | | ||
| CF | A horde of shambling zombies, led by a slightly less decomposed | ||
| CF | Security Guard, stumble around. | ||
| CF | | ||
| CF | Vampire thralls stand in a surly group, shooting suspicious glances at | ||
| CF | you. | ||
| CF | | ||
| CF | Over by the studio walls, the Count stands listlessly, staring off | ||
| CF | into the sky. | ||
| CF | | ||
| CF | The Countess paces impatiently around the lot. | ||
| CF | | ||
| CF | A dead cultist lies sprawled on the ground, his face frozen in a | ||
| CF | horrifying rictus. | ||
| CF | | ||
| CF | > | Knight_Otu says, "Mistimed again." | |
| MoyTravis says, "lol caught" | ||
| Knight_Otu says (to ClubFloyd), "undo" | ||
| CF ] Studio Menagerie 8/634 | ||
| CF | | ||
| CF | > UNDO | ||
| CF | | ||
| CF | Studio Menagerie | ||
| CF | [Previous turn undone.] | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "z" | ||
| CF ] Studio Menagerie 8/635 | ||
| CF | > | ||
| CF | > Z | ||
| CF | | ||
| CF | Time passes. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "z" | ||
| CF ] Studio Menagerie 8/636 | ||
| CF | > | ||
| CF | > Z | ||
| CF | | ||
| CF | Time passes. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "e" | ||
| CF ] Studio Lot South 8/637 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | The Shrine of the Sphinx | ||
| CF | They've only bothered to actually build the front legs of the Sphinx. | ||
| CF | For longer shots, you assume they use the matte backdrop of the whole | ||
| CF | thing painted onto the Studio wall to the set's left. The Sphinx's | ||
| CF | legs extend out from the Studio walls and between them is the Mummy's | ||
| CF | shrine, carved from greyish sandy painted construction foam. | ||
| CF | | ||
| CF | To the west, there is an opening in the Studio wall. Southwest, | ||
| CF | towards the other side of the Studio, you can see distant sand dunes. | ||
| CF | The set opens out to the south to reveal some sort of building and | ||
| CF | beyond it, a group of ruins. To the southeast, you can see the tops of | ||
| CF | a group of tents. | ||
| CF | | ||
| CF | In the distance, a torch flickers near to the desert dunes. | ||
| CF | | ||
| CF | You can also see Buster's Stetson here. | ||
| CF | | ||
| CF | A security guard wanders in from the southwest. | ||
| CF | | ||
| CF | "Well, now," he says, "you can't be in here! I can't be having you | ||
| CF | young whippersnappers running around. There's all sorts of mischief | ||
| CF | you could get into!" He shakes his head with a rueful smile. "Come on, | ||
| CF | let's be getting you somewhere safe." | ||
| CF | | ||
| CF | You struggle feebly, but it's no use - he's stronger than he looks. | ||
| CF | The Guard shuffles you outside the studio. "You should be getting | ||
| CF | home," he says and pats your shoulder, "it's late." He disappears back | ||
| CF | inside the studio. | ||
| CF | | ||
| CF | Studio Lot South | ||
| CF | Here, the lot is surrounded on three sides by Studios, looming out of | ||
| CF | the night like ancient guardians. The lot continues to the north into | ||
| CF | shadow. To the east side is the door to Studio 3, to the west, Studio | ||
| CF | 4 and to the south the door to Studio 5 where you have spent so much | ||
| CF | time over the last two weeks. A sign over each door proclaims the | ||
| CF | movie that is being made there. | ||
| CF | | ||
| CF | A horde of shambling zombies, led by a slightly less decomposed | ||
| CF | Security Guard, stumble around. | ||
| CF | | ||
| CF | Vampire thralls stand in a surly group, shooting suspicious glances at | ||
| CF | you. | ||
| CF | | ||
| CF | Over by the studio walls, the Count stands listlessly, staring off | ||
| CF | into the sky. | ||
| CF | | ||
| CF | The Countess paces impatiently around the lot. | ||
| CF | | ||
| CF | A dead cultist lies sprawled on the ground, his face frozen in a | ||
| CF | horrifying rictus. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "e" | ||
| CF ] Studio Menagerie 8/638 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | Studio Menagerie | ||
| CF | This small dingy room is filled with mostly empty cages for the | ||
| CF | animals the Studio uses in its movies. It smells quite bad, to be | ||
| CF | honest. A door lies open to the west and, opposite it, a relatively | ||
| CF | brightly lit space in the wall opens up to the east. | ||
| CF | | ||
| CF | Rats skitter and scratch in their cage. | ||
| CF | | ||
| CF | A cage full of cockroaches chitter and scurry. | ||
| CF | | ||
| CF | A hissing mass of snakes writhe around their cage. | ||
| CF | | ||
| CF | Caged scorpions wave their tails menacingly. | ||
| CF | | ||
| CF | Spiders lurk in the corners of their cage. | ||
| CF | | ||
| CF | On one side of the room, a large cage contains a huge crocodile. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "e" | ||
| CF ] The Shrine of the Sphinx 8/639 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | The Shrine of the Sphinx | ||
| CF | They've only bothered to actually build the front legs of the Sphinx. | ||
| CF | For longer shots, you assume they use the matte backdrop of the whole | ||
| CF | thing painted onto the Studio wall to the set's left. The Sphinx's | ||
| CF | legs extend out from the Studio walls and between them is the Mummy's | ||
| CF | shrine, carved from greyish sandy painted construction foam. | ||
| CF | | ||
| CF | To the west, there is an opening in the Studio wall. Southwest, | ||
| CF | towards the other side of the Studio, you can see distant sand dunes. | ||
| CF | The set opens out to the south to reveal some sort of building and | ||
| CF | beyond it, a group of ruins. To the southeast, you can see the tops of | ||
| CF | a group of tents. | ||
| CF | | ||
| CF | In the distance, a torch flickers near to the tents. | ||
| CF | | ||
| CF | You can also see Buster's Stetson here. | ||
| CF | | ||
| CF | The torchlight moves southwest to flicker around the ruins. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "drop hat" | ||
| CF ] The Shrine of the Sphinx 8/640 | ||
| CF | > | ||
| CF | > DROP HAT | ||
| CF | | ||
| CF | (the jaunty hat) | ||
| CF | (first taking the jaunty hat off) | ||
| CF | Dropped. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "wear stetson" | ||
| CF ] The Shrine of the Sphinx 8/641 | ||
| CF | > | ||
| CF | > WEAR STETSON | ||
| CF | | ||
| CF | (first taking Buster's Stetson) | ||
| CF | You put on Buster's Stetson. | ||
| CF | | ||
| CF | The torchlight moves northwest to play around the dunes. | ||
| CF | | ||
| CF | Oh no! It looks like it's heading your way! You are in a perilous | ||
| CF | situation! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "w" | ||
| CF ] Studio Menagerie 8/642 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Studio Menagerie | ||
| CF | This small dingy room is filled with mostly empty cages for the | ||
| CF | animals the Studio uses in its movies. It smells quite bad, to be | ||
| CF | honest. A door lies open to the west and, opposite it, a relatively | ||
| CF | brightly lit space in the wall opens up to the east. | ||
| CF | | ||
| CF | Rats skitter and scratch in their cage. | ||
| CF | | ||
| CF | A cage full of cockroaches chitter and scurry. | ||
| CF | | ||
| CF | A hissing mass of snakes writhe around their cage. | ||
| CF | | ||
| CF | Caged scorpions wave their tails menacingly. | ||
| CF | | ||
| CF | Spiders lurk in the corners of their cage. | ||
| CF | | ||
| CF | On one side of the room, a large cage contains a huge crocodile. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "open rat cage" | ||
| CF ] Studio Menagerie 8/643 | ||
| CF | > | ||
| CF | > OPEN RAT CAGE | ||
| CF | | ||
| CF | You open the cage, but the rats squeak nervously and refuse to emerge. | ||
| CF | There must be something here they don't like. You quickly close the | ||
| CF | cage again. | ||
| CF | | ||
| CF | > | Krumar says, "I really thought you had it there." | |
| DavidW says, "maybe the book is scaring them? It's really difficult to guess what it is." | ||
| Krumar says, "It might be about "getting into costume" to work with the animals." | ||
| MoyTravis asks, "Wait, are the cages, like. Portable?" | ||
| Knight_Otu says (to ClubFloyd), "crack whip" | ||
| CF ] Studio Menagerie 8/644 | ||
| CF | > | ||
| CF | > CRACK WHIP | ||
| CF | | ||
| CF | You crack the whip. It makes a satisfying sharp cracking sound. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "get rat cage" | ||
| CF ] Studio Menagerie 8/645 | ||
| CF | > | ||
| CF | > GET RAT CAGE | ||
| CF | | ||
| CF | You gingerly pick up the cage. The rats squeak viciously, but they | ||
| CF | can't bite you through the narrow bars. | ||
| CF | | ||
| CF | > | MoyTravis asks, "Hahahahaha!?" | |
| DavidW says, "yikes. wow" | ||
| MoyTravis says, "WOW OKAY." | ||
| Knight_Otu says, "At least this one is." | ||
| Knight_Otu says (to ClubFloyd), "e" | ||
| CF ] The Shrine of the Sphinx 8/646 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | The Shrine of the Sphinx | ||
| CF | They've only bothered to actually build the front legs of the Sphinx. | ||
| CF | For longer shots, you assume they use the matte backdrop of the whole | ||
| CF | thing painted onto the Studio wall to the set's left. The Sphinx's | ||
| CF | legs extend out from the Studio walls and between them is the Mummy's | ||
| CF | shrine, carved from greyish sandy painted construction foam. | ||
| CF | | ||
| CF | To the west, there is an opening in the Studio wall. Southwest, | ||
| CF | towards the other side of the Studio, you can see distant sand dunes. | ||
| CF | The set opens out to the south to reveal some sort of building and | ||
| CF | beyond it, a group of ruins. To the southeast, you can see the tops of | ||
| CF | a group of tents. | ||
| CF | | ||
| CF | In the distance, a torch flickers near to the desert dunes. | ||
| CF | | ||
| CF | You can also see a jaunty hat here. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] Archaeological Dig Site 8/647 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | Archaeological Dig Site | ||
| CF | The dark entrance to the Mummy's tombs leads down a ladder through a | ||
| CF | hole in the ground in-between the exposed ancient buildings. But | ||
| CF | they're not actually buildings. They're just the front walls of | ||
| CF | buildings held up with wooden scaffolding at the back. | ||
| CF | | ||
| CF | Here, right in the middle of the Studio, you can see all across the | ||
| CF | huge set. To the north is the looming Sphinx, to the west, rolling | ||
| CF | sand dunes. On the east side of the building are the tops of some | ||
| CF | colorful tents and to the south of you, what seem like ruins. | ||
| CF | | ||
| CF | In the distance, a torch flickers near to the desert dunes. | ||
| CF | | ||
| CF | The torchlight moves northeast to glimmer around the Sphinx. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "e" | ||
| CF ] The Tent City of the Badari 8/648 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | The Tent City of the Badari | ||
| CF | The city comprises, in total, of four small tents and a large one | ||
| CF | arranged around a campfire. At least they're quite colorful. Some | ||
| CF | buildings rear out of the set to the west, to the northwest is the | ||
| CF | Sphinx and southwest of you, a ruin. | ||
| CF | | ||
| CF | In the distance, a torch flickers near to the Sphinx. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "drop cage" | ||
| CF ] Studio Lot South 8/649 | ||
| CF | > | ||
| CF | > DROP CAGE | ||
| CF | | ||
| CF | Dropped. | ||
| CF | | ||
| CF | A security guard wanders in from the northwest. | ||
| CF | | ||
| CF | "Well, now," he says, "you can't be in here! I can't be having you | ||
| CF | young whippersnappers running around. There's all sorts of mischief | ||
| CF | you could get into!" He shakes his head with a rueful smile. "Come on, | ||
| CF | let's be getting you somewhere safe." | ||
| CF | | ||
| CF | You struggle feebly, but it's no use - he's stronger than he looks. | ||
| CF | The Guard shuffles you outside the studio. "You should be getting | ||
| CF | home," he says and pats your shoulder, "it's late." He disappears back | ||
| CF | inside the studio. | ||
| CF | | ||
| CF | Studio Lot South | ||
| CF | Here, the lot is surrounded on three sides by Studios, looming out of | ||
| CF | the night like ancient guardians. The lot continues to the north into | ||
| CF | shadow. To the east side is the door to Studio 3, to the west, Studio | ||
| CF | 4 and to the south the door to Studio 5 where you have spent so much | ||
| CF | time over the last two weeks. A sign over each door proclaims the | ||
| CF | movie that is being made there. | ||
| CF | | ||
| CF | A horde of shambling zombies, led by a slightly less decomposed | ||
| CF | Security Guard, stumble around. | ||
| CF | | ||
| CF | Vampire thralls stand in a surly group, shooting suspicious glances at | ||
| CF | you. | ||
| CF | | ||
| CF | Over by the studio walls, the Count stands listlessly, staring off | ||
| CF | into the sky. | ||
| CF | | ||
| CF | The Countess paces impatiently around the lot. | ||
| CF | | ||
| CF | A dead cultist lies sprawled on the ground, his face frozen in a | ||
| CF | horrifying rictus. | ||
| CF | | ||
| CF | The torchlight moves southwest to play around the ruins. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "undo" | ||
| CF ] The Tent City of the Badari 8/648 | ||
| CF | | ||
| CF | > UNDO | ||
| CF | | ||
| CF | The Tent City of the Badari | ||
| CF | [Previous turn undone.] | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "hide" | ||
| CF ] Studio Lot South 8/649 | ||
| CF | > | ||
| CF | > HIDE | ||
| CF | | ||
| CF | There's nothing you really need to hide from. | ||
| CF | | ||
| CF | A security guard wanders in from the northwest. | ||
| CF | | ||
| CF | "Well, now," he says, "you can't be in here! I can't be having you | ||
| CF | young whippersnappers running around. There's all sorts of mischief | ||
| CF | you could get into!" He shakes his head with a rueful smile. "Come on, | ||
| CF | let's be getting you somewhere safe." | ||
| CF | | ||
| CF | You struggle feebly, but it's no use - he's stronger than he looks. | ||
| CF | The Guard shuffles you outside the studio. "You should be getting | ||
| CF | home," he says and pats your shoulder, "it's late." He disappears back | ||
| CF | inside the studio. | ||
| CF | | ||
| CF | Studio Lot South | ||
| CF | Here, the lot is surrounded on three sides by Studios, looming out of | ||
| CF | the night like ancient guardians. The lot continues to the north into | ||
| CF | shadow. To the east side is the door to Studio 3, to the west, Studio | ||
| CF | 4 and to the south the door to Studio 5 where you have spent so much | ||
| CF | time over the last two weeks. A sign over each door proclaims the | ||
| CF | movie that is being made there. | ||
| CF | | ||
| CF | A horde of shambling zombies, led by a slightly less decomposed | ||
| CF | Security Guard, stumble around. | ||
| CF | | ||
| CF | Vampire thralls stand in a surly group, shooting suspicious glances at | ||
| CF | you. | ||
| CF | | ||
| CF | Over by the studio walls, the Count stands listlessly, staring off | ||
| CF | into the sky. | ||
| CF | | ||
| CF | The Countess paces impatiently around the lot. | ||
| CF | | ||
| CF | A dead cultist lies sprawled on the ground, his face frozen in a | ||
| CF | horrifying rictus. | ||
| CF | | ||
| CF | The torchlight moves southwest to play around the ruins. | ||
| CF | | ||
| CF | > | Knight_Otu exclaims, "Liar, game!" | |
| Knight_Otu says (to ClubFloyd), "undo" | ||
| CF ] The Tent City of the Badari 8/648 | ||
| CF | | ||
| CF | > UNDO | ||
| CF | | ||
| CF | The Tent City of the Badari | ||
| CF | [Previous turn undone.] | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "w" | ||
| CF ] Archaeological Dig Site 8/649 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Archaeological Dig Site | ||
| CF | The dark entrance to the Mummy's tombs leads down a ladder through a | ||
| CF | hole in the ground in-between the exposed ancient buildings. But | ||
| CF | they're not actually buildings. They're just the front walls of | ||
| CF | buildings held up with wooden scaffolding at the back. | ||
| CF | | ||
| CF | Here, right in the middle of the Studio, you can see all across the | ||
| CF | huge set. To the north is the looming Sphinx, to the west, rolling | ||
| CF | sand dunes. On the east side of the building are the tops of some | ||
| CF | colorful tents and to the south of you, what seem like ruins. | ||
| CF | | ||
| CF | In the distance, a torch flickers near to the Sphinx. | ||
| CF | | ||
| CF | The torchlight moves southeast to flicker around the tents. | ||
| CF | | ||
| CF | > | ||
| Jacqueline says (to ClubFloyd), "i" | ||
| CF ] Archaeological Dig Site 8/650 | ||
| CF | > | ||
| CF | > I | ||
| CF | | ||
| CF | You are carrying a cage of rats, a leather whip, a reel of strong | ||
| CF | cotton, a bone needle, a wicked little voodoo doll, a strawberry milk | ||
| CF | bottle, an evil book of black magic, a small brass key, a tea caddy | ||
| CF | and a stained crimson robe. You are wearing Buster's Stetson, a | ||
| CF | crucifix, a gold pocketwatch and a grey suit. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "w" | ||
| CF ] Deep in the Desert 8/651 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Deep in the Desert | ||
| CF | A small sea (well, seven) of waist high sand dunes rise up from the | ||
| CF | floor until they hit the painted backdrop of a deep blue sky with a | ||
| CF | horizon of shimmering dunes stretching out into the far distance. To | ||
| CF | the northeast, you can see the sphinx rising up against the studio | ||
| CF | wall, to the east is a cluster of buildings and southeast some sort of | ||
| CF | ruin. | ||
| CF | | ||
| CF | In the distance, a torch flickers near to the tents. | ||
| CF | | ||
| CF | The torchlight moves southwest to glimmer around the ruins. | ||
| CF | | ||
| CF | Oh no! It looks like it's heading your way! You are in a perilous | ||
| CF | situation! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "hide" | ||
| CF ] Deep in the Desert 8/652 | ||
| CF | > | ||
| CF | > HIDE | ||
| CF | | ||
| CF | You back into the darker shadows of the set as the torchlight flickers | ||
| CF | ever closer. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "z" | ||
| CF ] Deep in the Desert 8/653 | ||
| CF | > | ||
| CF | > Z | ||
| CF | | ||
| CF | Time passes. | ||
| CF | | ||
| CF | A security guard wanders in from the southeast. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "open cage" | ||
| CF ] Deep in the Desert 8/654 | ||
| CF | > | ||
| CF | > OPEN CAGE | ||
| CF | | ||
| CF | You would need to put the cage down first. | ||
| CF | | ||
| CF | > | Knight_Otu says, "I guessed so, then second-guessed myself." | |
| Knight_Otu says (to ClubFloyd), "z" | ||
| CF ] Deep in the Desert 8/655 | ||
| CF | > | ||
| CF | > Z | ||
| CF | | ||
| CF | Time passes. | ||
| CF | | ||
| CF | The security guard wanders northeast towards the Sphinx. You come out | ||
| CF | of hiding. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "e" | ||
| CF ] Archaeological Dig Site 8/656 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | Archaeological Dig Site | ||
| CF | The dark entrance to the Mummy's tombs leads down a ladder through a | ||
| CF | hole in the ground in-between the exposed ancient buildings. But | ||
| CF | they're not actually buildings. They're just the front walls of | ||
| CF | buildings held up with wooden scaffolding at the back. | ||
| CF | | ||
| CF | Here, right in the middle of the Studio, you can see all across the | ||
| CF | huge set. To the north is the looming Sphinx, to the west, rolling | ||
| CF | sand dunes. On the east side of the building are the tops of some | ||
| CF | colorful tents and to the south of you, what seem like ruins. | ||
| CF | | ||
| CF | In the distance, a torch flickers near to the Sphinx. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "e" | ||
| CF ] Studio Lot South 8/657 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | The Tent City of the Badari | ||
| CF | The city comprises, in total, of four small tents and a large one | ||
| CF | arranged around a campfire. At least they're quite colorful. Some | ||
| CF | buildings rear out of the set to the west, to the northwest is the | ||
| CF | Sphinx and southwest of you, a ruin. | ||
| CF | | ||
| CF | In the distance, a torch flickers near to the Sphinx. | ||
| CF | | ||
| CF | A security guard wanders in from the northwest. | ||
| CF | | ||
| CF | "Well, now," he says, "you can't be in here! I can't be having you | ||
| CF | young whippersnappers running around. There's all sorts of mischief | ||
| CF | you could get into!" He shakes his head with a rueful smile. "Come on, | ||
| CF | let's be getting you somewhere safe." | ||
| CF | | ||
| CF | You struggle feebly, but it's no use - he's stronger than he looks. | ||
| CF | The Guard shuffles you outside the studio. "You should be getting | ||
| CF | home," he says and pats your shoulder, "it's late." He disappears back | ||
| CF | inside the studio. | ||
| CF | | ||
| CF | Studio Lot South | ||
| CF | Here, the lot is surrounded on three sides by Studios, looming out of | ||
| CF | the night like ancient guardians. The lot continues to the north into | ||
| CF | shadow. To the east side is the door to Studio 3, to the west, Studio | ||
| CF | 4 and to the south the door to Studio 5 where you have spent so much | ||
| CF | time over the last two weeks. A sign over each door proclaims the | ||
| CF | movie that is being made there. | ||
| CF | | ||
| CF | A horde of shambling zombies, led by a slightly less decomposed | ||
| CF | Security Guard, stumble around. | ||
| CF | | ||
| CF | Vampire thralls stand in a surly group, shooting suspicious glances at | ||
| CF | you. | ||
| CF | | ||
| CF | Over by the studio walls, the Count stands listlessly, staring off | ||
| CF | into the sky. | ||
| CF | | ||
| CF | The Countess paces impatiently around the lot. | ||
| CF | | ||
| CF | A dead cultist lies sprawled on the ground, his face frozen in a | ||
| CF | horrifying rictus. | ||
| CF | | ||
| CF | The torchlight moves southwest to flicker around the ruins. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "undo" | ||
| CF ] Archaeological Dig Site 8/656 | ||
| CF | | ||
| CF | > UNDO | ||
| CF | | ||
| CF | Archaeological Dig Site | ||
| CF | [Previous turn undone.] | ||
| CF | | ||
| CF | > | Knight_Otu says, "Should have known." | |
| DavidW says, "I'm wondering if we need to plant a cage in each location, then start opening them all to herd the guard." | ||
| Knight_Otu says (to ClubFloyd), "w" | ||
| CF ] Deep in the Desert 8/657 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Deep in the Desert | ||
| CF | A small sea (well, seven) of waist high sand dunes rise up from the | ||
| CF | floor until they hit the painted backdrop of a deep blue sky with a | ||
| CF | horizon of shimmering dunes stretching out into the far distance. To | ||
| CF | the northeast, you can see the sphinx rising up against the studio | ||
| CF | wall, to the east is a cluster of buildings and southeast some sort of | ||
| CF | ruin. | ||
| CF | | ||
| CF | In the distance, a torch flickers near to the Sphinx. | ||
| CF | | ||
| CF | The torchlight moves southeast to play around the tents. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "drop cage" | ||
| CF ] Deep in the Desert 8/658 | ||
| CF | > | ||
| CF | > DROP CAGE | ||
| CF | | ||
| CF | Dropped. | ||
| CF | | ||
| CF | > | Knight_Otu says, "It would explain the number of cages." | |
| Knight_Otu says (to ClubFloyd), "z" | ||
| CF ] Deep in the Desert 8/659 | ||
| CF | > | ||
| CF | > Z | ||
| CF | | ||
| CF | Time passes. | ||
| CF | | ||
| CF | The torchlight moves southwest to flicker around the ruins. | ||
| CF | | ||
| CF | Oh no! It looks like it's heading your way! You are in a perilous | ||
| CF | situation! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "hide" | ||
| CF ] Deep in the Desert 8/660 | ||
| CF | > | ||
| CF | > HIDE | ||
| CF | | ||
| CF | You back into the darker shadows of the set as the torchlight flickers | ||
| CF | ever closer. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "z" | ||
| CF ] Deep in the Desert 8/661 | ||
| CF | > | ||
| CF | > Z | ||
| CF | | ||
| CF | Time passes. | ||
| CF | | ||
| CF | A security guard wanders in from the southeast. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "open cage" | ||
| CF ] Deep in the Desert 8/662 | ||
| CF | > | ||
| CF | > OPEN CAGE | ||
| CF | | ||
| CF | | ||
| CF | The Guard sees the rats you have loosed and gives a tremendous yell of | ||
| CF | terror. He runs east towards the buildings. You come out of hiding. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "l" | ||
| CF ] Deep in the Desert 8/663 | ||
| CF | > | ||
| CF | > L | ||
| CF | | ||
| CF | Deep in the Desert | ||
| CF | A small sea (well, seven) of waist high sand dunes rise up from the | ||
| CF | floor until they hit the painted backdrop of a deep blue sky with a | ||
| CF | horizon of shimmering dunes stretching out into the far distance. To | ||
| CF | the northeast, you can see the sphinx rising up against the studio | ||
| CF | wall, to the east is a cluster of buildings and southeast some sort of | ||
| CF | ruin. | ||
| CF | | ||
| CF | In the distance, a torch flickers near to the buildings. | ||
| CF | | ||
| CF | An empty cage lies open on the floor. | ||
| CF | | ||
| CF | A hideous mass of rats scurry furiously across the set. | ||
| CF | | ||
| CF | The torchlight moves north to glimmer around the Sphinx. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "z" | ||
| CF ] Deep in the Desert 8/664 | ||
| CF | > | ||
| CF | > Z | ||
| CF | | ||
| CF | Time passes. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "z" | ||
| CF ] Deep in the Desert 8/665 | ||
| CF | > | ||
| CF | > Z | ||
| CF | | ||
| CF | Time passes. | ||
| CF | | ||
| CF | The torchlight moves southeast to flicker around the tents. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "ne" | ||
| CF ] The Shrine of the Sphinx 8/666 | ||
| CF | > | ||
| CF | > NE | ||
| CF | | ||
| CF | | ||
| CF | The Shrine of the Sphinx | ||
| CF | They've only bothered to actually build the front legs of the Sphinx. | ||
| CF | For longer shots, you assume they use the matte backdrop of the whole | ||
| CF | thing painted onto the Studio wall to the set's left. The Sphinx's | ||
| CF | legs extend out from the Studio walls and between them is the Mummy's | ||
| CF | shrine, carved from greyish sandy painted construction foam. | ||
| CF | | ||
| CF | To the west, there is an opening in the Studio wall. Southwest, | ||
| CF | towards the other side of the Studio, you can see distant sand dunes. | ||
| CF | The set opens out to the south to reveal some sort of building and | ||
| CF | beyond it, a group of ruins. To the southeast, you can see the tops of | ||
| CF | a group of tents. | ||
| CF | | ||
| CF | In the distance, a torch flickers near to the tents. | ||
| CF | | ||
| CF | You can also see a jaunty hat here. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "w" | ||
| CF ] Studio Menagerie 8/667 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Studio Menagerie | ||
| CF | This small dingy room is filled with mostly empty cages for the | ||
| CF | animals the Studio uses in its movies. It smells quite bad, to be | ||
| CF | honest. A door lies open to the west and, opposite it, a relatively | ||
| CF | brightly lit space in the wall opens up to the east. | ||
| CF | | ||
| CF | A cage full of cockroaches chitter and scurry. | ||
| CF | | ||
| CF | A hissing mass of snakes writhe around their cage. | ||
| CF | | ||
| CF | Caged scorpions wave their tails menacingly. | ||
| CF | | ||
| CF | Spiders lurk in the corners of their cage. | ||
| CF | | ||
| CF | On one side of the room, a large cage contains a huge crocodile. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "get snake cage" | ||
| CF ] Studio Menagerie 8/668 | ||
| CF | > | ||
| CF | > GET SNAKE CAGE | ||
| CF | | ||
| CF | You gingerly pick up the cage. The snakes try and bite you with their | ||
| CF | poisonous fangs, but they can't reach you through the narrow bars. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "get roach cage" | ||
| CF ] Studio Menagerie 8/669 | ||
| CF | > | ||
| CF | > GET ROACH CAGE | ||
| CF | | ||
| CF | The cages are not too heavy, but they are bulky. You aren't able to | ||
| CF | hold more than one at once. | ||
| CF | | ||
| CF | > | Knight_Otu says, "There's the inventory management." | |
| Knight_Otu says (to ClubFloyd), "e" | ||
| CF ] The Shrine of the Sphinx 8/670 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | The Shrine of the Sphinx | ||
| CF | They've only bothered to actually build the front legs of the Sphinx. | ||
| CF | For longer shots, you assume they use the matte backdrop of the whole | ||
| CF | thing painted onto the Studio wall to the set's left. The Sphinx's | ||
| CF | legs extend out from the Studio walls and between them is the Mummy's | ||
| CF | shrine, carved from greyish sandy painted construction foam. | ||
| CF | | ||
| CF | To the west, there is an opening in the Studio wall. Southwest, | ||
| CF | towards the other side of the Studio, you can see distant sand dunes. | ||
| CF | The set opens out to the south to reveal some sort of building and | ||
| CF | beyond it, a group of ruins. To the southeast, you can see the tops of | ||
| CF | a group of tents. | ||
| CF | | ||
| CF | In the distance, a torch flickers near to the tents. | ||
| CF | | ||
| CF | You can also see a jaunty hat here. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "z" | ||
| CF ] The Shrine of the Sphinx 8/671 | ||
| CF | > | ||
| CF | > Z | ||
| CF | | ||
| CF | Time passes. | ||
| CF | | ||
| CF | The torchlight moves southwest to glimmer around the ruins. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "z" | ||
| CF ] The Shrine of the Sphinx 8/672 | ||
| CF | > | ||
| CF | > Z | ||
| CF | | ||
| CF | Time passes. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "z" | ||
| CF ] The Shrine of the Sphinx 8/673 | ||
| CF | > | ||
| CF | > Z | ||
| CF | | ||
| CF | Time passes. | ||
| CF | | ||
| CF | The torchlight moves north to flicker around the buildings. | ||
| CF | | ||
| CF | Oh no! It looks like it's heading your way! You are in a perilous | ||
| CF | situation! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "undo" | ||
| CF ] The Shrine of the Sphinx 8/672 | ||
| CF | | ||
| CF | > UNDO | ||
| CF | | ||
| CF | The Shrine of the Sphinx | ||
| CF | [Previous turn undone.] | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "drop cage" | ||
| CF ] The Shrine of the Sphinx 8/673 | ||
| CF | > | ||
| CF | > DROP CAGE | ||
| CF | | ||
| CF | Dropped. | ||
| CF | | ||
| CF | The torchlight moves north to play around the buildings. | ||
| CF | | ||
| CF | Oh no! It looks like it's heading your way! You are in a perilous | ||
| CF | situation! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "hide" | ||
| CF ] The Shrine of the Sphinx 8/674 | ||
| CF | > | ||
| CF | > HIDE | ||
| CF | | ||
| CF | You back into the darker shadows of the set as the torchlight flickers | ||
| CF | ever closer. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "z" | ||
| CF ] The Shrine of the Sphinx 8/675 | ||
| CF | > | ||
| CF | > Z | ||
| CF | | ||
| CF | Time passes. | ||
| CF | | ||
| CF | A security guard wanders in from the south. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "open cage" | ||
| CF ] The Shrine of the Sphinx 8/676 | ||
| CF | > | ||
| CF | > OPEN CAGE | ||
| CF | | ||
| CF | | ||
| CF | The Guard sees the snakes you have loosed and gives a tremendous yell | ||
| CF | of terror. He runs south towards the buildings. You come out of | ||
| CF | hiding. | ||
| CF | | ||
| CF | > | Knight_Otu says, "At least he can't catch us here anymore." | |
| Knight_Otu says (to ClubFloyd), "w" | ||
| CF ] Studio Menagerie 8/677 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Studio Menagerie | ||
| CF | This small dingy room is filled with mostly empty cages for the | ||
| CF | animals the Studio uses in its movies. It smells quite bad, to be | ||
| CF | honest. A door lies open to the west and, opposite it, a relatively | ||
| CF | brightly lit space in the wall opens up to the east. | ||
| CF | | ||
| CF | A cage full of cockroaches chitter and scurry. | ||
| CF | | ||
| CF | Caged scorpions wave their tails menacingly. | ||
| CF | | ||
| CF | Spiders lurk in the corners of their cage. | ||
| CF | | ||
| CF | On one side of the room, a large cage contains a huge crocodile. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "get roaches" | ||
| CF ] Studio Menagerie 8/678 | ||
| CF | > | ||
| CF | > GET ROACHES | ||
| CF | | ||
| CF | You gingerly pick up the cage. The cockroaches try and claw you, but | ||
| CF | they can't reach you through the narrow bars. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "e" | ||
| CF ] The Shrine of the Sphinx 8/679 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | The Shrine of the Sphinx | ||
| CF | They've only bothered to actually build the front legs of the Sphinx. | ||
| CF | For longer shots, you assume they use the matte backdrop of the whole | ||
| CF | thing painted onto the Studio wall to the set's left. The Sphinx's | ||
| CF | legs extend out from the Studio walls and between them is the Mummy's | ||
| CF | shrine, carved from greyish sandy painted construction foam. | ||
| CF | | ||
| CF | To the west, there is an opening in the Studio wall. Southwest, | ||
| CF | towards the other side of the Studio, you can see distant sand dunes. | ||
| CF | The set opens out to the south to reveal some sort of building and | ||
| CF | beyond it, a group of ruins. To the southeast, you can see the tops of | ||
| CF | a group of tents. | ||
| CF | | ||
| CF | In the distance, a torch flickers near to the buildings. | ||
| CF | | ||
| CF | An empty cage lies open on the floor. | ||
| CF | | ||
| CF | A writhing mass of snakes slither all over the set. | ||
| CF | | ||
| CF | You can also see a jaunty hat here. | ||
| CF | | ||
| CF | The torchlight moves east to glimmer around the tents. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] Archaeological Dig Site 8/680 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | Archaeological Dig Site | ||
| CF | The dark entrance to the Mummy's tombs leads down a ladder through a | ||
| CF | hole in the ground in-between the exposed ancient buildings. But | ||
| CF | they're not actually buildings. They're just the front walls of | ||
| CF | buildings held up with wooden scaffolding at the back. | ||
| CF | | ||
| CF | Here, right in the middle of the Studio, you can see all across the | ||
| CF | huge set. To the north is the looming Sphinx, to the west, rolling | ||
| CF | sand dunes. On the east side of the building are the tops of some | ||
| CF | colorful tents and to the south of you, what seem like ruins. | ||
| CF | | ||
| CF | In the distance, a torch flickers near to the tents. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "drop cage" | ||
| CF ] Archaeological Dig Site 8/681 | ||
| CF | > | ||
| CF | > DROP CAGE | ||
| CF | | ||
| CF | Dropped. | ||
| CF | | ||
| CF | The torchlight moves southwest to play around the ruins. | ||
| CF | | ||
| CF | Oh no! It looks like it's heading your way! You are in a perilous | ||
| CF | situation! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] The Shrine of the Sphinx 8/682 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | The Shrine of the Sphinx | ||
| CF | They've only bothered to actually build the front legs of the Sphinx. | ||
| CF | For longer shots, you assume they use the matte backdrop of the whole | ||
| CF | thing painted onto the Studio wall to the set's left. The Sphinx's | ||
| CF | legs extend out from the Studio walls and between them is the Mummy's | ||
| CF | shrine, carved from greyish sandy painted construction foam. | ||
| CF | | ||
| CF | To the west, there is an opening in the Studio wall. Southwest, | ||
| CF | towards the other side of the Studio, you can see distant sand dunes. | ||
| CF | The set opens out to the south to reveal some sort of building and | ||
| CF | beyond it, a group of ruins. To the southeast, you can see the tops of | ||
| CF | a group of tents. | ||
| CF | | ||
| CF | In the distance, a torch flickers near to the ruins. | ||
| CF | | ||
| CF | An empty cage lies open on the floor. | ||
| CF | | ||
| CF | A writhing mass of snakes slither all over the set. | ||
| CF | | ||
| CF | You can also see a jaunty hat here. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "w" | ||
| CF ] Studio Menagerie 8/683 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Studio Menagerie | ||
| CF | This small dingy room is filled with mostly empty cages for the | ||
| CF | animals the Studio uses in its movies. It smells quite bad, to be | ||
| CF | honest. A door lies open to the west and, opposite it, a relatively | ||
| CF | brightly lit space in the wall opens up to the east. | ||
| CF | | ||
| CF | Caged scorpions wave their tails menacingly. | ||
| CF | | ||
| CF | Spiders lurk in the corners of their cage. | ||
| CF | | ||
| CF | On one side of the room, a large cage contains a huge crocodile. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "get scorpion cage" | ||
| CF ] Studio Menagerie 8/684 | ||
| CF | > | ||
| CF | > GET SCORPION CAGE | ||
| CF | | ||
| CF | You gingerly pick up the cage. The scorpions try and sting you with | ||
| CF | their poisonous tails, but they can't reach you through the narrow | ||
| CF | bars. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "e" | ||
| CF ] The Shrine of the Sphinx 8/685 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | The Shrine of the Sphinx | ||
| CF | They've only bothered to actually build the front legs of the Sphinx. | ||
| CF | For longer shots, you assume they use the matte backdrop of the whole | ||
| CF | thing painted onto the Studio wall to the set's left. The Sphinx's | ||
| CF | legs extend out from the Studio walls and between them is the Mummy's | ||
| CF | shrine, carved from greyish sandy painted construction foam. | ||
| CF | | ||
| CF | To the west, there is an opening in the Studio wall. Southwest, | ||
| CF | towards the other side of the Studio, you can see distant sand dunes. | ||
| CF | The set opens out to the south to reveal some sort of building and | ||
| CF | beyond it, a group of ruins. To the southeast, you can see the tops of | ||
| CF | a group of tents. | ||
| CF | | ||
| CF | In the distance, a torch flickers near to the ruins. | ||
| CF | | ||
| CF | An empty cage lies open on the floor. | ||
| CF | | ||
| CF | A writhing mass of snakes slither all over the set. | ||
| CF | | ||
| CF | You can also see a jaunty hat here. | ||
| CF | | ||
| CF | The torchlight moves north to glimmer around the buildings. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "z" | ||
| CF ] The Shrine of the Sphinx 8/686 | ||
| CF | > | ||
| CF | > Z | ||
| CF | | ||
| CF | Time passes. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "z" | ||
| CF ] The Shrine of the Sphinx 8/687 | ||
| CF | > | ||
| CF | > Z | ||
| CF | | ||
| CF | Time passes. | ||
| CF | | ||
| CF | The torchlight moves east to flicker around the tents. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] Archaeological Dig Site 8/688 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | Archaeological Dig Site | ||
| CF | The dark entrance to the Mummy's tombs leads down a ladder through a | ||
| CF | hole in the ground in-between the exposed ancient buildings. But | ||
| CF | they're not actually buildings. They're just the front walls of | ||
| CF | buildings held up with wooden scaffolding at the back. | ||
| CF | | ||
| CF | Here, right in the middle of the Studio, you can see all across the | ||
| CF | huge set. To the north is the looming Sphinx, to the west, rolling | ||
| CF | sand dunes. On the east side of the building are the tops of some | ||
| CF | colorful tents and to the south of you, what seem like ruins. | ||
| CF | | ||
| CF | In the distance, a torch flickers near to the tents. | ||
| CF | | ||
| CF | You can also see a cage of cockroaches here. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "z" | ||
| CF ] Archaeological Dig Site 8/689 | ||
| CF | > | ||
| CF | > Z | ||
| CF | | ||
| CF | Time passes. | ||
| CF | | ||
| CF | The torchlight moves southwest to play around the ruins. | ||
| CF | | ||
| CF | Oh no! It looks like it's heading your way! You are in a perilous | ||
| CF | situation! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "e" | ||
| CF ] The Tent City of the Badari 8/690 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | The Tent City of the Badari | ||
| CF | The city comprises, in total, of four small tents and a large one | ||
| CF | arranged around a campfire. At least they're quite colorful. Some | ||
| CF | buildings rear out of the set to the west, to the northwest is the | ||
| CF | Sphinx and southwest of you, a ruin. | ||
| CF | | ||
| CF | In the distance, a torch flickers near to the ruins. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "drop cage" | ||
| CF ] The Tent City of the Badari 8/691 | ||
| CF | > | ||
| CF | > DROP CAGE | ||
| CF | | ||
| CF | Dropped. | ||
| CF | | ||
| CF | The torchlight moves north to flicker around the buildings. | ||
| CF | | ||
| CF | Oh no! It looks like it's heading your way! You are in a perilous | ||
| CF | situation! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "nw" | ||
| CF ] The Shrine of the Sphinx 8/692 | ||
| CF | > | ||
| CF | > NW | ||
| CF | | ||
| CF | | ||
| CF | The Shrine of the Sphinx | ||
| CF | They've only bothered to actually build the front legs of the Sphinx. | ||
| CF | For longer shots, you assume they use the matte backdrop of the whole | ||
| CF | thing painted onto the Studio wall to the set's left. The Sphinx's | ||
| CF | legs extend out from the Studio walls and between them is the Mummy's | ||
| CF | shrine, carved from greyish sandy painted construction foam. | ||
| CF | | ||
| CF | To the west, there is an opening in the Studio wall. Southwest, | ||
| CF | towards the other side of the Studio, you can see distant sand dunes. | ||
| CF | The set opens out to the south to reveal some sort of building and | ||
| CF | beyond it, a group of ruins. To the southeast, you can see the tops of | ||
| CF | a group of tents. | ||
| CF | | ||
| CF | In the distance, a torch flickers near to the buildings. | ||
| CF | | ||
| CF | An empty cage lies open on the floor. | ||
| CF | | ||
| CF | A writhing mass of snakes slither all over the set. | ||
| CF | | ||
| CF | You can also see a jaunty hat here. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "w" | ||
| CF ] Studio Menagerie 8/693 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Studio Menagerie | ||
| CF | This small dingy room is filled with mostly empty cages for the | ||
| CF | animals the Studio uses in its movies. It smells quite bad, to be | ||
| CF | honest. A door lies open to the west and, opposite it, a relatively | ||
| CF | brightly lit space in the wall opens up to the east. | ||
| CF | | ||
| CF | Spiders lurk in the corners of their cage. | ||
| CF | | ||
| CF | On one side of the room, a large cage contains a huge crocodile. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "get spider cage" | ||
| CF ] Studio Menagerie 8/694 | ||
| CF | > | ||
| CF | > GET SPIDER CAGE | ||
| CF | | ||
| CF | You gingerly pick up the cage. The spiders try and bite you with their | ||
| CF | poisonous fangs, but they can't reach you through the narrow bars. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "e" | ||
| CF ] The Shrine of the Sphinx 8/695 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | The Shrine of the Sphinx | ||
| CF | They've only bothered to actually build the front legs of the Sphinx. | ||
| CF | For longer shots, you assume they use the matte backdrop of the whole | ||
| CF | thing painted onto the Studio wall to the set's left. The Sphinx's | ||
| CF | legs extend out from the Studio walls and between them is the Mummy's | ||
| CF | shrine, carved from greyish sandy painted construction foam. | ||
| CF | | ||
| CF | To the west, there is an opening in the Studio wall. Southwest, | ||
| CF | towards the other side of the Studio, you can see distant sand dunes. | ||
| CF | The set opens out to the south to reveal some sort of building and | ||
| CF | beyond it, a group of ruins. To the southeast, you can see the tops of | ||
| CF | a group of tents. | ||
| CF | | ||
| CF | In the distance, a torch flickers near to the buildings. | ||
| CF | | ||
| CF | An empty cage lies open on the floor. | ||
| CF | | ||
| CF | A writhing mass of snakes slither all over the set. | ||
| CF | | ||
| CF | You can also see a jaunty hat here. | ||
| CF | | ||
| CF | The torchlight moves east to play around the tents. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] Archaeological Dig Site 8/696 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | Archaeological Dig Site | ||
| CF | The dark entrance to the Mummy's tombs leads down a ladder through a | ||
| CF | hole in the ground in-between the exposed ancient buildings. But | ||
| CF | they're not actually buildings. They're just the front walls of | ||
| CF | buildings held up with wooden scaffolding at the back. | ||
| CF | | ||
| CF | Here, right in the middle of the Studio, you can see all across the | ||
| CF | huge set. To the north is the looming Sphinx, to the west, rolling | ||
| CF | sand dunes. On the east side of the building are the tops of some | ||
| CF | colorful tents and to the south of you, what seem like ruins. | ||
| CF | | ||
| CF | In the distance, a torch flickers near to the tents. | ||
| CF | | ||
| CF | You can also see a cage of cockroaches here. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "open cage" | ||
| CF ] Archaeological Dig Site 8/697 | ||
| CF | > | ||
| CF | > OPEN CAGE | ||
| CF | | ||
| CF | (the cage of spiders) | ||
| CF | You would need to put the cage down first. | ||
| CF | | ||
| CF | The torchlight moves southwest to glimmer around the ruins. | ||
| CF | | ||
| CF | Oh no! It looks like it's heading your way! You are in a perilous | ||
| CF | situation! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "e" | ||
| CF ] The Tent City of the Badari 8/698 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | The Tent City of the Badari | ||
| CF | The city comprises, in total, of four small tents and a large one | ||
| CF | arranged around a campfire. At least they're quite colorful. Some | ||
| CF | buildings rear out of the set to the west, to the northwest is the | ||
| CF | Sphinx and southwest of you, a ruin. | ||
| CF | | ||
| CF | In the distance, a torch flickers near to the ruins. | ||
| CF | | ||
| CF | You can also see a cage of scorpions here. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "open cage" | ||
| CF ] The Tent City of the Badari 8/699 | ||
| CF | > | ||
| CF | > OPEN CAGE | ||
| CF | | ||
| CF | (the cage of spiders) | ||
| CF | You would need to put the cage down first. | ||
| CF | | ||
| CF | The torchlight moves north to play around the buildings. | ||
| CF | | ||
| CF | Oh no! It looks like it's heading your way! You are in a perilous | ||
| CF | situation! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "sw" | ||
| CF ] The Ruins of Men-nefer 8/700 | ||
| CF | > | ||
| CF | > SW | ||
| CF | | ||
| CF | | ||
| CF | The Ruins of Men-nefer | ||
| CF | This is quite a set! Against the southern studio wall of the studio | ||
| CF | are the fronts of a row of crumbling ruins. They are all covered in | ||
| CF | statues and carvings of monsters and ancient gods - really impressive | ||
| CF | work by the set designer. They loom over you, the faces of the | ||
| CF | statues, they seem to leer at you, giving a terrible air of horrifying | ||
| CF | menace to the whole set! | ||
| CF | | ||
| CF | Opposite the ruins, to the north, you can see some buildings. Dunes | ||
| CF | rise up from the ground to the northwest and northeast are some | ||
| CF | distant tents. | ||
| CF | | ||
| CF | Right in the centre of the row of ruins is an entranceway to a dark | ||
| CF | passage, leading south. You can see a little way in. There seem to be | ||
| CF | holes in the floor and narrow slots in the wall. Part way down, | ||
| CF | slumped against one wall, is an evilly grinning skeleton! Further | ||
| CF | along, and you can see a pile of bones near one of the wall slots. | ||
| CF | | ||
| CF | In the distance, a torch flickers near to the buildings. | ||
| CF | | ||
| CF | Wilma, the studio sheep is standing quietly here. A lead trails from a | ||
| CF | collar around her neck. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "drop cage" | ||
| CF ] The Ruins of Men-nefer 8/701 | ||
| CF | > | ||
| CF | > DROP CAGE | ||
| CF | | ||
| CF | Dropped. | ||
| CF | | ||
| CF | The torchlight moves east to glimmer around the tents. | ||
| CF | | ||
| CF | Oh no! It looks like it's heading your way! You are in a perilous | ||
| CF | situation! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "hide" | ||
| CF ] The Ruins of Men-nefer 8/702 | ||
| CF | > | ||
| CF | > HIDE | ||
| CF | | ||
| CF | You back into the darker shadows of the set as the torchlight flickers | ||
| CF | ever closer. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "z" | ||
| CF ] The Ruins of Men-nefer 8/703 | ||
| CF | > | ||
| CF | > Z | ||
| CF | | ||
| CF | Time passes. | ||
| CF | | ||
| CF | A security guard wanders in from the northeast. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "open cage" | ||
| CF ] The Ruins of Men-nefer 8/704 | ||
| CF | > | ||
| CF | > OPEN CAGE | ||
| CF | | ||
| CF | | ||
| CF | The Guard sees the spiders you have loosed and gives a tremendous yell | ||
| CF | of terror. He runs north towards the buildings. You come out of | ||
| CF | hiding. | ||
| CF | | ||
| CF | > | Knight_Otu says, "Hrm." | |
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Archaeological Dig Site 8/705 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | Archaeological Dig Site | ||
| CF | The dark entrance to the Mummy's tombs leads down a ladder through a | ||
| CF | hole in the ground in-between the exposed ancient buildings. But | ||
| CF | they're not actually buildings. They're just the front walls of | ||
| CF | buildings held up with wooden scaffolding at the back. | ||
| CF | | ||
| CF | Here, right in the middle of the Studio, you can see all across the | ||
| CF | huge set. To the north is the looming Sphinx, to the west, rolling | ||
| CF | sand dunes. On the east side of the building are the tops of some | ||
| CF | colorful tents and to the south of you, what seem like ruins. | ||
| CF | | ||
| CF | A terrified Security Guard shines his torch around the set. | ||
| CF | | ||
| CF | You can also see a cage of cockroaches here. | ||
| CF | | ||
| CF | The guard sees you immediately. | ||
| CF | | ||
| CF | "I can't get you out," yells the guard at you. "There's creatures, | ||
| CF | terrible creatures, loose in the studio! They're blocking the way out! | ||
| CF | Save yourself!" | ||
| CF | | ||
| CF | The security guard wanders east towards the tents. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "e" | ||
| CF ] The Tent City of the Badari 8/706 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | The Tent City of the Badari | ||
| CF | The city comprises, in total, of four small tents and a large one | ||
| CF | arranged around a campfire. At least they're quite colorful. Some | ||
| CF | buildings rear out of the set to the west, to the northwest is the | ||
| CF | Sphinx and southwest of you, a ruin. | ||
| CF | | ||
| CF | A terrified Security Guard shines his torch around the set. | ||
| CF | | ||
| CF | You can also see a cage of scorpions here. | ||
| CF | | ||
| CF | The guard sees you immediately. | ||
| CF | | ||
| CF | "I can't get you out," yells the guard at you. "There's creatures, | ||
| CF | terrible creatures, loose in the studio! They're blocking the way out! | ||
| CF | Save yourself!" | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "z" | ||
| CF ] The Tent City of the Badari 8/707 | ||
| CF | > | ||
| CF | > Z | ||
| CF | | ||
| CF | Time passes. | ||
| CF | | ||
| CF | The security guard wanders west towards the buildings. | ||
| CF | | ||
| CF | > | Knight_Otu asks, "I guess we need to witness the guard fleeing?" | |
| Knight_Otu says (to ClubFloyd), "undo" | ||
| CF ] The Tent City of the Badari 8/706 | ||
| CF | | ||
| CF | > UNDO | ||
| CF | | ||
| CF | The Tent City of the Badari | ||
| CF | [Previous turn undone.] | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "undo" | ||
| CF ] Archaeological Dig Site 8/705 | ||
| CF | | ||
| CF | > UNDO | ||
| CF | | ||
| CF | Archaeological Dig Site | ||
| CF | [Previous turn undone.] | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "undo" | ||
| CF ] The Ruins of Men-nefer 8/704 | ||
| CF | | ||
| CF | > UNDO | ||
| CF | | ||
| CF | The Ruins of Men-nefer | ||
| CF | [Previous turn undone.] | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "undo" | ||
| CF ] The Ruins of Men-nefer 8/703 | ||
| CF | | ||
| CF | > UNDO | ||
| CF | | ||
| CF | The Ruins of Men-nefer | ||
| CF | [Previous turn undone.] | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "undo" | ||
| CF ] The Ruins of Men-nefer 8/702 | ||
| CF | | ||
| CF | > UNDO | ||
| CF | | ||
| CF | The Ruins of Men-nefer | ||
| CF | [Previous turn undone.] | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "undo" | ||
| CF ] The Ruins of Men-nefer 8/701 | ||
| CF | | ||
| CF | > UNDO | ||
| CF | | ||
| CF | The Ruins of Men-nefer | ||
| CF | [Previous turn undone.] | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "undo" | ||
| CF ] The Ruins of Men-nefer 8/700 | ||
| CF | | ||
| CF | > UNDO | ||
| CF | | ||
| CF | The Ruins of Men-nefer | ||
| CF | [Previous turn undone.] | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "undo" | ||
| CF ] The Tent City of the Badari 8/699 | ||
| CF | | ||
| CF | > UNDO | ||
| CF | | ||
| CF | The Tent City of the Badari | ||
| CF | [Previous turn undone.] | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "undo" | ||
| CF ] The Tent City of the Badari 8/698 | ||
| CF | | ||
| CF | > UNDO | ||
| CF | | ||
| CF | The Tent City of the Badari | ||
| CF | [Previous turn undone.] | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "undo" | ||
| CF ] Archaeological Dig Site 8/697 | ||
| CF | | ||
| CF | > UNDO | ||
| CF | | ||
| CF | Archaeological Dig Site | ||
| CF | [Previous turn undone.] | ||
| CF | | ||
| CF | > | DavidW asks, "I thought we were trying to herd the guard into the deadly passageway?" | |
| Knight_Otu says (to ClubFloyd), "l" | ||
| CF ] Archaeological Dig Site 8/698 | ||
| CF | > | ||
| CF | > L | ||
| CF | | ||
| CF | Archaeological Dig Site | ||
| CF | The dark entrance to the Mummy's tombs leads down a ladder through a | ||
| CF | hole in the ground in-between the exposed ancient buildings. But | ||
| CF | they're not actually buildings. They're just the front walls of | ||
| CF | buildings held up with wooden scaffolding at the back. | ||
| CF | | ||
| CF | Here, right in the middle of the Studio, you can see all across the | ||
| CF | huge set. To the north is the looming Sphinx, to the west, rolling | ||
| CF | sand dunes. On the east side of the building are the tops of some | ||
| CF | colorful tents and to the south of you, what seem like ruins. | ||
| CF | | ||
| CF | In the distance, a torch flickers near to the ruins. | ||
| CF | | ||
| CF | You can also see a cage of cockroaches here. | ||
| CF | | ||
| CF | > | Knight_Otu says, "We did, yeah." | |
| Knight_Otu says (to ClubFloyd), "e" | ||
| CF ] The Tent City of the Badari 8/699 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | The Tent City of the Badari | ||
| CF | The city comprises, in total, of four small tents and a large one | ||
| CF | arranged around a campfire. At least they're quite colorful. Some | ||
| CF | buildings rear out of the set to the west, to the northwest is the | ||
| CF | Sphinx and southwest of you, a ruin. | ||
| CF | | ||
| CF | In the distance, a torch flickers near to the ruins. | ||
| CF | | ||
| CF | You can also see a cage of scorpions here. | ||
| CF | | ||
| CF | The torchlight moves north to play around the buildings. | ||
| CF | | ||
| CF | Oh no! It looks like it's heading your way! You are in a perilous | ||
| CF | situation! | ||
| CF | | ||
| CF | > | DavidW says, "I rather lost track of what critters went where." | |
| Knight_Otu says (to ClubFloyd), "sw" | ||
| CF ] The Ruins of Men-nefer 8/700 | ||
| CF | > | ||
| CF | > SW | ||
| CF | | ||
| CF | | ||
| CF | The Ruins of Men-nefer | ||
| CF | This is quite a set! Against the southern studio wall of the studio | ||
| CF | are the fronts of a row of crumbling ruins. They are all covered in | ||
| CF | statues and carvings of monsters and ancient gods - really impressive | ||
| CF | work by the set designer. They loom over you, the faces of the | ||
| CF | statues, they seem to leer at you, giving a terrible air of horrifying | ||
| CF | menace to the whole set! | ||
| CF | | ||
| CF | Opposite the ruins, to the north, you can see some buildings. Dunes | ||
| CF | rise up from the ground to the northwest and northeast are some | ||
| CF | distant tents. | ||
| CF | | ||
| CF | Right in the centre of the row of ruins is an entranceway to a dark | ||
| CF | passage, leading south. You can see a little way in. There seem to be | ||
| CF | holes in the floor and narrow slots in the wall. Part way down, | ||
| CF | slumped against one wall, is an evilly grinning skeleton! Further | ||
| CF | along, and you can see a pile of bones near one of the wall slots. | ||
| CF | | ||
| CF | In the distance, a torch flickers near to the buildings. | ||
| CF | | ||
| CF | Wilma, the studio sheep is standing quietly here. A lead trails from a | ||
| CF | collar around her neck. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "drop cage" | ||
| CF ] The Ruins of Men-nefer 8/701 | ||
| CF | > | ||
| CF | > DROP CAGE | ||
| CF | | ||
| CF | Dropped. | ||
| CF | | ||
| CF | The torchlight moves east to flicker around the tents. | ||
| CF | | ||
| CF | Oh no! It looks like it's heading your way! You are in a perilous | ||
| CF | situation! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Archaeological Dig Site 8/702 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Archaeological Dig Site | ||
| CF | The dark entrance to the Mummy's tombs leads down a ladder through a | ||
| CF | hole in the ground in-between the exposed ancient buildings. But | ||
| CF | they're not actually buildings. They're just the front walls of | ||
| CF | buildings held up with wooden scaffolding at the back. | ||
| CF | | ||
| CF | Here, right in the middle of the Studio, you can see all across the | ||
| CF | huge set. To the north is the looming Sphinx, to the west, rolling | ||
| CF | sand dunes. On the east side of the building are the tops of some | ||
| CF | colorful tents and to the south of you, what seem like ruins. | ||
| CF | | ||
| CF | In the distance, a torch flickers near to the tents. | ||
| CF | | ||
| CF | You can also see a cage of cockroaches here. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "z" | ||
| CF ] Archaeological Dig Site 8/703 | ||
| CF | > | ||
| CF | > Z | ||
| CF | | ||
| CF | Time passes. | ||
| CF | | ||
| CF | The torchlight moves southwest to play around the ruins. | ||
| CF | | ||
| CF | Oh no! It looks like it's heading your way! You are in a perilous | ||
| CF | situation! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "hide" | ||
| CF ] Archaeological Dig Site 8/704 | ||
| CF | > | ||
| CF | > HIDE | ||
| CF | | ||
| CF | You back into the darker shadows of the set as the torchlight flickers | ||
| CF | ever closer. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "z" | ||
| CF ] Archaeological Dig Site 8/705 | ||
| CF | > | ||
| CF | > Z | ||
| CF | | ||
| CF | Time passes. | ||
| CF | | ||
| CF | A security guard wanders in from the south. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "open cage" | ||
| CF ] Archaeological Dig Site 8/706 | ||
| CF | > | ||
| CF | > OPEN CAGE | ||
| CF | | ||
| CF | | ||
| CF | The Guard sees the cockroaches you have loosed and gives a tremendous | ||
| CF | yell of terror. He runs east towards the tents. You come out of | ||
| CF | hiding. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "z" | ||
| CF ] Archaeological Dig Site 8/707 | ||
| CF | > | ||
| CF | > Z | ||
| CF | | ||
| CF | Time passes. | ||
| CF | | ||
| CF | The torchlight moves southwest to glimmer around the ruins. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "e" | ||
| CF ] The Tent City of the Badari 8/708 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | The Tent City of the Badari | ||
| CF | The city comprises, in total, of four small tents and a large one | ||
| CF | arranged around a campfire. At least they're quite colorful. Some | ||
| CF | buildings rear out of the set to the west, to the northwest is the | ||
| CF | Sphinx and southwest of you, a ruin. | ||
| CF | | ||
| CF | In the distance, a torch flickers near to the ruins. | ||
| CF | | ||
| CF | You can also see a cage of scorpions here. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "z" | ||
| CF ] The Tent City of the Badari 8/709 | ||
| CF | > | ||
| CF | > Z | ||
| CF | | ||
| CF | Time passes. | ||
| CF | | ||
| CF | A security guard wanders in from the southwest. | ||
| CF | | ||
| CF | "I can't get you out," yells the guard at you. "There's creatures, | ||
| CF | terrible creatures, loose in the studio! They're blocking the way out! | ||
| CF | Save yourself!" | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "opencage" | ||
| CF ] The Tent City of the Badari 8/709 | ||
| CF | > | ||
| CF | > OPENCAGE | ||
| CF | | ||
| CF | That's not a verb I recognise. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "open cage" | ||
| CF ] The Tent City of the Badari 8/710 | ||
| CF | > | ||
| CF | > OPEN CAGE | ||
| CF | | ||
| CF | | ||
| CF | The Guard sees the scorpions you have loosed and gives a tremendous | ||
| CF | yell of terror. He runs southwest towards the ruins. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "sw" | ||
| CF ] The Ruins of Men-nefer 8/711 | ||
| CF | > | ||
| CF | > SW | ||
| CF | | ||
| CF | The Ruins of Men-nefer | ||
| CF | This is quite a set! Against the southern studio wall of the studio | ||
| CF | are the fronts of a row of crumbling ruins. They are all covered in | ||
| CF | statues and carvings of monsters and ancient gods - really impressive | ||
| CF | work by the set designer. They loom over you, the faces of the | ||
| CF | statues, they seem to leer at you, giving a terrible air of horrifying | ||
| CF | menace to the whole set! | ||
| CF | | ||
| CF | Opposite the ruins, to the north, you can see some buildings. Dunes | ||
| CF | rise up from the ground to the northwest and northeast are some | ||
| CF | distant tents. | ||
| CF | | ||
| CF | Right in the centre of the row of ruins is an entranceway to a dark | ||
| CF | passage, leading south. You can see a little way in. There seem to be | ||
| CF | holes in the floor and narrow slots in the wall. Part way down, | ||
| CF | slumped against one wall, is an evilly grinning skeleton! Further | ||
| CF | along, and you can see a pile of bones near one of the wall slots. | ||
| CF | | ||
| CF | A terrified Security Guard shines his torch around the set. | ||
| CF | | ||
| CF | Wilma, the studio sheep is standing quietly here. A lead trails from a | ||
| CF | collar around her neck. | ||
| CF | | ||
| CF | You can also see a cage of spiders here. | ||
| CF | | ||
| CF | The guard sees you immediately. | ||
| CF | | ||
| CF | "We're trapped, trapped!" yells the Guard. "There's no way out. You | ||
| CF | need to save yourself!" | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "open cage" | ||
| CF ] The Ruins of Men-nefer 9/712 | ||
| CF | > | ||
| CF | > OPEN CAGE | ||
| CF | | ||
| CF | Surely not! But, yes - you gingerly open the cage of spiders. They | ||
| CF | immediately boil out into the set and move towards the unfortunate | ||
| CF | Guard with dreadful intent! He backs away in horror and stares wildly | ||
| CF | around at the other areas of the studio. "Nooo," he yells and takes | ||
| CF | the only option open to him. He runs into the passageway to the south! | ||
| CF | | ||
| CF | As soon as his foot hits the floor of the passage, a small forest of | ||
| CF | spikes emerge from the small holes, piercing him all over his body! | ||
| CF | You turn away, unable to watch as the guard slumps to the floor. | ||
| CF | | ||
| CF | The force of the spike knocks the guard's bronze bracelet loose and it | ||
| CF | rolls out of the passage and into the lot. | ||
| CF | | ||
| CF | You survived a perilous situation! | ||
| CF | | ||
| CF | > | Knight_Otu says, "Sorry about that, sir." | |
| Krumar says, "At least the sheep is ok." | ||
| Knight_Otu says (to ClubFloyd), "get bracelet" | ||
| CF ] The Ruins of Men-nefer 9/713 | ||
| CF | > | ||
| CF | > GET BRACELET | ||
| CF | | ||
| CF | Taken. | ||
| CF | | ||
| CF | > | Jacqueline says, "ha" | |
| Knight_Otu says (to ClubFloyd), "x it" | ||
| CF ] The Ruins of Men-nefer 9/714 | ||
| CF | > | ||
| CF | > X IT | ||
| CF | | ||
| CF | The round bronze bracelet is adorned with strange patterns and symbols | ||
| CF | around its edge. It's slightly smaller than your hand, but it looks | ||
| CF | like you can squeeze it on. | ||
| CF | | ||
| CF | > | MoyTravis says, "RIP that guy." | |
| DavidW says, "Yes, Wilma is safe. (For now..)" | ||
| Jacqueline says, "Yes, at least Wilma is fine." | ||
| Jacqueline says, "I like how we 'had to turn away' when in fact we knew what we were doing the whole time." | ||
| Knight_Otu says (to ClubFloyd), "wear it" | ||
| CF ] The Ruins of Men-nefer 9/715 | ||
| CF | > | ||
| CF | > WEAR IT | ||
| CF | | ||
| CF | You put on the Bracelet of Nefer-Kare. | ||
| CF | | ||
| CF | > | Krumar says, "May be we could feed her tothe crocodile though, just to leave no witnesses." | |
| MoyTravis says, "It's always funny that murder is fine, and funny, actually, but murdering of an animal is horrifying and never to be done except with the greatest gravity." | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Archaeological Dig Site 9/716 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Archaeological Dig Site | ||
| CF | The dark entrance to the Mummy's tombs leads down a ladder through a | ||
| CF | hole in the ground in-between the exposed ancient buildings. But | ||
| CF | they're not actually buildings. They're just the front walls of | ||
| CF | buildings held up with wooden scaffolding at the back. | ||
| CF | | ||
| CF | Here, right in the middle of the Studio, you can see all across the | ||
| CF | huge set. To the north is the looming Sphinx, to the west, rolling | ||
| CF | sand dunes. On the east side of the building are the tops of some | ||
| CF | colorful tents and to the south of you, what seem like ruins. | ||
| CF | | ||
| CF | An empty cage lies open on the floor. | ||
| CF | | ||
| CF | A mob of horrific cockroaches scutter in and out of the scenery. | ||
| CF | | ||
| CF | > | Knight_Otu says, "Honestly, no, I didn't think this murder was fine." | |
| Knight_Otu says (to ClubFloyd), "d" | ||
| CF ] The Tomb of Nefer-Kare 9/717 | ||
| CF | > | ||
| CF | > D | ||
| CF | | ||
| CF | | ||
| CF | The Tomb of Nefer-Kare | ||
| CF | Above you, the square hole in the ceiling lets in just enough light to | ||
| CF | see the whole of this small, stone lined room. The air is oppressive, | ||
| CF | and dust, in a thick layer, covers the floor, stirring up with each of | ||
| CF | your footsteps. A wooden ladder stretches up into the studio. | ||
| CF | | ||
| CF | Against the walls of three sides of the tomb are ranks of closed | ||
| CF | ornate sarcophagi! | ||
| CF | | ||
| CF | On the north wall, all by itself, rests one huge closed golden | ||
| CF | sarcophagus. | ||
| CF | | ||
| CF | In the centre of the room, eerily lit by the light from the studio | ||
| CF | above, is a single stone pedestal. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x pedestal" | ||
| CF ] The Tomb of Nefer-Kare 9/718 | ||
| CF | > | ||
| CF | > X PEDESTAL | ||
| CF | | ||
| CF | It's a single unadorned stone emerging from the floor of the tomb to | ||
| CF | about waist height. The top is flat, with a slight circular depression | ||
| CF | in the centre. | ||
| CF | | ||
| CF | > | MoyTravis says, "Well sure. This game has a weird relationship with tone." | |
| Krumar says, "This murder did feel malicous." | ||
| MoyTravis says, "But it's also generally true of games." | ||
| Knight_Otu says (to ClubFloyd), "x depression" | ||
| CF ] The Tomb of Nefer-Kare 9/719 | ||
| CF | > | ||
| CF | > X DEPRESSION | ||
| CF | | ||
| CF | The little circular depression is about a quarter of an inch deep and | ||
| CF | a little bit smaller than your hand. | ||
| CF | | ||
| CF | > | MoyTravis says, "And other American media." | |
| DavidW asks, "hold on, did we check out the pile of bones in the passage ?" | ||
| Knight_Otu says (to ClubFloyd), "touch depression" | ||
| CF ] The Tomb of Nefer-Kare 9/720 | ||
| CF | > | ||
| CF | > TOUCH DEPRESSION | ||
| CF | | ||
| CF | It's just a hollowed out circle in the stone. | ||
| CF | | ||
| CF | > | Jacqueline asks, "I don't think this is American media, is it?" | |
| Knight_Otu says (to ClubFloyd), "u" | ||
| CF ] Archaeological Dig Site 9/721 | ||
| CF | > | ||
| CF | > U | ||
| CF | | ||
| CF | | ||
| CF | Archaeological Dig Site | ||
| CF | The dark entrance to the Mummy's tombs leads down a ladder through a | ||
| CF | hole in the ground in-between the exposed ancient buildings. But | ||
| CF | they're not actually buildings. They're just the front walls of | ||
| CF | buildings held up with wooden scaffolding at the back. | ||
| CF | | ||
| CF | Here, right in the middle of the Studio, you can see all across the | ||
| CF | huge set. To the north is the looming Sphinx, to the west, rolling | ||
| CF | sand dunes. On the east side of the building are the tops of some | ||
| CF | colorful tents and to the south of you, what seem like ruins. | ||
| CF | | ||
| CF | An empty cage lies open on the floor. | ||
| CF | | ||
| CF | A mob of horrific cockroaches scutter in and out of the scenery. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] The Ruins of Men-nefer 9/722 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | The Ruins of Men-nefer | ||
| CF | This is quite a set! Against the southern studio wall of the studio | ||
| CF | are the fronts of a row of crumbling ruins. They are all covered in | ||
| CF | statues and carvings of monsters and ancient gods - really impressive | ||
| CF | work by the set designer. They loom over you, the faces of the | ||
| CF | statues, they seem to leer at you, giving a terrible air of horrifying | ||
| CF | menace to the whole set! | ||
| CF | | ||
| CF | Opposite the ruins, to the north, you can see some buildings. Dunes | ||
| CF | rise up from the ground to the northwest and northeast are some | ||
| CF | distant tents. | ||
| CF | | ||
| CF | Right in the centre of the row of ruins is an entranceway to a dark | ||
| CF | passage, leading south. You can see a little way in. There seem to be | ||
| CF | holes in the floor and narrow slots in the wall. Part way down, | ||
| CF | slumped against one wall, is an evilly grinning skeleton! Further | ||
| CF | along, and you can see a pile of bones near one of the wall slots. | ||
| CF | | ||
| CF | The slumped body of the poor security guard lies a little way down the | ||
| CF | passage. | ||
| CF | | ||
| CF | An empty cage lies open on the floor. | ||
| CF | | ||
| CF | A creeping mass of spiders crawl all over the set. | ||
| CF | | ||
| CF | Wilma, the studio sheep is standing quietly here. A lead trails from a | ||
| CF | collar around her neck. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "SAVE" | ||
| Knight_Otu says (to ClubFloyd), "cf11" | ||
| CF | > | ||
| CF | > SAVE | ||
| CF | %% Enter a save filename to write: | ||
| CF ] The Ruins of Men-nefer 9/722 | ||
| CF | > SAVEOk. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] The Ruins of Men-nefer 9/722 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | You bravely step into the gloom. Oh no! As soon as your foot hits the | ||
| CF | floor of the passage you realise your terrible mistake! Suddenly, an | ||
| CF | incredibly sharp circular disk emerges from one of the slots on the | ||
| CF | wall, shoots across the passage, slices you into two pieces, and | ||
| CF | disappears through the opposite slot! Your separated halves fall on | ||
| CF | top of the pile of bones and your vision darkens until everything is | ||
| CF | black. | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | ***Roll Credits. The End*** | ||
| CF | | ||
| CF | | ||
| CF | You built an undead army! It consisted of, a horde of shambling | ||
| CF | zombies led by an understandably annoyed Security Guard, the Count, | ||
| CF | the Countess and their bloodthirsty vampire thralls. | ||
| CF | | ||
| CF | You managed to survive nine perilous situations! | ||
| CF | | ||
| CF | - You avoided the murderous attentions of the Cult of Astaroth! | ||
| CF | - You managed to escape from the Cult's Lair! | ||
| CF | - You killed a crazed Cultist with a wooden stake! | ||
| CF | - You chopped a relatively blameless security guard into little | ||
| CF | pieces with a huge axe! | ||
| CF | - You protected yourself from vampires with a simple golden | ||
| CF | crucifix! | ||
| CF | - You managed to sort out a bunch of squabbling ghosts! | ||
| CF | - A horde of shambling zombies stopped attacking you because you | ||
| CF | were holding a voodoo doll of power! | ||
| CF | - You inadvertently led a horde of zombies to a poor Security | ||
| CF | Guard and they bit and infected her! | ||
| CF | - You terrified a nice security guard so much with horrible | ||
| CF | creatures that he ran into a trapped passageway and got speared to | ||
| CF | death! | ||
| CF | | ||
| CF | | ||
| CF | Would you like to RESTART, RESTORE a saved game, QUIT or UNDO the last | ||
| CF | command? | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "undo" | ||
| CF ] The Ruins of Men-nefer 9/722 | ||
| CF | | ||
| CF | > UNDO | ||
| CF | | ||
| CF | The Ruins of Men-nefer | ||
| CF | [Previous turn undone.] | ||
| CF | | ||
| CF | > | Knight_Otu says, "I don't think we can get there." | |
| MoyTravis says, "Another doomed timeline." | ||
| DavidW says, "We need to get Wilma down there now." | ||
| DavidW says, "2nd trap needs 2nd victim." | ||
| Krumar says, "It's ashame we can't use our undead to go in there." | ||
| DavidW says (to Krumar), "heh. Yes, that would be simpler." | ||
| Knight_Otu says (to ClubFloyd), "get lead" | ||
| CF ] The Ruins of Men-nefer 9/723 | ||
| CF | > | ||
| CF | > GET LEAD | ||
| CF | | ||
| CF | You grab Wilma's lead. The sheep looks at you resignedly. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Archaeological Dig Site 9/724 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Archaeological Dig Site | ||
| CF | The dark entrance to the Mummy's tombs leads down a ladder through a | ||
| CF | hole in the ground in-between the exposed ancient buildings. But | ||
| CF | they're not actually buildings. They're just the front walls of | ||
| CF | buildings held up with wooden scaffolding at the back. | ||
| CF | | ||
| CF | Here, right in the middle of the Studio, you can see all across the | ||
| CF | huge set. To the north is the looming Sphinx, to the west, rolling | ||
| CF | sand dunes. On the east side of the building are the tops of some | ||
| CF | colorful tents and to the south of you, what seem like ruins. | ||
| CF | | ||
| CF | Wilma stands near your legs, looking bored. | ||
| CF | | ||
| CF | An empty cage lies open on the floor. | ||
| CF | | ||
| CF | A mob of horrific cockroaches scutter in and out of the scenery. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] The Shrine of the Sphinx 9/725 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | The Shrine of the Sphinx | ||
| CF | They've only bothered to actually build the front legs of the Sphinx. | ||
| CF | For longer shots, you assume they use the matte backdrop of the whole | ||
| CF | thing painted onto the Studio wall to the set's left. The Sphinx's | ||
| CF | legs extend out from the Studio walls and between them is the Mummy's | ||
| CF | shrine, carved from greyish sandy painted construction foam. | ||
| CF | | ||
| CF | To the west, there is an opening in the Studio wall. Southwest, | ||
| CF | towards the other side of the Studio, you can see distant sand dunes. | ||
| CF | The set opens out to the south to reveal some sort of building and | ||
| CF | beyond it, a group of ruins. To the southeast, you can see the tops of | ||
| CF | a group of tents. | ||
| CF | | ||
| CF | Wilma snuffles around just nearby. | ||
| CF | | ||
| CF | An empty cage lies open on the floor. | ||
| CF | | ||
| CF | A writhing mass of snakes slither all over the set. | ||
| CF | | ||
| CF | You can also see a jaunty hat here. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "w" | ||
| CF ] Studio Menagerie 9/726 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Studio Menagerie | ||
| CF | This small dingy room is filled with mostly empty cages for the | ||
| CF | animals the Studio uses in its movies. It smells quite bad, to be | ||
| CF | honest. A door lies open to the west and, opposite it, a relatively | ||
| CF | brightly lit space in the wall opens up to the east. | ||
| CF | | ||
| CF | Wilma stands near your legs, looking bored. | ||
| CF | | ||
| CF | On one side of the room, a large cage contains a huge crocodile. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "open cage" | ||
| CF ] Studio Menagerie 9/727 | ||
| CF | > | ||
| CF | > OPEN CAGE | ||
| CF | | ||
| CF | (the crocodile cage) | ||
| CF | You see the crocodile's huge stained teeth and think better of it! | ||
| CF | You'd definitely want someone between you and that thing before you | ||
| CF | opened the cage up! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "stand on cage" | ||
| CF ] Studio Menagerie 9/728 | ||
| CF | > | ||
| CF | > STAND ON CAGE | ||
| CF | | ||
| CF | (the crocodile cage) | ||
| CF | The huge crocodile stares at you with its dead eyes and you think | ||
| CF | better of it. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "hide behind wilma" | ||
| CF ] Studio Menagerie 9/728 | ||
| CF | > | ||
| CF | > HIDE BEHIND WILMA | ||
| CF | | ||
| CF | I only understood you as far as wanting to hide. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x cage" | ||
| CF ] Studio Menagerie 9/729 | ||
| CF | > | ||
| CF | > X CAGE | ||
| CF | | ||
| CF | (the crocodile cage) | ||
| CF | The huge crocodile just stares back at you with heavy lidded eyes. | ||
| CF | | ||
| CF | > | Jacqueline snorts at 'hide behind Wilma' | |
| Knight_Otu says, "It seemed like the game suggested it." | ||
| Krumar asks, "Can you move the cage?" | ||
| Knight_Otu says (to ClubFloyd), "push cage e" | ||
| CF ] Studio Menagerie 9/730 | ||
| CF | > | ||
| CF | > PUSH CAGE E | ||
| CF | | ||
| CF | (the crocodile cage east) | ||
| CF | The huge crocodile stares at you with its dead eyes and you think | ||
| CF | better of it. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "get cage" | ||
| CF ] Studio Menagerie 9/731 | ||
| CF | > | ||
| CF | > GET CAGE | ||
| CF | | ||
| CF | (the crocodile cage) | ||
| CF | The huge crocodile stares at you with its dead eyes and you think | ||
| CF | better of it. | ||
| CF | | ||
| CF | > | Krumar asks, "Tie the lead to it?" | |
| DavidW says, "To Captain Hook's cabin, maybe." | ||
| Knight_Otu says (to ClubFloyd), "tie lead to cage" | ||
| CF ] Studio Menagerie 9/732 | ||
| CF | > | ||
| CF | > TIE LEAD TO CAGE | ||
| CF | | ||
| CF | (the crocodile cage) | ||
| CF | Wilma swiftly turns her head and snaps at your fingers with yellowing | ||
| CF | teeth. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "e" | ||
| CF ] The Shrine of the Sphinx 9/733 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | The Shrine of the Sphinx | ||
| CF | They've only bothered to actually build the front legs of the Sphinx. | ||
| CF | For longer shots, you assume they use the matte backdrop of the whole | ||
| CF | thing painted onto the Studio wall to the set's left. The Sphinx's | ||
| CF | legs extend out from the Studio walls and between them is the Mummy's | ||
| CF | shrine, carved from greyish sandy painted construction foam. | ||
| CF | | ||
| CF | To the west, there is an opening in the Studio wall. Southwest, | ||
| CF | towards the other side of the Studio, you can see distant sand dunes. | ||
| CF | The set opens out to the south to reveal some sort of building and | ||
| CF | beyond it, a group of ruins. To the southeast, you can see the tops of | ||
| CF | a group of tents. | ||
| CF | | ||
| CF | Wilma stands contentedly near your legs. | ||
| CF | | ||
| CF | An empty cage lies open on the floor. | ||
| CF | | ||
| CF | A writhing mass of snakes slither all over the set. | ||
| CF | | ||
| CF | You can also see a jaunty hat here. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "get cage" | ||
| CF ] The Shrine of the Sphinx 9/734 | ||
| CF | > | ||
| CF | > GET CAGE | ||
| CF | | ||
| CF | You reach for the cage, but the snakes rear up and flick their tongues | ||
| CF | at you. You draw your hand hurriedly away. | ||
| CF | | ||
| CF | > | Krumar asks, "Have we used the whip yet?" | |
| DavidW says, "I don't think so." | ||
| Knight_Otu says, "Not effectively, no." | ||
| DavidW asks, "Maybe the whip puts critters back into cages?" | ||
| Knight_Otu says (to ClubFloyd), "crack whip" | ||
| CF ] The Shrine of the Sphinx 9/735 | ||
| CF | > | ||
| CF | > CRACK WHIP | ||
| CF | | ||
| CF | You crack the whip. The snakes, as they've obviously been trained to | ||
| CF | do, immediately slither back into their cage. You hurriedly shut the | ||
| CF | cage door. | ||
| CF | | ||
| CF | > | Knight_Otu says, "Nice." | |
| MoyTravis says, "How...huh." | ||
| MoyTravis says, "Good guess." | ||
| DavidW says, "Trained snakes." | ||
| Jacqueline says, "Nice" | ||
| Knight_Otu says (to ClubFloyd), "get cage" | ||
| CF ] The Shrine of the Sphinx 9/736 | ||
| CF | > | ||
| CF | > GET CAGE | ||
| CF | | ||
| CF | You gingerly pick up the cage. The snakes try and bite you with their | ||
| CF | poisonous fangs, but they can't reach you through the narrow bars. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "w" | ||
| CF ] Studio Menagerie 9/737 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Studio Menagerie | ||
| CF | This small dingy room is filled with mostly empty cages for the | ||
| CF | animals the Studio uses in its movies. It smells quite bad, to be | ||
| CF | honest. A door lies open to the west and, opposite it, a relatively | ||
| CF | brightly lit space in the wall opens up to the east. | ||
| CF | | ||
| CF | Wilma snuffles around just nearby. | ||
| CF | | ||
| CF | On one side of the room, a large cage contains a huge crocodile. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "drop cage" | ||
| CF ] Studio Menagerie 9/738 | ||
| CF | > | ||
| CF | > DROP CAGE | ||
| CF | | ||
| CF | (the cage of snakes) | ||
| CF | Dropped. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "push snake cage" | ||
| CF ] Studio Menagerie 9/739 | ||
| CF | > | ||
| CF | > PUSH SNAKE CAGE | ||
| CF | | ||
| CF | Nothing obvious happens. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "open crocodile cage" | ||
| CF ] Studio Menagerie 9/740 | ||
| CF | > | ||
| CF | > OPEN CROCODILE CAGE | ||
| CF | | ||
| CF | You see the crocodile's huge stained teeth and think better of it! | ||
| CF | You'd definitely want someone between you and that thing before you | ||
| CF | opened the cage up! | ||
| CF | | ||
| CF | > | DavidW says, "hm. Maybe feed all the critters to the crocodile so the mummies can get past them." | |
| Krumar asks, "can you take the guard's body?" | ||
| DavidW says, "no wait, the cages can do that." | ||
| Knight_Otu says (to ClubFloyd), "e" | ||
| CF ] The Shrine of the Sphinx 9/741 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | The Shrine of the Sphinx | ||
| CF | They've only bothered to actually build the front legs of the Sphinx. | ||
| CF | For longer shots, you assume they use the matte backdrop of the whole | ||
| CF | thing painted onto the Studio wall to the set's left. The Sphinx's | ||
| CF | legs extend out from the Studio walls and between them is the Mummy's | ||
| CF | shrine, carved from greyish sandy painted construction foam. | ||
| CF | | ||
| CF | To the west, there is an opening in the Studio wall. Southwest, | ||
| CF | towards the other side of the Studio, you can see distant sand dunes. | ||
| CF | The set opens out to the south to reveal some sort of building and | ||
| CF | beyond it, a group of ruins. To the southeast, you can see the tops of | ||
| CF | a group of tents. | ||
| CF | | ||
| CF | Wilma stands contentedly near your legs. | ||
| CF | | ||
| CF | You can also see a jaunty hat here. | ||
| CF | | ||
| CF | > | DavidW asks (of Krumar), "Maybe?" | |
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] Archaeological Dig Site 9/742 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | Archaeological Dig Site | ||
| CF | The dark entrance to the Mummy's tombs leads down a ladder through a | ||
| CF | hole in the ground in-between the exposed ancient buildings. But | ||
| CF | they're not actually buildings. They're just the front walls of | ||
| CF | buildings held up with wooden scaffolding at the back. | ||
| CF | | ||
| CF | Here, right in the middle of the Studio, you can see all across the | ||
| CF | huge set. To the north is the looming Sphinx, to the west, rolling | ||
| CF | sand dunes. On the east side of the building are the tops of some | ||
| CF | colorful tents and to the south of you, what seem like ruins. | ||
| CF | | ||
| CF | Wilma stands near your legs, looking bored. | ||
| CF | | ||
| CF | An empty cage lies open on the floor. | ||
| CF | | ||
| CF | A mob of horrific cockroaches scutter in and out of the scenery. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] The Ruins of Men-nefer 9/743 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | The Ruins of Men-nefer | ||
| CF | This is quite a set! Against the southern studio wall of the studio | ||
| CF | are the fronts of a row of crumbling ruins. They are all covered in | ||
| CF | statues and carvings of monsters and ancient gods - really impressive | ||
| CF | work by the set designer. They loom over you, the faces of the | ||
| CF | statues, they seem to leer at you, giving a terrible air of horrifying | ||
| CF | menace to the whole set! | ||
| CF | | ||
| CF | Opposite the ruins, to the north, you can see some buildings. Dunes | ||
| CF | rise up from the ground to the northwest and northeast are some | ||
| CF | distant tents. | ||
| CF | | ||
| CF | Right in the centre of the row of ruins is an entranceway to a dark | ||
| CF | passage, leading south. You can see a little way in. There seem to be | ||
| CF | holes in the floor and narrow slots in the wall. Part way down, | ||
| CF | slumped against one wall, is an evilly grinning skeleton! Further | ||
| CF | along, and you can see a pile of bones near one of the wall slots. | ||
| CF | | ||
| CF | Wilma snuffles around just nearby. | ||
| CF | | ||
| CF | The slumped body of the poor security guard lies a little way down the | ||
| CF | passage. | ||
| CF | | ||
| CF | An empty cage lies open on the floor. | ||
| CF | | ||
| CF | A creeping mass of spiders crawl all over the set. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x guard" | ||
| CF ] The Ruins of Men-nefer 9/744 | ||
| CF | > | ||
| CF | > X GUARD | ||
| CF | | ||
| CF | You don't even want to look. At least the red uniform is hiding most | ||
| CF | of the blood! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "get guard" | ||
| CF ] The Ruins of Men-nefer 9/745 | ||
| CF | > | ||
| CF | > GET GUARD | ||
| CF | | ||
| CF | The guard's body is too far down the passageway | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "crack whip" | ||
| CF ] The Ruins of Men-nefer 9/746 | ||
| CF | > | ||
| CF | > CRACK WHIP | ||
| CF | | ||
| CF | You crack the whip. The spiders, as they've obviously been trained to | ||
| CF | do, immediately creep back into their cage. You hurriedly shut the | ||
| CF | cage door. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "wilma, s" | ||
| CF ] The Ruins of Men-nefer 9/747 | ||
| CF | > | ||
| CF | > WILMA, S | ||
| CF | | ||
| CF | Wilma looks at you as if she doesn't understand. | ||
| CF | | ||
| CF | > | Jacqueline says, "Because she is a sheep and is not as well trained as a snake." | |
| Knight_Otu says (to ClubFloyd), "cast raise dead" | ||
| CF ] The Ruins of Men-nefer 9/748 | ||
| CF | > | ||
| CF | > CAST RAISE DEAD | ||
| CF | | ||
| CF | You go through the incantation, but the raise dead spell does nothing. | ||
| CF | There is nothing that is dead and buried under earth here to raise. | ||
| CF | | ||
| CF | > | Knight_Otu says, "Fair enough." | |
| DavidW says, "That spell also needs blood on the earth." | ||
| Knight_Otu says, "Surely the guard left a bit of that." | ||
| Krumar asks, "So far we haven't used Wilma, the crocodile, anything else?" | ||
| DavidW says, "Hard to tell with the uniform." | ||
| DavidW says, "The pedestal" | ||
| DavidW says, "And whatever is down the deadly passageway." | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] The Ruins of Men-nefer 9/748 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | You bravely step into the gloom. Oh no! As soon as your foot hits the | ||
| CF | floor of the passage you realise your terrible mistake! Suddenly, an | ||
| CF | incredibly sharp circular disk emerges from one of the slots on the | ||
| CF | wall, shoots across the passage, slices you into two pieces, and | ||
| CF | disappears through the opposite slot! Your separated halves fall on | ||
| CF | top of the pile of bones and your vision darkens until everything is | ||
| CF | black. | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | ***Roll Credits. The End*** | ||
| CF | | ||
| CF | | ||
| CF | You built an undead army! It consisted of, a horde of shambling | ||
| CF | zombies led by an understandably annoyed Security Guard, the Count, | ||
| CF | the Countess and their bloodthirsty vampire thralls. | ||
| CF | | ||
| CF | You managed to survive nine perilous situations! | ||
| CF | | ||
| CF | - You avoided the murderous attentions of the Cult of Astaroth! | ||
| CF | - You managed to escape from the Cult's Lair! | ||
| CF | - You killed a crazed Cultist with a wooden stake! | ||
| CF | - You chopped a relatively blameless security guard into little | ||
| CF | pieces with a huge axe! | ||
| CF | - You protected yourself from vampires with a simple golden | ||
| CF | crucifix! | ||
| CF | - You managed to sort out a bunch of squabbling ghosts! | ||
| CF | - A horde of shambling zombies stopped attacking you because you | ||
| CF | were holding a voodoo doll of power! | ||
| CF | - You inadvertently led a horde of zombies to a poor Security | ||
| CF | Guard and they bit and infected her! | ||
| CF | - You terrified a nice security guard so much with horrible | ||
| CF | creatures that he ran into a trapped passageway and got speared to | ||
| CF | death! | ||
| CF | | ||
| CF | | ||
| CF | Would you like to RESTART, RESTORE a saved game, QUIT or UNDO the last | ||
| CF | command? | ||
| CF | > | DavidW says, "I think we need something from the passageway to put into the pedestal's depression." | |
| Knight_Otu says (to ClubFloyd), "undo" | ||
| CF ] The Ruins of Men-nefer 9/748 | ||
| CF | | ||
| CF | > UNDO | ||
| CF | | ||
| CF | The Ruins of Men-nefer | ||
| CF | [Previous turn undone.] | ||
| CF | | ||
| CF | > | Krumar says, "The sheep has a colar and a lead but I guess it would be to much to ask to make a laso to pull the body back." | |
| Knight_Otu says, "(Thought maybe we were supposed to lead Wilma into the corridor of death.)" | ||
| Knight_Otu says, "Also, we are nearing the three-hour mark." | ||
| DavidW says, "I think Wilma does need to go there, but she's not scared of the critters." | ||
| Jacqueline says, "For a second I got excited about how we have a lasso, but then remembered that was Mockingbird." | ||
| Jacqueline says, "And yes, we've been going a while." | ||
| Knight_Otu says (to ClubFloyd), "tie whip into lasso" | ||
| CF ] The Ruins of Men-nefer 9/748 | ||
| CF | > | ||
| CF | > TIE WHIP INTO LASSO | ||
| CF | | ||
| CF | I didn't understand that sentence. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "lasso guard" | ||
| CF ] The Ruins of Men-nefer 9/748 | ||
| CF | > | ||
| CF | > LASSO GUARD | ||
| CF | | ||
| CF | That's not a verb I recognise. | ||
| CF | | ||
| CF | > | Jacqueline says, "This room is unfortunately not as engaging as the zombie ghost stories room was." | |
| Krumar asks, "can you tie the lead into a lasso?" | ||
| Krumar says, "running low on ideas." | ||
| DavidW says, "yeah, I was hoping for another story." | ||
| Knight_Otu says, "It is pretty empty, and no atmospheric messages." | ||
| DavidW says, "The lasso idea isn't working." | ||
| Jacqueline says, "But I feel like that ghost stories room was probably the best section of the game and will be tough to beat for Ade." | ||
| DavidW says (to ClubFloyd), "whip wilma" | ||
| CF ] The Ruins of Men-nefer 9/748 | ||
| CF | > | ||
| CF | > WHIP WILMA | ||
| CF | | ||
| CF | That's not a verb I recognise. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "get collar" | ||
| CF ] The Ruins of Men-nefer 9/749 | ||
| CF | > | ||
| CF | > GET COLLAR | ||
| CF | | ||
| CF | Wilma swiftly turns her head and snaps at your fingers with yellowing | ||
| CF | teeth. | ||
| CF | | ||
| CF | > | Jacqueline says, "Too bad we don't have a subplot here like in the Mummy movies." | |
| DavidW says (to ClubFloyd), "poke wilma with needle" | ||
| CF ] The Ruins of Men-nefer 9/750 | ||
| CF | > | ||
| CF | > POKE WILMA WITH NEEDLE | ||
| CF | | ||
| CF | Wilma swiftly turns her head and snaps at your fingers with yellowing | ||
| CF | teeth. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "push wilma south" | ||
| CF ] The Ruins of Men-nefer 9/751 | ||
| CF | > | ||
| CF | > PUSH WILMA SOUTH | ||
| CF | | ||
| CF | Wilma swiftly turns her head and snaps at your fingers with yellowing | ||
| CF | teeth. | ||
| CF | | ||
| CF | > | Knight_Otu exclaims, "WILLMAAA!" | |
| MoyTravis says, "I am unsure if yelling at the sheep will prove productive." | ||
| DavidW says, "oh, if only the critters had comments like in Flintstones." | ||
| Krumar says, "It seems like the crocodile would scare wilma if we could get it here." | ||
| MoyTravis asks, "Will it let you talk to Wilma?" | ||
| Jacqueline says, "I think that was maybe a Flintstones reference, yelling Wilmaaaa" | ||
| DavidW says, "That was us, not the game." | ||
| MoyTravis asks, "...Flinstones?" | ||
| Knight_Otu says, "Yeah, Flintstones." | ||
| Jacqueline says (to DW), "Right" | ||
| DavidW says (to ClubFloyd), "ask Wilma about Fred" | ||
| CF ] The Ruins of Men-nefer 9/752 | ||
| CF | > | ||
| CF | > ASK WILMA ABOUT FRED | ||
| CF | | ||
| CF | To talk to a person, in Dr Horror's House of Terror, just TALK TO | ||
| CF | them! | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "talk to wilma" | ||
| CF ] The Ruins of Men-nefer 9/753 | ||
| CF | > | ||
| CF | > TALK TO WILMA | ||
| CF | | ||
| CF | The sheep just looks at you, curiously. | ||
| CF | | ||
| CF | > | MoyTravis asks, "Uh, was Wilma the wife?" | |
| DavidW says, "Yes." | ||
| Knight_Otu says, "Yeah." | ||
| DavidW says, "The redhead." | ||
| MoyTravis says, "Right. Cool. Fair 'nuff." | ||
| MoyTravis says, "I, uh. I have never seen an episode of The Flinstones." | ||
| Jacqueline says, "Okay. I'm going to head out. Save our game with a unique name, please." | ||
| MoyTravis says, "'fore my time." | ||
| Knight_Otu says (to ClubFloyd), "save" | ||
| CF | > | ||
| CF | > SAVE | ||
| CF | %% Enter a save filename to write: | MoyTravis asks, "A'ight, we callin' it?" | |
| Knight_Otu says (to ClubFloyd), "cfhorrorwilma" | ||
| CF ] The Ruins of Men-nefer 9/753 | ||
| CF | > SAVEOk. | ||
| CF | | ||
| CF | > | DavidW says, "yeah, let's stop here." | |
| Knight_Otu says, "I'm thinking that's unique enough." | ||
| MoyTravis says, "Cool, thanks, was fun. This one's a long'n though." | ||
| MoyTravis says, "I seriously doubt how many people beat it in 2 hours." | ||
| MoyTravis says, "Unless they walkthrough'd it." | ||
| Knight_Otu says, "But TOTALLY season-appropriate." | ||
| DavidW says, "Not every author aims for a 2-hour game in the comp." | ||
| Jacqueline says, "True" | ||
| Jacqueline says, "And they don't have to." | ||
| Knight_Otu says, "I mean, it won't take as long as... okay, I won't say it." | ||
| Jacqueline says, "Just that votes are based on the first two hours of play." | ||
| MoyTravis says, "Yeah, fair 'nuff." | ||
| Jacqueline says (to KO), "ha" | ||
| MoyTravis asks, "Craaaagneeeeeee?" | ||
| Jacqueline says, "Nothing will ever take as long as that." | ||
| Knight_Otu says, "Yes. The game I always reference when it comes to length." | ||
| DavidW says, "oh, you haven't played Finding Martin. That's crazy difficult and long." | ||
| DavidW says, "So is Mulldoon Legacy." | ||
| DavidW says, "I never actually finished Finding Martin. Got stuck." | ||
| Knight_Otu says, "Maybe we can check that one out once we're inevitably eaten by our undead army." | ||
| Knight_Otu says, "Or we get tired of murdering innocent people in gruesome ways." | ||
| DavidW says, "If we do attempt Finding Martin, we'll need extensive note-taking." | ||
| DavidW says, "Finding Martin also has the most complicated pocketwatch in IF history." | ||
| Knight_Otu says, "Hm." | ||
| MoyTravis says, "Well, anyways, thanks y'all, cya 'round." | ||
| MoyTravis disappears through an invisible gap in the MUD. You think you may have heard the sounds of chatting before the gap closed again. | DavidW says, "There's also a train that delivers food from a machine to other rooms, and time travel." | |
| Knight_Otu says, "Time travel? Oh dear." | ||
| DavidW says, "The time travel bit is weird enough to include your past selves." | ||
| Krumar goes home. | Knight_Otu says, "In a "don't meet them" fashion? Okay, maybe don't answer that." | |
| DavidW says, "It's a TADS game, which means it can duplicate anything and everything as much as it wants to." | ||
| DavidW says, "The game remembers everything you did in the past and what inventory you had then." | ||
| Knight_Otu says, "Man." | ||
| DavidW says, "It's an insanity that I've never seen in any other game." | ||
| Roger disappears through an invisible gap in the MUD. You think you may have heard the sounds of chatting before the gap closed again. | DavidW says, "The whole game is craziness. There's an early plot point that you're a good candidate for finding Martin because you wear different coloured socks." | |
| Knight_Otu blinks. | ||
| DavidW says, "There's a piano that does different things if you play different music on it." | ||
| DavidW says, "Like, if you want to fill the bathtub, you have to play a Rain tune, something like that." | ||
| DavidW says, "And you'll even see flashbacks of people living in the house treating such things as normal." | ||
| DavidW says, "Seriously bizarre and crackers." | ||
| Knight_Otu says, "It sure sounds incredibly complex. And like a "save early and often" candidate." | ||
| DavidW says, "oh yeah." | ||
| DavidW says, "Very complex. I haven't even said the half of it." | ||
| Knight_Otu says, "Even if it's designed to be merciful (which it doesn't quite sound like), at that complexity level, it's so easy to make a mistake that could make it not merciful." | ||
| DavidW says, "I don't think it is merciful, no." | ||
| DavidW says, "I don't think it can be." | ||
| Knight_Otu gulps. | ||
| Knight_Otu exclaims, "Anyway, I ought to log off for the day. Good night, and stay safe, everyone!" | ||
| DavidW says, "Like I said, I got stuck. I was playing it with someone else in the toyroom, years ago." | ||
| Knight_Otu goes home. | ||
| DavidW disappears through an invisible gap in the MUD. You think you may have heard the sounds of chatting before the gap closed again. | ||
| *** SESSION 4 *** | ||
| DavidW says, "I have a walkthrough-in-progress page for this game up to where we've played, if people want to see it for maps or whatever." | ||
| Krumar asks, "Where can we see that?" | ||
| DavidW says, "[LINK]" | ||
| Krumar exclaims, "Thanks!" | ||
| Jacqueline exclaims, "Yeah - thanks!" | ||
| DavidW says, "If I recall correctly, we killed a security guard but Wanda the sheep is still fine." | ||
| DavidW says (to ClubFloyd), "i" | ||
| CF ] The Ruins of Men-nefer 9/754 | ||
| CF | > | ||
| CF | > I | ||
| CF | | ||
| CF | You are carrying Wilma's lead, a leather whip, a reel of strong | ||
| CF | cotton, a bone needle, a wicked little voodoo doll, a strawberry milk | ||
| CF | bottle, an evil book of black magic, a small brass key, a tea caddy | ||
| CF | and a stained crimson robe. You are wearing the Bracelet of | ||
| CF | Nefer-Kare, Buster's Stetson, a crucifix, a gold pocketwatch and a | ||
| CF | grey suit. | ||
| CF | | ||
| CF | > | MoyTravis asks, "Was...was it Wanda?" | |
| Knight_Otu exclaims, "Thanks!" | ||
| Knight_Otu says, "Wilma, I think." | ||
| Jacqueline exclaims (at David), "Hooray maps!" | ||
| DavidW says, "sorry, Wilma" | ||
| Krumar says, "It's wilma, and she's fine,for now." | ||
| MoyTravis exclaims, "...for NOW!" | ||
| Knight_Otu says, "Until we murder her, too." | ||
| DavidW says, "When I wrote up the notes, I discovered we can get the mummies now and leave Wilma alone." | ||
| Krumar says, "We seem to need to get to a skeleton for something to put on the pedistal." | ||
| DavidW says, "It's also possible to lead Wilma out of this studio if we need to." | ||
| Jacqueline says, "ha omg I read the following: David says, 'but Wanda the sheep is still fine'... >INVENTORY - You are carrying Wilma's head, [...]" | ||
| MoyTravis says, "Wait, really? We can lead Wilma out? Huh." | ||
| DavidW says (to Krumar), "I thought so too, but I'm not so sure if we need anything from the deadly corridor." | ||
| DavidW says, "We can get the mummies now without using Wilma or the crocodile at all." | ||
| Knight_Otu says, "Weird." | ||
| DavidW says, "Or entering the south corridor." | ||
| DavidW says, "I don't know what this means." | ||
| DavidW says, "Perhaps there's another puzzle here that I just didn't understand." | ||
| Jacqueline says, "Maybe we use Wilma as bait for a werewolf later." | ||
| Knight_Otu says, "Odd, considering the other studios were self-contained." | ||
| Jacqueline says, "Maybe Wilma is just our new friend, who we rescue." | ||
| DavidW says, "I also found a bug that if we return the critters to their cages, the security man shows up again. I had the live and dead versions simultaneously." | ||
| Knight_Otu says (to Jacq), "And who certainly will retire to a nice farm." | ||
| Krumar asks, "Any chance you tried to use the second one to trip the second trap?" | ||
| DavidW says, "For what it's worth, we can also push the wheelbarrow from the other studio everywhere too. Wilma can't go up or down ladders,though, and I doubt the barrow travels that way either." | ||
| Knight_Otu says, "Hm." | ||
| DavidW says (to Krumar), "It wasn't a 'second' guard. It was the first guard and he trips the same first trap again." | ||
| Krumar says, "That makes sense." | ||
| DavidW says, "Also, if we enter now, we still trigger the first trap." | ||
| Jacqueline says (to KO), "Look, maybe she does go to a farm upstate. Maybe I am learning to be optimistic and niave from our protagonist." | ||
| Jacqueline says, "Optimism is good." | ||
| Krumar says, "I thought if we enter without the guard we trip a trap that has spears, then teh second trap is a spinning blade." | ||
| DavidW says (to Krumar), "well that may eventually happen, but I don't think it happens now." | ||
| DavidW says, "So I'd like to finish this section (for now) and continue into another studio." | ||
| Jacqueline asks, "You mean he set off the spears and now they're just set off? They don't reset?" | ||
| DavidW says, "I saw nothing about resetting. Just that everyone that enters gets killed by spikes." | ||
| Jacqueline says, "Okay, so they must reset. Got it." | ||
| Knight_Otu says, "I suspect the one thing we#d learn from the path southward is that our friend in this studio died, a truly shocking truth we never saw coming." | ||
| Krumar says, "I just looked at my scroll back and we got killed by a circular disk." | ||
| DavidW says (to ClubFloyd), "score" | ||
| CF ] The Ruins of Men-nefer 9/754 | ||
| CF | > | ||
| CF | > SCORE | ||
| CF | | ||
| CF | You're still in one piece. That's a good start. | ||
| CF | | ||
| CF | You are building an undead army! So far, it consists of, a horde of | ||
| CF | shambling zombies led by an understandably annoyed Security Guard, the | ||
| CF | Count, the Countess and their bloodthirsty vampire thralls. | ||
| CF | | ||
| CF | You have survived nine perilous situations! | ||
| CF | | ||
| CF | - You avoided the murderous attentions of the Cult of Astaroth! | ||
| CF | - You managed to escape from the Cult's Lair! | ||
| CF | - You killed a crazed Cultist with a wooden stake! | ||
| CF | - You chopped a relatively blameless security guard into little | ||
| CF | pieces with a huge axe! | ||
| CF | - You protected yourself from vampires with a simple golden | ||
| CF | crucifix! | ||
| CF | - You managed to sort out a bunch of squabbling ghosts! | ||
| CF | - A horde of shambling zombies stopped attacking you because you | ||
| CF | were holding a voodoo doll of power! | ||
| CF | - You inadvertently led a horde of zombies to a poor Security | ||
| CF | Guard and they bit and infected her! | ||
| CF | - You terrified a nice security guard so much with horrible | ||
| CF | creatures that he ran into a trapped passageway and got speared to | ||
| CF | death! | ||
| CF | | ||
| CF | > | DavidW says (to Krumar), "huh." | |
| Jacqueline says (to KO), "That would be pretty shocking, yeah." | ||
| Jacqueline says, "(For values of shocking that equal 'not at all shocking')" | ||
| Krumar says, "CF | You bravely step into the gloom. Oh no! As soon as your foot hits the" | ||
| Krumar says (to ClubFloyd), "| floor of the passage you realise your terrible mistake! Suddenly, an" | ||
| Krumar says (to ClubFloyd), "| incredibly sharp circular disk emerges from one of the slots on the" | ||
| Krumar says (to ClubFloyd), "| wall, shoots across the passage, slices you into two pieces, and" | ||
| Krumar says (to ClubFloyd), "| disappears through the opposite slot! Your separated halves fall on" | ||
| Krumar says (to ClubFloyd), "| top of the pile of bones and your vision darkens until everything is" | ||
| CF ] The Ruins of Men-nefer 9/754 | ||
| CF | > | ||
| CF | > | FLOOR OF THE PASSAGE YOU REALISE YOUR TERRIBLE MISTAKE! SUDDENLY, | ||
| CF | AN | ||
| CF | | ||
| CF | You seem to want to talk to someone, but I can't see whom. | ||
| CF | | ||
| CF | > | ||
| CF ] The Ruins of Men-nefer 9/754 | ||
| CF | > | ||
| CF | > | INCREDIBLY SHARP CIRCULAR DISK EMERGES FROM ONE OF THE SLOTS ON | ||
| CF | THE | ||
| CF | | ||
| CF | That's not a verb I recognise. | ||
| CF | | ||
| CF | > | ||
| CF ] The Ruins of Men-nefer 9/754 | ||
| CF | > | ||
| CF | > | WALL, SHOOTS ACROSS THE PASSAGE, SLICES YOU INTO TWO PIECES, AND | ||
| CF | | ||
| CF | You seem to want to talk to someone, but I can't see whom. | ||
| CF | | ||
| CF | > | ||
| CF ] The Ruins of Men-nefer 9/754 | ||
| CF | > | ||
| CF | > | DISAPPEARS THROUGH THE OPPOSITE SLOT! YOUR SEPARATED HALVES FALL | ||
| CF | ON | ||
| CF | | ||
| CF | That's not a verb I recognise. | ||
| CF | | ||
| CF | > | ||
| CF ] The Ruins of Men-nefer 9/754 | ||
| CF | > | ||
| CF | > | TOP OF THE PILE OF BONES AND YOUR VISION DARKENS UNTIL EVERYTHING | ||
| CF | IS | ||
| CF | | ||
| CF | That's not a verb I recognise. | ||
| CF | | ||
| CF | > | ||
| Krumar says (to ClubFloyd), "| blac" | ||
| CF ] The Ruins of Men-nefer 9/754 | ||
| CF | > | ||
| CF | > | BLAC | ||
| CF | | ||
| CF | That's not a verb I recognise. | ||
| CF | | ||
| CF | > | Krumar says, "sorry, messy copy and paste, won't do that again." | |
| DavidW asks, "Maybe I'm playing an older version at home than this one?" | ||
| Knight_Otu says, "I suppose it's possible." | ||
| Krumar says, "Don't know if it matters, just wanted to let you know." | ||
| DavidW says, "I hesitate to draw strong conclusions about the corridor. I think it's still an open question, but we should still move on from it unless someone has a new idea for it." | ||
| DavidW says, "We can't lasso anything. We can't send Wilma into it. We can't order zombies in." | ||
| Jacqueline says (to Krumar), "No worries - pasting inside the channel is tricky, but possible. For future reference, type this, then hit enter: @paste ;: |" | ||
| Jacqueline says, "Then paste in whatever you want. Line breaks are fine." | ||
| Jacqueline says, "Then end by typing @endpaste on its own line." | ||
| Knight_Otu says, "I have no clue how to de-trap the corridor." | ||
| Jacqueline says, "We have nothing to use as a shield..." | ||
| DavidW says, "Like, if we find a robot drone thing..." | ||
| Jacqueline says, "I am fine with going somewhere else." | ||
| Krumar says, "Lets go somewhere else." | ||
| Jacqueline asks, "Usually we can't really use stuff from one area in another area, but who knows?" | ||
| DavidW asks, "So, okay if I get the mummies?" | ||
| Knight_Otu says, "Yes, I think so." | ||
| Jacqueline says, "Maybe we will find a titanium box with little leg holes in it that we wear through the spikey room." | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] Archaeological Dig Site 9/755 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Archaeological Dig Site | ||
| CF | The dark entrance to the Mummy's tombs leads down a ladder through a | ||
| CF | hole in the ground in-between the exposed ancient buildings. But | ||
| CF | they're not actually buildings. They're just the front walls of | ||
| CF | buildings held up with wooden scaffolding at the back. | ||
| CF | | ||
| CF | Here, right in the middle of the Studio, you can see all across the | ||
| CF | huge set. To the north is the looming Sphinx, to the west, rolling | ||
| CF | sand dunes. On the east side of the building are the tops of some | ||
| CF | colorful tents and to the south of you, what seem like ruins. | ||
| CF | | ||
| CF | Wilma stands contentedly near your legs. | ||
| CF | | ||
| CF | An empty cage lies open on the floor. | ||
| CF | | ||
| CF | A mob of horrific cockroaches scutter in and out of the scenery. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "d" | ||
| CF ] Archaeological Dig Site 9/756 | ||
| CF | > | ||
| CF | > D | ||
| CF | | ||
| CF | You'll not get Wilma down that ladder. You'd need to drop her lead | ||
| CF | first. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "drop lead" | ||
| CF ] Archaeological Dig Site 9/757 | ||
| CF | > | ||
| CF | > DROP LEAD | ||
| CF | | ||
| CF | You let go of Wilma's lead. Wilma just looks at you and continues to | ||
| CF | stand there, quietly. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "d" | ||
| CF ] The Tomb of Nefer-Kare 9/758 | ||
| CF | > | ||
| CF | > D | ||
| CF | | ||
| CF | | ||
| CF | The Tomb of Nefer-Kare | ||
| CF | Above you, the square hole in the ceiling lets in just enough light to | ||
| CF | see the whole of this small, stone lined room. The air is oppressive, | ||
| CF | and dust, in a thick layer, covers the floor, stirring up with each of | ||
| CF | your footsteps. A wooden ladder stretches up into the studio. | ||
| CF | | ||
| CF | Against the walls of three sides of the tomb are ranks of closed | ||
| CF | ornate sarcophagi! | ||
| CF | | ||
| CF | On the north wall, all by itself, rests one huge closed golden | ||
| CF | sarcophagus. | ||
| CF | | ||
| CF | In the centre of the room, eerily lit by the light from the studio | ||
| CF | above, is a single stone pedestal. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "put bracelet in depression" | ||
| CF ] The Tomb of Nefer-Kare 9/759 | ||
| CF | > | ||
| CF | > PUT BRACELET IN DEPRESSION | ||
| CF | | ||
| CF | You place the bracelet into the circular depression in the stone | ||
| CF | pedestal. It fits perfectly! Suddenly, from underneath your feet, | ||
| CF | there is a tremendous grinding sound! The huge mass of the pedestal | ||
| CF | begins to sink into the floor and, as it does, some machinery below | ||
| CF | the tomb is opening the doors of all the sarcophagi lined up on the | ||
| CF | walls! As they open, each one reveals an ancient mummified figure | ||
| CF | wrapped in decaying bandages. | ||
| CF | | ||
| CF | When the grinding stops, the pedestal has disappeared into the floor, | ||
| CF | leaving the Bracelet of Nefer-Kare lying in the dust. | ||
| CF | | ||
| CF | Inside the great golden sarcophagus is a figure larger than the rest. | ||
| CF | There is quiet for a moment and then, abruptly, the largest Mummy | ||
| CF | raises its arms and starts to move towards you, groaning hideously. | ||
| CF | You glance wildly around. Now all the other dreadful mummified | ||
| CF | creatures are following its lead. You are surrounded by a circle of | ||
| CF | slowly advancing Mummies, each with their arms raised towards you! | ||
| CF | | ||
| CF | You are in a perilous situation! | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "wear bracelet" | ||
| CF ] The Tomb of Nefer-Kare 10/760 | ||
| CF | > | ||
| CF | > WEAR BRACELET | ||
| CF | | ||
| CF | (first taking the Bracelet of Nefer-Kare) | ||
| CF | You hurriedly push the bracelet over your hand and onto your wrist. As | ||
| CF | soon as you are wearing it, all of the Mummies let loose a terrible | ||
| CF | howl of dismay, but they stop their movement towards you. It must be | ||
| CF | the power of the bracelet! It must allow you to master Nefer-Kare and | ||
| CF | all his ancient servants! | ||
| CF | | ||
| CF | "Shit," says Nefer-Kare in his tomb-like dusty voice. | ||
| CF | | ||
| CF | You have survived a perilous situation! | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "talk to nefer" | ||
| CF ] The Tomb of Nefer-Kare 10/761 | ||
| CF | > | ||
| CF | > TALK TO NEFER | ||
| CF | | ||
| CF | Will Nefer-Kare understand you? You gesture to the Mummy, point at the | ||
| CF | bracelet on your wrist, then point towards the opening in the ceiling. | ||
| CF | Surely the Mummy must understand what you mean. | ||
| CF | | ||
| CF | "What is it you want, foolish mortal," snaps the Mummy. "How dare you | ||
| CF | not genuflect before the greatest of Pharaohs" | ||
| CF | | ||
| CF | (1) - "You speak our language well." | ||
| CF | | ||
| CF | You say > | Knight_Otu exclaims, "Language!" | |
| DavidW says (to ClubFloyd), "1" | ||
| CF ] The Tomb of Nefer-Kare 10/761 | ||
| CF | You say > | ||
| CF | > 1 | ||
| CF | | ||
| CF | "You've really got to grips with our language," you say. | ||
| CF | | ||
| CF | "Of course!" replies Nefer-Kare. "I have had many years in this world. | ||
| CF | I have learned the language of your people. It was no hardship. And it | ||
| CF | was...required of me to do so." At this last part, the Mummy shakes | ||
| CF | his great head. "Never before have I been in the power of mortals. It | ||
| CF | is not right that such a great king as I should be so." | ||
| CF | | ||
| CF | (1) - "Why are you here?" | ||
| CF | (2) - "Who has power over you?" | ||
| CF | | ||
| CF | You say > | ||
| DavidW says (to ClubFloyd), "1" | ||
| CF ] The Tomb of Nefer-Kare 10/761 | ||
| CF | You say > | ||
| CF | > 1 | ||
| CF | | ||
| CF | "Why are you here?" you say. "I would have thought you'd be in Egypt." | ||
| CF | | ||
| CF | The Mummy hisses angrily. "I slept the great sleep of the dead with my | ||
| CF | servants around me," he says, his voice cold and harsh. "Then, one | ||
| CF | day, I awoke in my tomb, surrounded by humans in crimson robes. With | ||
| CF | the power of demons, they had spun hexes around me that bound my limbs | ||
| CF | and clouded my mind! It was that man Arnie Mallet. He calls me by my | ||
| CF | name and I must obey! He had, like you have now, my bracelet. And thus | ||
| CF | I am required to," and here, he is almost spitting with contempt, | ||
| CF | "read out lines from a script for the entertainments of the commoner!" | ||
| CF | | ||
| CF | (1) - "Tell me more about the bracelet." | ||
| CF | (2) - "Would you like to be free?" | ||
| CF | | ||
| CF | You say > | DavidW says, "sorry, I might've gone too fast there." | |
| burl says, "hey sorry to miss a week on a long game. i'm curious what our inventory is" | ||
| DavidW says, "Let me know if you've read all that." | ||
| DavidW says (to ClubFloyd), "i" | ||
| CF ] The Tomb of Nefer-Kare 10/761 | ||
| CF | You say > | ||
| CF | > I | ||
| CF | | ||
| CF | You are in the middle of a conversation! | ||
| CF | | ||
| CF | You say > | DavidW says (to burl), "I'll check when we're out of conversation." | |
| Knight_Otu says, "I'm caught up." | ||
| DavidW says (to ClubFloyd), "1" | ||
| CF ] The Tomb of Nefer-Kare 10/761 | ||
| CF | You say > | ||
| CF | > 1 | ||
| CF | | ||
| CF | "Tell me more about the bracelet," you say. | ||
| CF | | ||
| CF | "Ah," says Nefer-Kare, "a wise question, mortal. The bracelet you wear | ||
| CF | was crafted by the greatest of Egyptian magicians at the behest of the | ||
| CF | great queen Balthamer! She had a mind to rule all of Egypt and she | ||
| CF | thought to control me and thus destroy me! Me, the great pharaoh | ||
| CF | Nefer-Kare! Foolish!" | ||
| CF | | ||
| CF | (1) - "and....?" | ||
| CF | | ||
| CF | You say > | ||
| DavidW says (to ClubFloyd), "1" | ||
| CF ] The Tomb of Nefer-Kare 10/761 | ||
| CF | You say > | ||
| CF | > 1 | ||
| CF | | ||
| CF | "And?" you say. "What happened?" | ||
| CF | | ||
| CF | "Never you mind," snaps the Pharaoh. "I do not wish to discuss it." | ||
| CF | | ||
| CF | (1) - "Would you like to be free?" | ||
| CF | | ||
| CF | You say > | ||
| DavidW says (to ClubFloyd), "1" | ||
| CF ] The Tomb of Nefer-Kare 10/761 | ||
| CF | You say > | ||
| CF | > 1 | ||
| CF | | ||
| CF | "Would you like to be free to return to your tomb?" you ask. | ||
| CF | | ||
| CF | Nefer-Kare gives a monstrous dusty laugh. "My tomb?" he says, his | ||
| CF | voice booming with derision. "I am awake now, mortal, after an | ||
| CF | eternity in darkness. I will have my revenge! All those who stood | ||
| CF | against me will fall to my undead servants. I will rend them limb from | ||
| CF | limb. I will commit their souls to the pitiless demons of the pit. | ||
| CF | Then, when all my enemies have fallen, I will take power over this | ||
| CF | world and rule for all eternity!" | ||
| CF | | ||
| CF | You risk a glance at the mummified servants stumbling about. They | ||
| CF | probably looked in better shape in the past. Maybe in ancient Egypt, | ||
| CF | they might have been a force to be reckoned with. | ||
| CF | | ||
| CF | (1) - "One step at a time, maybe?" | ||
| CF | | ||
| CF | You say > | PhilGoetz says, "version" | |
| PhilGoetz says, "version" | ||
| DavidW says (to ClubFloyd), "1" | ||
| CF ] The Tomb of Nefer-Kare 10/761 | ||
| CF | You say > | ||
| CF | > 1 | ||
| CF | | ||
| CF | "Maybe we should focus on Arnie and his cult first," you say. "They're | ||
| CF | about to summon a demon called Astaroth and all his demonic hordes." | ||
| CF | | ||
| CF | "Astaroth, eh," says Nefer-Kare. You're not sure - it's difficult to | ||
| CF | read the body language of a mummified corpse - but you think he might | ||
| CF | be a little worried. "I have heard of this demon," continues the | ||
| CF | Pharaoh, "despite its...reputation...I am sure he will be no match for | ||
| CF | me and my guard." | ||
| CF | | ||
| CF | "And all his demonic hordes?" you ask. | ||
| CF | | ||
| CF | There is a moment's silence while Nefer-Kare digests this. "Well," he | ||
| CF | says, eventually, "what would you suggest, mortal?" | ||
| CF | | ||
| CF | (1) - "Join my undead army!" | ||
| CF | | ||
| CF | You say > | PhilGoetz says, "oops." | |
| PhilGoetz says, "oops." | ||
| DavidW asks, "Okay to continue?" | ||
| Knight_Otu says, "Yes." | ||
| DavidW says (to ClubFloyd), "1" | ||
| CF ] The Tomb of Nefer-Kare 10/761 | ||
| CF | You say > | ||
| CF | > 1 | ||
| CF | | ||
| CF | "There are other undead enslaved in the studio," you say. "I'm | ||
| CF | building an undead army!" | ||
| CF | | ||
| CF | The Mummy nods his great head. "Yes, this is a good plan," he says, | ||
| CF | "The great Nefer-Kare will command this army! I will lead them to a | ||
| CF | glorious victory over the stain on this world that is Arnie Mallet. I | ||
| CF | will crush his demonic hordes and send them howling back to hell!" | ||
| CF | | ||
| CF | You can't help but wince a little on the inside. Things might get | ||
| CF | interesting when Nefer-Kare meets the Countess. Oh well, not your | ||
| CF | problem. | ||
| CF | | MoyTravis says, "Mrmyarp." | |
| CF | "Where is this army of which you speak," continues the Pharaoh. "I | ||
| CF | will take my servants and assess it." | ||
| CF | | ||
| CF | (1) - "We're meeting in the southern end of the main lot." | ||
| CF | | ||
| CF | You say > | ||
| DavidW says (to ClubFloyd), "1" | ||
| CF ] The Tomb of Nefer-Kare 10/761 | ||
| CF | You say > | ||
| CF | > 1 | ||
| CF | | ||
| CF | "We're meeting in the southern end of the main lot," you tell the | ||
| CF | Mummy. | ||
| CF | | ||
| CF | "Very well," says the Pharaoh, "Onwards to victory and power!" | ||
| CF | | ||
| CF | Nefer Kare turns away from you and gestures to his servants. One by | ||
| CF | one, the Mummies awkwardly climb the ladder and disappear into the | ||
| CF | studio. | ||
| CF | | ||
| CF | You have grown your Undead Army! | ||
| CF | | ||
| CF | Suddenly, the air is rent by what sounds like the pealing of a huge | ||
| CF | bell! But it's cracked. The note of the bell is awful - a dreadful | ||
| CF | warped clanging. It tolls three times, each time getting louder, until | ||
| CF | it feels like your very eyeballs are vibrating. The last peal of the | ||
| CF | bell dies away. Something has changed! The very texture of the air is | ||
| CF | different. There is evil afoot! | ||
| CF | | ||
| CF | > | Jacqueline exclaims, "Reading so much stuff!" | |
| burl says (to Jacqueline), "hi! newbie question, i can't see yalls game commands and i'm wondering if i need to change channel views somehow" | ||
| Jacqueline asks, "Hold a sec?" | ||
| MoyTravis says, "Reading good though! I like reading." | ||
| Jacqueline says (to burl), "Oh, hi." | ||
| MoyTravis asks, "I mean. I guess it depends on how - oh, wait, you're not, like, in the clubhouse?" | ||
| Jacqueline says, "One sec, let me finish reading this, then I will come get you." | ||
| burl says (to Jacqueline), "no problem! i have no idea when is a good moment haha so whenever is a good chatty pause" | ||
| Jacqueline gets ClubFloyd Pass 08. | ||
| Jacqueline disappears through an invisible gap in the MUD. You think you may have heard the sounds of chatting before the gap closed again. | PhilGoetz says, "testing" | |
| Jacqueline says, "Burl, you should now be able to type the word CLUBHOUSE (all on its own line, like a direction akin to NORTH)" | ||
| burl has arrived. | ||
| DavidW says (to ClubFloyd), "version" | ||
| CF ] The Tomb of Nefer-Kare 10/761 | ||
| CF | > | ||
| CF | > VERSION | ||
| CF | | ||
| CF | Dr Horror's House of Terror | ||
| CF | A horrifying tale of the restless dead and their world of unspeakable | ||
| CF | evil!!! by Ade | ||
| CF | Release 1 / Serial number 211121 / Inform 7 build 6M62 (I6/v6.33 lib | ||
| CF | 6/12N) | ||
| CF | Identification number: //37AABAE4-E3A1-4D80-BBFB-8FA3D820BC26// | ||
| CF | Interpreter version 1.3.1 / VM 3.1.2 / Library serial number 080126 | ||
| CF | Standard Rules version 3/120430 by Graham Nelson | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "u" | ||
| CF ] Archaeological Dig Site 10/762 | ||
| CF | > | ||
| CF | > U | ||
| CF | | ||
| CF | | ||
| CF | Archaeological Dig Site | ||
| CF | The dark entrance to the Mummy's tombs leads down a ladder through a | ||
| CF | hole in the ground in-between the exposed ancient buildings. But | ||
| CF | they're not actually buildings. They're just the front walls of | ||
| CF | buildings held up with wooden scaffolding at the back. | ||
| CF | | ||
| CF | Here, right in the middle of the Studio, you can see all across the | ||
| CF | huge set. To the north is the looming Sphinx, to the west, rolling | ||
| CF | sand dunes. On the east side of the building are the tops of some | ||
| CF | colorful tents and to the south of you, what seem like ruins. | ||
| CF | | ||
| CF | Wilma, the studio sheep is standing quietly here. A lead trails from a | ||
| CF | collar around her neck. | ||
| CF | | ||
| CF | An empty cage lies open on the floor. | ||
| CF | | ||
| CF | A mob of horrific cockroaches scutter in and out of the scenery. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "i" | ||
| CF ] Archaeological Dig Site 10/763 | ||
| CF | > | ||
| CF | > I | ||
| CF | | ||
| CF | You are carrying a leather whip, a reel of strong cotton, a bone | ||
| CF | needle, a wicked little voodoo doll, a strawberry milk bottle, an evil | ||
| CF | book of black magic, a small brass key, a tea caddy and a stained | ||
| CF | crimson robe. You are wearing the Bracelet of Nefer-Kare, Buster's | ||
| CF | Stetson, a crucifix, a gold pocketwatch and a grey suit. | ||
| CF | | ||
| CF | > | PhilGoetz says, "I'm using the web client, and it keeps erasing what I'm typing, and frequently scrolls back a page." | |
| Jacqueline asks (of Phil), "Do you also need a CLUBHOUSE pass?" | ||
| burl exclaims, "thanks Jacqueline!" | ||
| Jacqueline says (to PhilGoetz), "Yeah, the web client is no bueno - recommend downloading something." | ||
| PhilGoetz exclaims, "I've got one; thanks!" | ||
| Jacqueline has arrived. | Jacqueline says (to Phil), "Oh - I thought it said that you were in Dorm B" | |
| Jacqueline says, "Okay. I think we can carry on now. Thanks for the pause." | ||
| DavidW says (to ClubFloyd), "take lead" | ||
| CF ] Archaeological Dig Site 10/764 | ||
| CF | > | ||
| CF | > TAKE LEAD | ||
| CF | | ||
| CF | You grab Wilma's lead. The sheep looks at you in mild surprise. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] The Shrine of the Sphinx 10/765 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | The Shrine of the Sphinx | ||
| CF | They've only bothered to actually build the front legs of the Sphinx. | ||
| CF | For longer shots, you assume they use the matte backdrop of the whole | ||
| CF | thing painted onto the Studio wall to the set's left. The Sphinx's | ||
| CF | legs extend out from the Studio walls and between them is the Mummy's | ||
| CF | shrine, carved from greyish sandy painted construction foam. | ||
| CF | | ||
| CF | To the west, there is an opening in the Studio wall. Southwest, | ||
| CF | towards the other side of the Studio, you can see distant sand dunes. | ||
| CF | The set opens out to the south to reveal some sort of building and | ||
| CF | beyond it, a group of ruins. To the southeast, you can see the tops of | ||
| CF | a group of tents. | ||
| CF | | ||
| CF | Wilma snuffles around just nearby. | ||
| CF | | ||
| CF | You can also see a jaunty hat here. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take hat" | ||
| CF ] The Shrine of the Sphinx 10/766 | ||
| CF | > | ||
| CF | > TAKE HAT | ||
| CF | | ||
| CF | (the jaunty hat) | ||
| CF | Taken. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "w" | ||
| CF ] Studio Menagerie 10/767 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Studio Menagerie | ||
| CF | This small dingy room is filled with mostly empty cages for the | ||
| CF | animals the Studio uses in its movies. It smells quite bad, to be | ||
| CF | honest. A door lies open to the west and, opposite it, a relatively | ||
| CF | brightly lit space in the wall opens up to the east. | ||
| CF | | ||
| CF | Wilma stands near your legs, looking bored. | ||
| CF | | ||
| CF | On one side of the room, a large cage contains a huge crocodile. | ||
| CF | | ||
| CF | You can also see a cage of snakes here. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "drop lead" | ||
| CF ] Studio Menagerie 10/768 | ||
| CF | > | ||
| CF | > DROP LEAD | ||
| CF | | ||
| CF | You let go of Wilma's lead. Wilma just looks at you and continues to | ||
| CF | stand there, quietly. | ||
| CF | | ||
| CF | > | DavidW says, "By the way, the stetson was necessary for the roaches, snakes, rats, spiders, and scorpions to not attack us when they're loose." | |
| PhilGoetz says, "typing "clubfloyd" doesn't teleport me." | ||
| Knight_Otu says, "Oh. Well trained creatures." | ||
| Jacqueline says, "It is important to channel one's inner Indy." | ||
| DavidW says (to ClubFloyd), "w" | ||
| CF ] Studio Lot South 10/769 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | Studio Lot South | ||
| CF | Here, the lot is surrounded on three sides by Studios, looming out of | ||
| CF | the night like ancient guardians. The lot continues to the north into | ||
| CF | shadow. To the east side is the door to Studio 3, to the west, Studio | ||
| CF | 4 and to the south the door to Studio 5 where you have spent so much | ||
| CF | time over the last two weeks. A sign over each door proclaims the | ||
| CF | movie that is being made there. | ||
| CF | | ||
| CF | Nefer-Kare's ancient servants skulk in a dusty group around their | ||
| CF | leader. | ||
| CF | | ||
| CF | The huge mummified form of Nefer-Kare stands menacingly near the | MoyTravis says, ""clubhouse" I think." | |
| CF | centre of the lot, wrapped in dirty bandages. | ||
| CF | | ||
| CF | A horde of shambling zombies, led by a slightly less decomposed | ||
| CF | Security Guard, stumble around. | ||
| CF | | ||
| CF | Vampire thralls stand in a surly group, shooting suspicious glances at | ||
| CF | you. | ||
| CF | | ||
| CF | Over by the studio walls, the Count stands listlessly, staring off | ||
| CF | into the sky. | ||
| CF | | ||
| CF | The Countess paces impatiently around the lot. | ||
| CF | | ||
| CF | A dead cultist lies sprawled on the ground, his face frozen in a | ||
| CF | horrifying rictus. | ||
| CF | | ||
| CF | The Countess grabs your arm. "Well done," she hisses. "Good work with | ||
| CF | the Mummy and his servants. Shame he's a bit of an idiot. I've had to | ||
| CF | have a few strong words with him. He came in here like he owned the | ||
| CF | place." She looks over at Nefer-Kare and waves. The Mummy looks away | ||
| CF | quickly. "Don't worry," she says. "He knows who's in charge now." | ||
| CF | | ||
| CF | Suddenly, the Countess snaps her head up to face the studio office | ||
| CF | building. "The demon has been summoned, the sacrifice made!" she | ||
| CF | shrieks, her face going even whiter. "Can't you feel it! The Cathedral | ||
| CF | of Bone has been built and locked with the power of all of Hell's | ||
| CF | dominion! You need to hurry. The demonic hordes gather strength even | ||
| CF | as we speak!" | ||
| CF | | ||
| CF | > | PhilGoetz says, "oh, wait" | |
| PhilGoetz has arrived. | ||
| Roger has arrived. | DavidW says, "We have two more studios to explore and solve. One is west from here. The other is north then west." | |
| Jacqueline says, "This has some very good writing moments." | ||
| DavidW says, "Also, I think we want to go north briefly regardless." | ||
| Knight_Otu says, "We can do that, sure." | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] Studio Lot North 10/770 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Studio Lot North | ||
| CF | The northern end of the huge lot, oppressively surrounded by the | ||
| CF | looming, darkened studio buildings, is overlooked to the north by the | ||
| CF | ugly and squat offices, their windows watching over the lot like great | ||
| CF | eyes. Who knows what lurks behind them. To the west, the door to | ||
| CF | Studio 1 is closed. To the east, the open Studio 2 door. On each door, | ||
| CF | a sign. The lot continues to the south into shadow. | ||
| CF | | ||
| CF | Wait! Something is different. It takes you a moment, but then you | ||
| CF | realise. The glass doors into the offices to the north have been | ||
| CF | replaced by gigantic doors that seem to be made entirely from human | ||
| CF | bones. The doorframe is made from hideous grinning human skulls! | ||
| CF | | ||
| CF | Sharp wooden spikes stick out from the ground around the door at all | ||
| CF | angles. On one of the spikes is impaled a human head! | ||
| CF | | ||
| CF | > | Jacqueline says, "I don't understand why the pit of stakes matters now that we have Nefer-Kare and his mummies." | |
| Jacqueline asks, "We don't, do we?" | ||
| DavidW says, "We have the mummies in our army now, yes." | ||
| Jacqueline says, "I like how we're like, 'Hm... something is different... oh right, the doorframe is now made of skulls'" | ||
| DavidW says (to ClubFloyd), "x head" | ||
| CF ] Studio Lot North 10/771 | ||
| CF | > | ||
| CF | > X HEAD | ||
| CF | | ||
| CF | You look closely at the head and turn away in horror! It's the | ||
| CF | decapitated head of Harry Higginbotham, your Director! So Arnie | ||
| CF | carried out his threat of using him as the sacrifice, then! | ||
| CF | | ||
| CF | Harry's head is wide eyed and set in an expression of terror! | ||
| CF | | ||
| CF | > | MoyTravis says, "RIP that guy." | |
| DavidW says (to ClubFloyd), "x doors" | ||
| CF ] Studio Lot North 10/771 | ||
| CF | > | ||
| CF | > X DOORS | ||
| CF | | ||
| CF | Which do you mean, Studio 2 door, the great doors of bone or Studio 1 | ||
| CF | door? | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "bone" | ||
| CF ] Studio Lot North 10/772 | ||
| CF | > | ||
| CF | > BONE | ||
| CF | | ||
| CF | The huge closed doors are made entirely from human bones surrounded by | ||
| CF | a frame of skulls! | ||
| CF | | ||
| CF | > | Knight_Otu says, "Evil cult is evil. Who knew." | |
| DavidW says (to ClubFloyd), "x skulls" | ||
| CF ] Studio Lot North 10/773 | ||
| CF | > | ||
| CF | > X SKULLS | ||
| CF | | ||
| CF | The huge closed doors are made entirely from human bones surrounded by | ||
| CF | a frame of skulls! | ||
| CF | | ||
| CF | > | PhilGoetz says, "I'm in the clubhouse, but this isn't where the playthru is happening." | |
| DavidW says (to ClubFloyd), "x bones" | ||
| CF ] Studio Lot North 10/774 | ||
| CF | > | ||
| CF | > X BONES | ||
| CF | | ||
| CF | The huge closed doors are made entirely from human bones surrounded by | ||
| CF | a frame of skulls! | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "open doors" | ||
| CF ] Studio Lot North 10/774 | ||
| CF | > | ||
| CF | > OPEN DOORS | ||
| CF | | ||
| CF | Which do you mean, Studio 2 door, the great doors of bone or Studio 1 | ||
| CF | door? | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "bone" | ||
| CF ] Studio Lot North 10/775 | ||
| CF | > | ||
| CF | > BONE | ||
| CF | | ||
| CF | It seems to be locked. | ||
| CF | | ||
| CF | > | DavidW says, "and boned" | |
| Knight_Otu says (to Phil), "That's odd. We're here and seeing the playthrough." | ||
| PhilGoetz asks, "oh, I guess it gets reported to us here? like, one person is in the game, and the rest get the output, and talk to that person on the club channel?" | ||
| DavidW asks, "So... studio 1 or studio 4 next?" | ||
| Krumar says, "Sounds like Phil can't see the game." | ||
| MoyTravis says, "Either've 'em." | ||
| Jacqueline says, "where" | ||
| PhilGoetz asks, "oh, I guess it gets reported to us here? like, one person is in the game, and the rest get the output, and talk to that person on the club channel?" | ||
| Jacqueline says, "oops" | ||
| PhilGoetz asks, "oh, I guess it gets reported to us here? like, one person is in the game, and the rest get the output, and talk to that person on the club channel?" | ||
| PhilGoetz asks, "oh, I guess it gets reported to us here? like, one person is in the game, and the rest get the output, and talk to that person on the club channel?" | ||
| PhilGoetz asks, "oh, I guess it gets reported to us here? like, one person is in the game, and the rest get the output, and talk to that person on the club channel?" | ||
| MoyTravis says, "Phil also appears to be, uh, having...connection issues." | ||
| PhilGoetz asks, "oh, I guess it gets reported to us here? like, one person is in the game, and the rest get the output, and talk to that person on the club channel?" | ||
| PhilGoetz asks, "oh, I guess it gets reported to us here? like, one person is in the game, and the rest get the output, and talk to that person on the club channel?" | ||
| Jacqueline says (to Travis), "Phil is on the aforementioned web client." | ||
| Knight_Otu asks, "Might be the client Phil uses? Along with the repetition issue?" | ||
| DavidW says, "This is why people need to use a proper client." | ||
| PhilGoetz says, "I don't know why it prints everything I say over and over again." | ||
| PhilGoetz says, "I don't know why it prints everything I say over and over again." | ||
| PhilGoetz says, "I don't know why it prints everything I say over and over again." | ||
| MoyTravis asks, "Can you, uh, try a different client, Phil?" | ||
| PhilGoetz says, "I don't know why it prints everything I say over and over again." | ||
| Jacqueline asks (of Phile), "That's the web client. It does that. Can you download a client?" | ||
| PhilGoetz says, "I don't know why it prints everything I say over and over again." | ||
| PhilGoetz says, "I don't know why it prints everything I say over and over again." | ||
| PhilGoetz says, "I don't know why it prints everything I say over and over again." | ||
| PhilGoetz says, "I don't know why it prints everything I say over and over again." | ||
| PhilGoetz says, "I don't know why it prints everything I say over and over again." | ||
| Jacqueline smiles and says, "This transcript is going to be fun to edit." | ||
| PhilGoetz says, "I don't know why it prints everything I say over and over again." | ||
| PhilGoetz says, "I don't know why it prints everything I say over and over again." | ||
| PhilGoetz says, "I don't know why it prints everything I say over and over again." | ||
| PhilGoetz says, "I don't know why it prints everything I say over and over again." | ||
| PhilGoetz says, "what's a good client? I have no mud clients. Surprisingly, cygwin also has no mud clients." | ||
| PhilGoetz says, "what's a good client? I have no mud clients. Surprisingly, cygwin also has no mud clients." | ||
| PhilGoetz says, "what's a good client? I have no mud clients. Surprisingly, cygwin also has no mud clients." | ||
| Matthew says, "Many of us on Windows use BeipMU." | ||
| PhilGoetz says, "what's a good client? I have no mud clients. Surprisingly, cygwin also has no mud clients." | ||
| PhilGoetz says, "what's a good client? I have no mud clients. Surprisingly, cygwin also has no mud clients." | ||
| Krumar says, "I think you should hve a copy up just like, raw game play :-P" | ||
| PhilGoetz says, "I must turn auto-refresh off, because it keeps reprinting my last command locally. But this means I won't see anything anyone types, except after I type something." | ||
| Jacqueline says (to Phil), "Can you use windows compatible stuff? If so, MUSHclient is an easy to set up download." | ||
| Jacqueline says, "If you need something more linux-y, Tinyfugue is a good telnet client that you can use to get to the mud." | ||
| Jacqueline says, "But it would be ideal if you left to sort that out and join us later or next week, unfortunately, because everything you say is printing up to a dozen times." | ||
| PhilGoetz says, "darn it, it's a windows app. That means I can never find it again. I so hate how microsoft implements "apps" now. I'm gonna be afk, trying to find a client I can download and install myself." | ||
| Jacqueline says (to DW), "I think we can proceed now." | ||
| Jacqueline says (to PhilGoetz), "Take care - MUSHclient is my rec for Windows. It's free, last I looked." | ||
| DavidW says (to ClubFloyd), "x sign 1" | ||
| CF ] Studio Lot North 10/776 | ||
| CF | > | ||
| CF | > X SIGN 1 | ||
| CF | | ||
| CF | The sign reads "Blood of the Werewolf's Claw" and then, in slightly | ||
| CF | smaller letters, "Dir: Benny Tibbings". | ||
| CF | | ||
| CF | > | DavidW asks, "Do we want to do the werewolves next?" | |
| DavidW says (to ClubFloyd), "s" | ||
| CF ] Studio Lot South 10/777 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | Studio Lot South | ||
| CF | Here, the lot is surrounded on three sides by Studios, looming out of | ||
| CF | the night like ancient guardians. The lot continues to the north into | ||
| CF | shadow. To the east side is the door to Studio 3, to the west, Studio | ||
| CF | 4 and to the south the door to Studio 5 where you have spent so much | ||
| CF | time over the last two weeks. A sign over each door proclaims the | ||
| CF | movie that is being made there. | ||
| CF | | ||
| CF | Nefer-Kare's ancient servants skulk in a dusty group around their | ||
| CF | leader. | ||
| CF | | ||
| CF | The huge mummified form of Nefer-Kare stands menacingly near the | ||
| CF | centre of the lot, wrapped in dirty bandages. | ||
| CF | | ||
| CF | A horde of shambling zombies, led by a slightly less decomposed | ||
| CF | Security Guard, stumble around. | ||
| CF | | ||
| CF | Vampire thralls stand in a surly group, shooting suspicious glances at | ||
| CF | you. | ||
| CF | | ||
| CF | Over by the studio walls, the Count stands listlessly, staring off | ||
| CF | into the sky. | ||
| CF | | ||
| CF | The Countess paces impatiently around the lot. | ||
| CF | | ||
| CF | A dead cultist lies sprawled on the ground, his face frozen in a | ||
| CF | horrifying rictus. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x sign 4" | ||
| CF ] Studio Lot South 10/778 | ||
| CF | > | ||
| CF | > X SIGN 4 | ||
| CF | | ||
| CF | "The Vengeance of the Monster" and, under the title, "Dir: Cecil | ||
| CF | DeCrancy". | ||
| CF | | ||
| CF | The vampire thralls mutter to one another. "We should be getting out | ||
| CF | of here," says one. | ||
| CF | | ||
| CF | > | Jacqueline says, "oh... oh no" | |
| Jacqueline says, "Not werewolves." | ||
| Jacqueline says, "NO ONE IS ALLOWED TO HARM WILMA" | ||
| DavidW asks, "The 'monster' is the other choice. Maybe a 'Frankie' monster?" | ||
| Krumar says, "I would like to do the monster one." | ||
| DavidW says, "okay" | ||
| DavidW says (to ClubFloyd), "w" | ||
| CF ] Studio Workshop 10/779 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | (first opening Studio 4 door) | ||
| CF | | ||
| CF | Studio Workshop | ||
| CF | This must be where they build the sets! The walls and most of the | ||
| CF | floor is covered in offcuts of plywood. Large rectangular pieces of | ||
| CF | the foam they use to carve all sorts of things out of like boulders | ||
| CF | and statues lie in piles in between wooden trestles. Pots of paint, | ||
| CF | dripped and smeared with a hundred different colours, are roughly | ||
| CF | stacked in the corners. Forbidding doorways lead into shadow to the | ||
| CF | west and south and the door out of the Studio, to the east, lies open. | ||
| CF | | ||
| CF | On one of the trestles is a coiled up length of cord. | ||
| CF | | ||
| CF | You can hear footsteps to the south. They seem to be slowly receding | ||
| CF | into the distance. | ||
| CF | | ||
| CF | > | Knight_Otu says, "We do need all of them, but sure, Frankenstein first." | |
| DavidW says (to ClubFloyd), "take cord" | ||
| CF ] Studio Workshop 10/780 | ||
| CF | > | ||
| CF | > TAKE CORD | ||
| CF | | ||
| CF | Taken. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x cord" | ||
| CF ] Studio Workshop 10/781 | ||
| CF | > | ||
| CF | > X CORD | ||
| CF | | ||
| CF | It looks like electric cabling. On both ends of the long piece of cord | ||
| CF | is some sort of metal clip. You imagine that you could attach the cord | ||
| CF | to something. If you could find something to attach it to. | ||
| CF | | ||
| CF | > | Krumar says, "Sounds like a jumper cable." | |
| DavidW says, "Like, a neck bolt and a car engine." | ||
| Jacqueline says, "yep" | ||
| DavidW says, "yes, exactly a jumper cable." | ||
| DavidW says (to ClubFloyd), "x paint" | ||
| CF ] Studio Workshop 10/782 | ||
| CF | > | ||
| CF | > X PAINT | ||
| CF | | ||
| CF | Stacked up in the corners, the paints seems to be all colours of the | ||
| CF | rainbow, although it's hard to tell in this dim light. | ||
| CF | | ||
| CF | You can hear footsteps to the west. They seem to be getting closer! | ||
| CF | | ||
| CF | You are in a perilous situation! | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "hide" | ||
| CF ] Studio Workshop 10/783 | ||
| CF | > | ||
| CF | > HIDE | ||
| CF | | ||
| CF | You back into the darker shadows of the set as the footsteps tap ever | ||
| CF | closer. | ||
| CF | | ||
| CF | A security guard walks in through the door to the west. | ||
| CF | | ||
| CF | The Guard shines her torch around the set, playing it into the | ||
| CF | shadows. Fortunately, it looks like her mind is only half on her job | ||
| CF | as she's not really looking. She's got her nose in a book! | ||
| CF | | ||
| CF | She flicks over a page. | ||
| CF | | ||
| CF | > | burl says, "can we save" | |
| Roger says, "our life's in jeopardy, baby" | ||
| DavidW says (to ClubFloyd), "x book" | ||
| CF ] Studio Workshop 10/784 | ||
| CF | > | ||
| CF | > X BOOK | ||
| CF | | ||
| CF | (the evil book of black magic) | ||
| CF | You cautiously open the cover of the book. The pages inside are | ||
| CF | yellowed and ancient and marked with mould. It seems to be a book of | ||
| CF | black magic! According to the title page, the book is called "Malleus | ||
| CF | Malum Habentis Mortem" - whatever that means. You can't understand | ||
| CF | most of it, and much of it is so faded and stained that you can't read | ||
| CF | it, but flicking through, there are a few pages you can make out. | ||
| CF | | ||
| CF | One page is titled "Summon," another "Raise Dead" and a third is | ||
| CF | "Banish". You could probably READ each of these pages. Read Summon, | ||
| CF | for example. | ||
| CF | | ||
| CF | The security guard closes her book and saunters out through the south | ||
| CF | door. You come out of hiding. | ||
| CF | | ||
| CF | > | DavidW says, "oops. wrong book" | |
| Krumar asks, "x guard?" | ||
| DavidW says, "She's gone now" | ||
| MoyTravis says, "UNDO is always an option." | ||
| DavidW says (to ClubFloyd), "undo" | ||
| CF ] Studio Workshop 10/783 | ||
| CF | | ||
| CF | > UNDO | ||
| CF | | ||
| CF | Studio Workshop | ||
| CF | [Previous turn undone.] | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x guard" | ||
| CF ] Studio Workshop 10/784 | ||
| CF | > | ||
| CF | > X GUARD | ||
| CF | | ||
| CF | The guard is a youngish, slim and academic looking woman in a red | ||
| CF | uniform. She has her nose in the pages of a book as she wanders around | ||
| CF | the set. You notice a squarish bulge in her back pocket. As you look, | ||
| CF | she pats it protectively as if to check it's still there. | ||
| CF | | ||
| CF | The security guard closes her book and saunters out through the south | ||
| CF | door. You come out of hiding. | ||
| CF | | ||
| CF | > | burl says, "i hope it's a cheesy horror book" | |
| DavidW says, "ah, we have to kill this guard too, I see, for the token of protection she carries." | ||
| Knight_Otu says, "Another innocent guard we will be murdering." | ||
| MoyTravis says, "That do be how it goes." | ||
| DavidW says (to ClubFloyd), "x paint" | ||
| CF ] Studio Workshop 10/785 | ||
| CF | > | ||
| CF | > X PAINT | ||
| CF | | ||
| CF | Stacked up in the corners, the paints seems to be all colours of the | ||
| CF | rainbow, although it's hard to tell in this dim light. | ||
| CF | | ||
| CF | You can hear footsteps to the south. They seem to be slowly receding | ||
| CF | into the distance. | ||
| CF | | ||
| CF | > | Roger says, "excuse me, fellow travellers" | |
| DavidW says (to ClubFloyd), "s" | ||
| CF ] The Laboratory of Dr Von Hummels 10/786 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | The Laboratory of Dr Von Hummels | ||
| CF | The centre of the room is dominated by an ominous metallic slab atop | ||
| CF | an iron plinth. On a large wooden table next to it, tubes, pipes, | ||
| CF | flasks and beakers bubble and hiss with strange looking liquids that | ||
| CF | make the room reek with their stinging chemical smell. Around the | ||
| CF | walls are prop bookcases filled with painted book spines. Doorways | ||
| CF | gape to the north and west into shadowed darkness and a gap in the | ||
| CF | fake walls leads south. | ||
| CF | | ||
| CF | Attached to one end of the slab is a metal helmet, to the other, a | ||
| CF | smooth brass handle. | ||
| CF | | ||
| CF | There's something in the centre of the slab. You can't work out what | ||
| CF | it is at first, but then you realize. The shapeless mass is a human | ||
| CF | torso with no limbs or head! You turn away in horror! Surely it's just | ||
| CF | a prop, but it's so realistic looking! | ||
| CF | | ||
| CF | You can hear footsteps to the south. They seem to be slowly receding | ||
| CF | into the distance. | ||
| CF | | ||
| CF | > | ||
| Roger goes home. | Knight_Otu says, "I wonder what the protective charm is for a Frankenstein monster." | |
| Krumar says, "I bet is has to do with fire." | ||
| Knight_Otu says, "Right. Fire bad." | ||
| Krumar says, "Got to find some body parts now." | ||
| Knight_Otu says, "Also, once more our protagonist fails to see the obvious." | ||
| DavidW asks, "hey gang, remember the legs in the fridge?" | ||
| burl says, "and a torch" | ||
| DavidW asks, "The head on the bone door?" | ||
| Knight_Otu says, "I guess there are limbs in that fridge." | ||
| DavidW says, "I think we need to build our own monster." | ||
| Knight_Otu says, "I wonder. The other studios were self-contained, and you surely can get into this studio as the second one, before the head appears." | ||
| Krumar says, "It would be neat if you could choose different body parts to get different monsters." | ||
| DavidW says, "It's possible that this one has to be solved last." | ||
| MoyTravis says, "That seems like a mean thing to do." | ||
| burl says, "bringing a monster to life does feel like a grand finale" | ||
| Knight_Otu says, "Hm." | ||
| DavidW says, "Also, I now know what the needle and thread are for. Sewing body parts together." | ||
| Knight_Otu says, "Makes sense." | ||
| Krumar asks, "That remdinds me, shouldn't we get something like the needle and thread from the mummy set?" | ||
| Krumar says, "That makes sense." | ||
| DavidW says (to Krumar), "That's been bothering me too." | ||
| Krumar says, "It might be what is in the skeleton." | ||
| DavidW says, "Regardless, we still can't deal with that corridor." | ||
| DavidW says (to ClubFloyd), "x table" | ||
| CF ] The Laboratory of Dr Von Hummels 10/787 | ||
| CF | > | ||
| CF | > X TABLE | ||
| CF | | ||
| CF | The table is covered in a mass of complicated laboratory equipment. | ||
| CF | | ||
| CF | > | Krumar asks, "should we try to get the legs?" | |
| Knight_Otu says, "Hm, again." | ||
| DavidW says (to Krumar), "not yet. I have no desire to carry legs." | ||
| Knight_Otu says, "I vote that we first explore this studio." | ||
| MoyTravis says, "Concur." | ||
| DavidW says (to ClubFloyd), "x torso" | ||
| CF ] The Laboratory of Dr Von Hummels 10/788 | ||
| CF | > | ||
| CF | > X TORSO | ||
| CF | | ||
| CF | The limbless, headless torso is so realistic! There's even a tattoo of | ||
| CF | a bird on its shoulder. A bit like the one your actor friend, Jimmy | ||
| CF | McLart, has! | ||
| CF | | ||
| CF | > | Knight_Otu says, "Protagonist..." | |
| MoyTravis exclaims, "Look, writing two versions of all the different scenes would be a lot of work!" | ||
| MoyTravis says, "Also it's pretty funny." | ||
| DavidW says (to ClubFloyd), "look" | ||
| CF ] The Laboratory of Dr Von Hummels 10/789 | ||
| CF | > | ||
| CF | > LOOK | ||
| CF | | ||
| CF | The Laboratory of Dr Von Hummels | ||
| CF | The centre of the room is dominated by an ominous metallic slab atop | ||
| CF | an iron plinth. On a large wooden table next to it, tubes, pipes, | ||
| CF | flasks and beakers bubble and hiss with strange looking liquids that | ||
| CF | make the room reek with their stinging chemical smell. Around the | ||
| CF | walls are prop bookcases filled with painted book spines. Doorways | ||
| CF | gape to the north and west into shadowed darkness and a gap in the | ||
| CF | fake walls leads south. | ||
| CF | | ||
| CF | Attached to one end of the slab is a metal helmet, to the other, a | ||
| CF | smooth brass handle. | ||
| CF | | ||
| CF | In the centre of the slab is a limbless, headless human torso! | ||
| CF | | ||
| CF | You can hear footsteps to the north. They seem to be getting closer! | ||
| CF | | ||
| CF | You are in a perilous situation! | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] Crematorium 10/790 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | Crematorium | ||
| CF | The whole set is painted the same light green you see in a hospital | ||
| CF | ward. You know this is a crematorium because of the word "Crematorium" | ||
| CF | written in large white letters on the wall. You assume this is to let | ||
| CF | the audience know too without too much exposition. Dark gaps in the | ||
| CF | set walls lead north and west. | ||
| CF | | ||
| CF | On one wall is the open door to what must be the cremation oven! | ||
| CF | | ||
| CF | Extending from the oven into the centre of the room is a wheeled metal | ||
| CF | gurney. | ||
| CF | | ||
| CF | You can hear footsteps to the north. They seem to be getting closer! | ||
| CF | | ||
| CF | You are in a perilous situation! | ||
| CF | | ||
| CF | > | Jacqueline says, "I think you are likely right - this might be the grand finale and we should do the werewolves first." | |
| Knight_Otu says, "True enough." | ||
| DavidW says (to ClubFloyd), "hide" | ||
| CF ] Crematorium 10/791 | ||
| CF | > | ||
| CF | > HIDE | ||
| CF | | ||
| CF | You back into the darker shadows of the set as the footsteps tap ever | ||
| CF | closer. | ||
| CF | | ||
| CF | A security guard walks in through the door to the north. | ||
| CF | | ||
| CF | The Guard flicks her torch around the set in a half hearted fashion. | ||
| CF | Then, with a guilty glance around, she lies on the gurney and puts her | ||
| CF | feet up! She opens her book and starts to read, chuckling to herself | ||
| CF | every now and again. Oh no! You hope she's not going to be here for | ||
| CF | long! The fate of the world is at stake! | ||
| CF | | ||
| CF | She sighs heavily and turns the page over. | ||
| CF | | ||
| CF | > | MoyTravis asks, "I'd be annoyed with the game if it turned out like that - why not just gate us out of this one then?" | |
| MoyTravis asks, "Do we murder, and then reanimate, this one?" | ||
| Jacqueline says, "It's part of the puzzle." | ||
| Jacqueline says, "She might have some body parts we use. Possibly." | ||
| MoyTravis says, "Or...murder and swap out body parts? Grim." | ||
| DavidW asks, "are we... supposed to dump her into the oven?" | ||
| Krumar says, "I think we push her into the oven." | ||
| Jacqueline says, "I am not annoyed if this is the last puzzle and we have to do the other first. That seems pretty standard." | ||
| Knight_Otu says, "I don't think we do, but who knows." | ||
| DavidW says (to ClubFloyd), "push guard" | ||
| CF ] Studio Lot South 10/792 | ||
| CF | > | ||
| CF | > PUSH GUARD | ||
| CF | | ||
| CF | Your movement attracts the attention of the security guard. She sees | ||
| CF | you immediately. "Whoah," she says. "You shouldn't be in here, | ||
| CF | friend!" She sighs, closes her book, and grabs you by the arm. "Let's | ||
| CF | go. I can't have people in here at night. I'll get fired!" | ||
| CF | | ||
| CF | You struggle feebly, but it's no use - she's stronger than she looks. | ||
| CF | The Guard shuffles you outside the studio. "Wow," she grins. "You | ||
| CF | actors are killing me." She gives you a big thumbs up before | ||
| CF | disappearing back into the studio. | ||
| CF | | ||
| CF | Studio Lot South | ||
| CF | Here, the lot is surrounded on three sides by Studios, looming out of | ||
| CF | the night like ancient guardians. The lot continues to the north into | ||
| CF | shadow. To the east side is the door to Studio 3, to the west, Studio | ||
| CF | 4 and to the south the door to Studio 5 where you have spent so much | ||
| CF | time over the last two weeks. A sign over each door proclaims the | ||
| CF | movie that is being made there. | ||
| CF | | ||
| CF | Nefer-Kare's ancient servants skulk in a dusty group around their | ||
| CF | leader. | ||
| CF | | ||
| CF | The huge mummified form of Nefer-Kare stands menacingly near the | ||
| CF | centre of the lot, wrapped in dirty bandages. | ||
| CF | | ||
| CF | A horde of shambling zombies, led by a slightly less decomposed | ||
| CF | Security Guard, stumble around. | ||
| CF | | ||
| CF | Vampire thralls stand in a surly group, shooting suspicious glances at | ||
| CF | you. | ||
| CF | | ||
| CF | Over by the studio walls, the Count stands listlessly, staring off | ||
| CF | into the sky. | ||
| CF | | ||
| CF | The Countess paces impatiently around the lot. | ||
| CF | | ||
| CF | A dead cultist lies sprawled on the ground, his face frozen in a | ||
| CF | horrifying rictus. | ||
| CF | | ||
| CF | You can't reach into The Laboratory of Dr Von Hummels. | ||
| CF | | ||
| CF | > | MoyTravis says, "Well, for parser games interlocking/overlapping puzzles are pretty normal, but for this game they're all self-contained so far." | |
| DavidW says (to ClubFloyd), "undo" | ||
| CF ] Crematorium 10/791 | ||
| CF | | ||
| CF | > UNDO | ||
| CF | | ||
| CF | Crematorium | ||
| CF | [Previous turn undone.] | ||
| CF | | ||
| CF | > | Jacqueline says, "Yep, and one of them is just different." | |
| DavidW says, "It's not as simple as PUSH GUARD." | ||
| Knight_Otu nods. | ||
| DavidW says (to ClubFloyd), "x guard's book" | ||
| CF ] Crematorium 10/792 | ||
| CF | > | ||
| CF | > X GUARD'S BOOK | ||
| CF | | ||
| CF | You can't make out the title from here, bur the cover is pretty lurid. | ||
| CF | | ||
| CF | The security guard closes her book with a sigh, gets off the gurney, | ||
| CF | and ambles out through the west door. You come out of hiding. | ||
| CF | | ||
| CF | > | MoyTravis asks, "Can we rig the gurney somehow?" | |
| DavidW says, "okay, she merely stops here a little." | ||
| DavidW says (to ClubFloyd), "x gurney" | ||
| CF ] Crematorium 10/793 | ||
| CF | > | ||
| CF | > X GURNEY | ||
| CF | | ||
| CF | It's a flat topped metal trolley, about long enough for a person. It's | ||
| CF | attached to the oven by metal rods. It looks like you could push it | ||
| CF | and it would go into the oven, or pull it out again. | ||
| CF | | ||
| CF | You can hear footsteps to the west. They seem to be slowly receding | ||
| CF | into the distance. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "push gurney" | ||
| CF ] Crematorium 10/794 | ||
| CF | > | ||
| CF | > PUSH GURNEY | ||
| CF | | ||
| CF | You push on the gurney, and it smoothly slides into the cremation | ||
| CF | oven. | ||
| CF | | ||
| CF | > | DavidW asks, "so, now what, wait and see if we can close the oven with her inside? Do you think she'd do that?" | |
| DavidW asks, "Or do we leave the gurney out and push the gurney instead of pushing the guard?" | ||
| Knight_Otu says, "I suspect the latter." | ||
| MoyTravis says, "Prolly that last one." | ||
| DavidW says (to ClubFloyd), "pull gurney" | ||
| CF ] Crematorium 10/795 | ||
| CF | > | ||
| CF | > PULL GURNEY | ||
| CF | | ||
| CF | The gurney slides smoothly out of the oven and into the room. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "z" | ||
| CF ] Crematorium 10/796 | ||
| CF | > | ||
| CF | > Z | ||
| CF | | ||
| CF | Time passes. | ||
| CF | | ||
| CF | You can hear footsteps to the north. They seem to be getting closer! | ||
| CF | | ||
| CF | You are in a perilous situation! | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "hide" | ||
| CF ] Crematorium 10/797 | ||
| CF | > | ||
| CF | > HIDE | ||
| CF | | ||
| CF | You back into the darker shadows of the set as the footsteps tap ever | ||
| CF | closer. | ||
| CF | | ||
| CF | A security guard walks in through the door to the north. | ||
| CF | | ||
| CF | The Guard flicks her torch around the set in a half hearted fashion. | ||
| CF | Then, with a guilty glance around, she lies on the gurney and puts her | ||
| CF | feet up! She opens her book and starts to read, chuckling to herself | ||
| CF | every now and again. Oh no! You hope she's not going to be here for | ||
| CF | long! The fate of the world is at stake! | ||
| CF | | ||
| CF | She chuckles under her breath at something she's reading. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "push gurney" | ||
| CF ] Crematorium 10/798 | ||
| CF | > | ||
| CF | > PUSH GURNEY | ||
| CF | | ||
| CF | You leap out from the shadows and before the Guard knows what's | ||
| CF | happening you push on the end of the gurney and it slides smoothly | ||
| CF | into the oven with the Guard still on it! | ||
| CF | | ||
| CF | "Hey" she shouts, in a muffled voice, "what's going on?" | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "close oven" | ||
| CF ] Crematorium 10/799 | ||
| CF | > | ||
| CF | > CLOSE OVEN | ||
| CF | | ||
| CF | The metal door slams shut with an ominous boom. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "turn on oven" | ||
| CF ] Crematorium 10/800 | ||
| CF | > | ||
| CF | > TURN ON OVEN | ||
| CF | | ||
| CF | It isn't something you can switch. | ||
| CF | | ||
| CF | There is a tapping noise coming from inside the oven. | ||
| CF | | ||
| CF | > | ||
| PhilGoetz goes home. | ||
| DavidW says (to ClubFloyd), "x oven" | ||
| CF ] Crematorium 10/801 | ||
| CF | > | ||
| CF | > X OVEN | ||
| CF | | ||
| CF | The oven is closed. You'd need to open it to get a better look inside. | ||
| CF | | ||
| CF | Next to the oven door is a large green button. | ||
| CF | | ||
| CF | You hear muffled shouting coming from inside the oven. | ||
| CF | | ||
| CF | > | Krumar says, "man we are killing quick now." | |
| DavidW says, "well, look. A happy green button." | ||
| DavidW says (to ClubFloyd), "push green button" | ||
| CF ] Crematorium 11/802 | ||
| CF | > | ||
| CF | > PUSH GREEN BUTTON | ||
| CF | | ||
| CF | You can't think too much about the dreadful choices you must make! You | ||
| CF | reach forward and slam your hand onto the green button. | ||
| CF | | ||
| CF | The button clicks and there is a moment's silence. Then a sudden roar | ||
| CF | of noise from inside the oven. You can feel the heat coming off from | ||
| CF | it! The roaring only lasts a few moments, then silence once more other | ||
| CF | than the occasional plink of cooling metal. Then, only more silence. | ||
| CF | | ||
| CF | You have survived a perilous situation! | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "open oven" | ||
| CF ] Crematorium 11/803 | ||
| CF | > | ||
| CF | > OPEN OVEN | ||
| CF | | ||
| CF | You close your eyes in anticipation of the horrors that await you in | ||
| CF | the oven! The metal door creaks open slowly and, to your relief there | ||
| CF | is nothing in there other than a wisp of greasy smoke which quickly | ||
| CF | dissipates. | ||
| CF | | ||
| CF | At least you thought there was nothing. A little metal box sits on the | ||
| CF | gurney! | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take box" | ||
| CF ] Crematorium 11/804 | ||
| CF | > | ||
| CF | > TAKE BOX | ||
| CF | | ||
| CF | You grab the metallic box. Why, it's a little music box with a small | ||
| CF | wind-up handle on the side! | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "wind box" | ||
| CF ] Crematorium 11/805 | ||
| CF | > | ||
| CF | > WIND BOX | ||
| CF | | ||
| CF | The music box begins to play a tinny, but pleasant little tinkly tune. | ||
| CF | You almost recognize it, but not quite. | ||
| CF | | ||
| CF | > | Knight_Otu says, "Rest in peace." | |
| burl says, "oooh is it a song that controls magic creatures" | ||
| DavidW says, "Music hath charms etc etc" | ||
| DavidW says (to ClubFloyd), "w" | ||
| CF ] The Castle Rooftop 11/806 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | The Castle Rooftop | ||
| CF | Ah, the roof of Dr Von Hummel's Castle. The set consists of a small | ||
| CF | catwalk around a tiled dome. The narrow walkway is surrounded by | ||
| CF | crenelated battlements and the set designers have really gone over the | ||
| CF | top with the gargoyles! There are dragons, imps, devils and things you | ||
| CF | don't even know the name of. They all have one thing in common - they | ||
| CF | seem to stare directly at you with their empty evil eyes! Or you could | ||
| CF | be just imagining it. Spaces in the set walls lead into dimly lit | ||
| CF | areas of the studio to the north and east. | ||
| CF | | ||
| CF | On top of the dome is a huge metal spike that stretches almost all the | ||
| CF | way to the studio ceiling. | ||
| CF | | ||
| CF | A smooth brass handle pokes out of the set wall. | ||
| CF | | ||
| CF | Behind one of the battlements, set into the floor, is a large iron | ||
| CF | wheel. | ||
| CF | | ||
| CF | The plunking sounds from the plinky little music box fills the air. | ||
| CF | | ||
| CF | > | Jacqueline says, "Yeah, ISTR that the monster was soothed by music." | |
| burl asks, "is the metal spike something we eventually connect the jumper cable to?" | ||
| Jacqueline says, "Also, cremation is not that efficent." | ||
| Jacqueline says, "But anyway." | ||
| DavidW says, "I think the spike is more likely a lightning rod." | ||
| DavidW says (to ClubFloyd), "x spike" | ||
| CF ] The Castle Rooftop 11/807 | ||
| CF | > | ||
| CF | > X SPIKE | ||
| CF | | ||
| CF | The spike is attached to the centre of the dome. A copper band runs | ||
| CF | from it down the side of the roof to just above the walkway. | ||
| CF | | ||
| CF | At the bottom end of the copper band is a round metal ring. | ||
| CF | | ||
| CF | You can't help but hum along to the little tune coming out of the | ||
| CF | music box. | ||
| CF | | ||
| CF | > | Krumar asks, "attach cable to the ring?" | |
| Krumar says, "or whatever that wire is." | ||
| DavidW says, "okay, I'm guessing the wheel raises the slab to here, and we connect the cord from the ring to the monster when built." | ||
| DavidW says (to ClubFloyd), "x wheel" | ||
| CF ] The Castle Rooftop 11/808 | ||
| CF | > | ||
| CF | > X WHEEL | ||
| CF | | ||
| CF | The wheel is set into the floor. It definitely looks like it could be | ||
| CF | turned by hand. | ||
| CF | | ||
| CF | The little music box is still playing a tinkly little tune. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "turn wheel" | ||
| CF ] The Castle Rooftop 11/809 | ||
| CF | > | ||
| CF | > TURN WHEEL | ||
| CF | | ||
| CF | You turn the wheel. It's easy at first but gradually gets harder and | ||
| CF | harder until you can't turn it anymore. | ||
| CF | | ||
| CF | For some reason, the hairs on the back of your neck begin to rise and | ||
| CF | your skin prickles. | ||
| CF | | ||
| CF | The music box finishes its tune and the tinny music stops. | ||
| CF | | ||
| CF | > | DavidW says, "hm. I was wrong about the wheel." | |
| DavidW says (to ClubFloyd), "x ring" | ||
| CF ] The Castle Rooftop 11/810 | ||
| CF | > | ||
| CF | > X RING | ||
| CF | | ||
| CF | The ring is welded to the bottom of the copper band. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x dome" | ||
| CF ] The Castle Rooftop 11/811 | ||
| CF | > | ||
| CF | > X DOME | ||
| CF | | ||
| CF | The roof curves up from the catwalk into a dome. Atop it is a huge | ||
| CF | metal spike. | ||
| CF | | ||
| CF | > | burl says, "oh, our monster control is going to have a timeout and then we're in trouble" | |
| DavidW says (to ClubFloyd), "x copper band" | ||
| CF ] The Castle Rooftop 11/812 | ||
| CF | > | ||
| CF | > X COPPER BAND | ||
| CF | | ||
| CF | The copper band runs from the bottom of the metal spike and down the | ||
| CF | dome to just above the walkway. At the bottom end of it is a round | ||
| CF | metal ring. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "l" | ||
| CF ] The Castle Rooftop 11/813 | ||
| CF | > | ||
| CF | > L | ||
| CF | | ||
| CF | The Castle Rooftop | ||
| CF | Ah, the roof of Dr Von Hummel's Castle. The set consists of a small | ||
| CF | catwalk around a tiled dome. The narrow walkway is surrounded by | ||
| CF | crenelated battlements and the set designers have really gone over the | ||
| CF | top with the gargoyles! There are dragons, imps, devils and things you | ||
| CF | don't even know the name of. They all have one thing in common - they | ||
| CF | seem to stare directly at you with their empty evil eyes! Or you could | ||
| CF | be just imagining it. Spaces in the set walls lead into dimly lit | ||
| CF | areas of the studio to the north and east. | ||
| CF | | ||
| CF | On top of the dome is a huge metal spike that stretches almost all the | ||
| CF | way to the studio ceiling. | ||
| CF | | ||
| CF | Some terrible energies in the very air itself are making the hairs | ||
| CF | stand up on the back of your neck. | ||
| CF | | ||
| CF | A smooth brass handle pokes out of the set wall. | ||
| CF | | ||
| CF | Behind one of the battlements, set into the floor, is a large iron | ||
| CF | wheel. | ||
| CF | | ||
| CF | > | Jacqueline asks, "Maybe you just electrify the slab itself?" | |
| Krumar asks, "should we wind the music box again?" | ||
| Krumar says, "Also, could be lightning is about to strike." | ||
| Krumar says, "Lightning might be the reason hair is standing up." | ||
| DavidW says (to ClubFloyd), "x gargoyles" | ||
| CF ] The Castle Rooftop 11/814 | ||
| CF | > | ||
| CF | > X GARGOYLES | ||
| CF | | ||
| CF | You know they're made out of painted foam, but they're pretty good. | ||
| CF | They actually look....forbidding and slightly evil. Someone in the set | ||
| CF | design department has a talent for this sort of thing. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "exits" | ||
| CF ] The Castle Rooftop 11/814 | ||
| CF | > | ||
| CF | > EXITS | ||
| CF | | ||
| CF | That's not a verb I recognise. | ||
| CF | | burl says, "it's hard to count with the chat interspersed but i think we get 8 or 3 turns depending on whether looks and examines count" | |
| CF | > | ||
| DavidW says (to ClubFloyd), "l" | ||
| CF ] The Castle Rooftop 11/815 | ||
| CF | > | ||
| CF | > L | ||
| CF | | ||
| CF | The Castle Rooftop | ||
| CF | Ah, the roof of Dr Von Hummel's Castle. The set consists of a small | ||
| CF | catwalk around a tiled dome. The narrow walkway is surrounded by | ||
| CF | crenelated battlements and the set designers have really gone over the | ||
| CF | top with the gargoyles! There are dragons, imps, devils and things you | ||
| CF | don't even know the name of. They all have one thing in common - they | ||
| CF | seem to stare directly at you with their empty evil eyes! Or you could | ||
| CF | be just imagining it. Spaces in the set walls lead into dimly lit | ||
| CF | areas of the studio to the north and east. | ||
| CF | | ||
| CF | On top of the dome is a huge metal spike that stretches almost all the | ||
| CF | way to the studio ceiling. | ||
| CF | | ||
| CF | Some terrible energies in the very air itself are making the hairs | ||
| CF | stand up on the back of your neck. | ||
| CF | | ||
| CF | A smooth brass handle pokes out of the set wall. | ||
| CF | | ||
| CF | Behind one of the battlements, set into the floor, is a large iron | ||
| CF | wheel. | ||
| CF | | ||
| CF | > | burl says, "(for the music to go)" | |
| DavidW says (to ClubFloyd), "n" | ||
| CF ] Glade in the Forest 11/816 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Glade in the Forest | ||
| CF | Behind some plywood trees, the rest of the forest is just painted onto | ||
| CF | the walls. The floor is covered in unconvincing plastic grass, and | ||
| CF | across the length of the set stretches the riverbed, which is | ||
| CF | currently just a channel lined with blue rubber sheeting. You suppose | ||
| CF | they put water in there when they're ready to film. Shadowy doorways | ||
| CF | lead north and south, and a gap between the forest-painted set boards | ||
| CF | opens to the east. | ||
| CF | | ||
| CF | You recognise this set very well! It was in your movie too! This is | ||
| CF | where you met with the distraught villager who had escaped from the | ||
| CF | Count's clutches and was usefully able to fill you in on the location | ||
| CF | of his secret lair. Very cost effective to re-use sets you suppose. It | ||
| CF | would be interesting to know if the audience even notice. | ||
| CF | | ||
| CF | Next to the river is a conveniently placed mossy log. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x log" | ||
| CF ] Glade in the Forest 11/817 | ||
| CF | > | ||
| CF | > X LOG | ||
| CF | | ||
| CF | The log is made from some sort of heavy foam and painted brown and | ||
| CF | green. It was on this very log your character, the Professor, | ||
| CF | encountered the unnamed female villager, exhausted and injured during | ||
| CF | her escape from the Count's lair. | ||
| CF | | ||
| CF | > | DavidW says, "You'd think a real log would be easier." | |
| DavidW says (to ClubFloyd), "x trees" | ||
| CF ] Glade in the Forest 11/818 | ||
| CF | > | ||
| CF | > X TREES | ||
| CF | | ||
| CF | Is there a prop tree factory somewhere? These all look very similar to | ||
| CF | all the other fake trees around the studios. | ||
| CF | | ||
| CF | > | Knight_Otu says, "Maybe." | |
| DavidW says (to ClubFloyd), "x riverbed" | ||
| CF ] Glade in the Forest 11/819 | ||
| CF | > | ||
| CF | > X RIVERBED | ||
| CF | | ||
| CF | The channel in the floor, edges raised a little, is made from blue | ||
| CF | rubber. It doesn't take much water and, with the right lighting and | ||
| CF | someone paddling at one end with a board, this would look almost but | ||
| CF | not quite entirely unlike a real river. | ||
| CF | | ||
| CF | > | Jacqueline says, "Real logs are real heavy, though." | |
| DavidW says, "sure, that's a consideration." | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] The Evil Machinery of Dr Von Hummels 11/820 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | The Evil Machinery of Dr Von Hummels | ||
| CF | Huge interlocking plywood cogs, painted like rusty metal, form a | ||
| CF | complex machine all across one side of the room. Giant glass valves | ||
| CF | are lined up along the walls, connected by thick wires which stick out | ||
| CF | at various points in great winding loops. Doorways lead east and south | ||
| CF | deeper into the Studio. | ||
| CF | | ||
| CF | You'd been on set when they filmed this scene, invited by Jimmy | ||
| CF | McLart, your actor friend who was playing Duke, the handsome lead. It | ||
| CF | had been his big scene with the mad scientist. | ||
| CF | | ||
| CF | "This is madness, Dr Von Hummels," Duke had shouted while Von Hummels | ||
| CF | threw switches and twirled dials. "You are dabbling with the natural | ||
| CF | laws of Gods and men!" | ||
| CF | | ||
| CF | A smooth brass handle pokes out of the side of the machinery. | ||
| CF | | ||
| CF | In the centre of the room is a huge complicated semi-circular control | ||
| CF | board. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x cogs" | ||
| CF ] The Evil Machinery of Dr Von Hummels 11/821 | ||
| CF | > | ||
| CF | > X COGS | ||
| CF | | ||
| CF | Despite being made out of plywood, it's actually quite nice work by | ||
| CF | the props people. It does look, at least in this dim light, like some | ||
| CF | sort of clockwork machine for doing evil. Its actual function is, to | ||
| CF | be honest, a little obscure. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x handle" | ||
| CF ] The Evil Machinery of Dr Von Hummels 11/822 | ||
| CF | > | ||
| CF | > X HANDLE | ||
| CF | | ||
| CF | (the brass handle) | ||
| CF | The brass handle, poking out of the machinery, is connected to a thick | ||
| CF | cable that runs into the floor. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x control board" | ||
| CF ] The Evil Machinery of Dr Von Hummels 11/823 | ||
| CF | > | ||
| CF | > X CONTROL BOARD | ||
| CF | | ||
| CF | The control board seems to be made from steel and is covered with all | ||
| CF | sorts of big switches and levers and lights. They're all probably just | ||
| CF | props though, and won't do anything. | ||
| CF | | ||
| CF | Attached to the side of the control board is a round metal ring. | ||
| CF | | ||
| CF | > | DavidW says, "hm. Another ring." | |
| DavidW asks, "The rooftop scene also had a brass handle, didn't it?" | ||
| PhilGoetz says, "I can't figure out how to connect with BeipMU. I keep getting the error "⛔ TLS Error: Failed to negotiate: The token supplied to the function is invalid (80090308) Maybe this isn't the TLS/SSL port?"" | ||
| PhilGoetz asks, "Is 4000 not the right port?" | ||
| Jacqueline says, "Its function might be a little obscure, or it might be very straight-forward for someone who thinks their coworkers have been disappearing to visit their aunt or take a new job, and that the corpse with no limbs is just a realistic-looking prop." | ||
| PhilGoetz says, "actually this web client on port 4002 is a whole lot better than the last one, on port 4001, which I can't find the link to anymore." | ||
| Jacqueline says (to Phil), "It is the right port. You might want to ask on another channel. One sec, I'll find the right now." | ||
| burl asks, "can we examine the switches and levers and lights individually?" | ||
| DavidW says (to ClubFloyd), "x switches" | ||
| CF ] The Evil Machinery of Dr Von Hummels 11/824 | ||
| CF | > | ||
| CF | > X SWITCHES | ||
| CF | | ||
| CF | Some prop person really went to town on this. Every type of lever, | ||
| CF | switch and light you can think of makes an appearance. | ||
| CF | | ||
| CF | > | burl says, "dang" | |
| DavidW says, "Sorry." | ||
| Jacqueline says (to Phil), "Try #mud-clients" | ||
| DavidW says, "I think the brass handle is the only true control here." | ||
| DavidW says (to ClubFloyd), "pull brass handle" | ||
| CF ] The Evil Machinery of Dr Von Hummels 11/825 | ||
| CF | > | ||
| CF | > PULL BRASS HANDLE | ||
| CF | | ||
| CF | You pull on the handle. Nothing obvious happens. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "turn cogs" | ||
| CF ] The Evil Machinery of Dr Von Hummels 11/826 | ||
| CF | > | ||
| CF | > TURN COGS | ||
| CF | | ||
| CF | The machine is surprisingly sturdy. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] Studio Workshop 11/827 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | Studio Workshop | ||
| CF | This must be where they build the sets! The walls and most of the | ||
| CF | floor is covered in offcuts of plywood. Large rectangular pieces of | ||
| CF | the foam they use to carve all sorts of things out of like boulders | ||
| CF | and statues lie in piles in between wooden trestles. Pots of paint, | ||
| CF | dripped and smeared with a hundred different colours, are roughly | ||
| CF | stacked in the corners. Forbidding doorways lead into shadow to the | ||
| CF | west and south and the door out of the Studio, to the east, lies open. | ||
| CF | | ||
| CF | > | Krumar says, "I feel like you might connect the rings between here and the spire then throw the handel." | |
| burl says, "so maybe the doohickey needs to already be connected to the whatsit. yes exactly" | ||
| Krumar says, "still, we probably have to put the body together and get it in there." | ||
| Knight_Otu says, "I guess we need the head and limbs from outside after all." | ||
| burl says, "time for creepy build a bear" | ||
| DavidW says, "I'm not sure how to move the body or electrify it yet, but we can try to attach the head and the legs." | ||
| DavidW says, "I don't remember if any arms are in the fridge." | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] Studio Lot South 11/828 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | Studio Lot South | ||
| CF | Here, the lot is surrounded on three sides by Studios, looming out of | ||
| CF | the night like ancient guardians. The lot continues to the north into | ||
| CF | shadow. To the east side is the door to Studio 3, to the west, Studio | ||
| CF | 4 and to the south the door to Studio 5 where you have spent so much | ||
| CF | time over the last two weeks. A sign over each door proclaims the | ||
| CF | movie that is being made there. | ||
| CF | | ||
| CF | Nefer-Kare's ancient servants skulk in a dusty group around their | ||
| CF | leader. | ||
| CF | | ||
| CF | The huge mummified form of Nefer-Kare stands menacingly near the | ||
| CF | centre of the lot, wrapped in dirty bandages. | ||
| CF | | ||
| CF | A horde of shambling zombies, led by a slightly less decomposed | ||
| CF | Security Guard, stumble around. | ||
| CF | | ||
| CF | Vampire thralls stand in a surly group, shooting suspicious glances at | ||
| CF | you. | ||
| CF | | ||
| CF | Over by the studio walls, the Count stands listlessly, staring off | ||
| CF | into the sky. | ||
| CF | | ||
| CF | The Countess paces impatiently around the lot. | ||
| CF | | ||
| CF | A dead cultist lies sprawled on the ground, his face frozen in a | ||
| CF | horrifying rictus. | ||
| CF | | ||
| CF | The Count looks as if he might speak, then seems to think better of | ||
| CF | it. | ||
| CF | | ||
| CF | > | Krumar says, "it would be cool if you could use the wheelbarrow." | |
| DavidW says (to ClubFloyd), "n" | ||
| CF ] Studio Lot North 11/829 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Studio Lot North | ||
| CF | The northern end of the huge lot, oppressively surrounded by the | ||
| CF | looming, darkened studio buildings, is overlooked to the north by the | ||
| CF | ugly and squat offices, their windows watching over the lot like great | ||
| CF | eyes. Who knows what lurks behind them. To the west, the door to | ||
| CF | Studio 1 is closed. To the east, the open Studio 2 door. On each door, | ||
| CF | a sign. The lot continues to the south into shadow. | ||
| CF | | ||
| CF | The glass doors into the offices to the north have been replaced by | ||
| CF | gigantic doors that seem to be made entirely from human bones. The | ||
| CF | doorframe is made from hideous grinning human skulls! | ||
| CF | | ||
| CF | Sharp wooden spikes stick out from the ground around the door at all | ||
| CF | angles. On one of the spikes is impaled Harry Higginbotham's | ||
| CF | decapitated head! | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take head" | ||
| CF ] Studio Lot North 11/830 | ||
| CF | > | ||
| CF | > TAKE HEAD | ||
| CF | | ||
| CF | Shaking with horror, you pull the head from the spike. | ||
| CF | | ||
| CF | Harry's head is wide eyed and set in an expression of terror! | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] Studio Lot South 11/831 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | Studio Lot South | ||
| CF | Here, the lot is surrounded on three sides by Studios, looming out of | ||
| CF | the night like ancient guardians. The lot continues to the north into | ||
| CF | shadow. To the east side is the door to Studio 3, to the west, Studio | ||
| CF | 4 and to the south the door to Studio 5 where you have spent so much | ||
| CF | time over the last two weeks. A sign over each door proclaims the | ||
| CF | movie that is being made there. | ||
| CF | | ||
| CF | Nefer-Kare's ancient servants skulk in a dusty group around their | ||
| CF | leader. | ||
| CF | | ||
| CF | The huge mummified form of Nefer-Kare stands menacingly near the | ||
| CF | centre of the lot, wrapped in dirty bandages. | ||
| CF | | ||
| CF | A horde of shambling zombies, led by a slightly less decomposed | ||
| CF | Security Guard, stumble around. | ||
| CF | | ||
| CF | Vampire thralls stand in a surly group, shooting suspicious glances at | ||
| CF | you. | ||
| CF | | ||
| CF | Over by the studio walls, the Count stands listlessly, staring off | ||
| CF | into the sky. | ||
| CF | | ||
| CF | The Countess paces impatiently around the lot. | ||
| CF | | ||
| CF | A dead cultist lies sprawled on the ground, his face frozen in a | ||
| CF | horrifying rictus. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "w" | ||
| CF ] Studio Workshop 11/832 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Studio Workshop | ||
| CF | This must be where they build the sets! The walls and most of the | ||
| CF | floor is covered in offcuts of plywood. Large rectangular pieces of | ||
| CF | the foam they use to carve all sorts of things out of like boulders | ||
| CF | and statues lie in piles in between wooden trestles. Pots of paint, | ||
| CF | dripped and smeared with a hundred different colours, are roughly | ||
| CF | stacked in the corners. Forbidding doorways lead into shadow to the | ||
| CF | west and south and the door out of the Studio, to the east, lies open. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] The Laboratory of Dr Von Hummels 11/833 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | The Laboratory of Dr Von Hummels | ||
| CF | The centre of the room is dominated by an ominous metallic slab atop | ||
| CF | an iron plinth. On a large wooden table next to it, tubes, pipes, | ||
| CF | flasks and beakers bubble and hiss with strange looking liquids that | ||
| CF | make the room reek with their stinging chemical smell. Around the | ||
| CF | walls are prop bookcases filled with painted book spines. Doorways | ||
| CF | gape to the north and west into shadowed darkness and a gap in the | ||
| CF | fake walls leads south. | ||
| CF | | ||
| CF | Attached to one end of the slab is a metal helmet, to the other, a | ||
| CF | smooth brass handle. | ||
| CF | | ||
| CF | In the centre of the slab is a limbless, headless human torso! | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "sew head to torso" | ||
| CF ] The Laboratory of Dr Von Hummels 11/834 | ||
| CF | > | ||
| CF | > SEW HEAD TO TORSO | ||
| CF | | ||
| CF | You would need to put the head on the slab first. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "put head on slab" | ||
| CF ] The Laboratory of Dr Von Hummels 11/835 | ||
| CF | > | ||
| CF | > PUT HEAD ON SLAB | ||
| CF | | ||
| CF | You put Harry's head onto the slab and arrange it just above the | ||
| CF | torso. It fits neatly into the metal helmet. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "sew head to torso" | ||
| CF ] The Laboratory of Dr Von Hummels 11/836 | ||
| CF | > | ||
| CF | > SEW HEAD TO TORSO | ||
| CF | | ||
| CF | It is like Harry is watching you as the bone needle seems, through | ||
| CF | some awful witchcraft, to relish the horrific task! You sew the head | ||
| CF | onto the torso's neck with rough stitches until it is firmly attached. | ||
| CF | | ||
| CF | > | DavidW says, "looks like this is the correct track." | |
| DavidW says (to ClubFloyd), "n" | ||
| CF ] Studio Workshop 11/837 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Studio Workshop | ||
| CF | This must be where they build the sets! The walls and most of the | ||
| CF | floor is covered in offcuts of plywood. Large rectangular pieces of | ||
| CF | the foam they use to carve all sorts of things out of like boulders | ||
| CF | and statues lie in piles in between wooden trestles. Pots of paint, | ||
| CF | dripped and smeared with a hundred different colours, are roughly | ||
| CF | stacked in the corners. Forbidding doorways lead into shadow to the | ||
| CF | west and south and the door out of the Studio, to the east, lies open. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] Studio Lot South 11/838 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | Studio Lot South | ||
| CF | Here, the lot is surrounded on three sides by Studios, looming out of | ||
| CF | the night like ancient guardians. The lot continues to the north into | ||
| CF | shadow. To the east side is the door to Studio 3, to the west, Studio | ||
| CF | 4 and to the south the door to Studio 5 where you have spent so much | ||
| CF | time over the last two weeks. A sign over each door proclaims the | ||
| CF | movie that is being made there. | ||
| CF | | ||
| CF | Nefer-Kare's ancient servants skulk in a dusty group around their | ||
| CF | leader. | ||
| CF | | ||
| CF | The huge mummified form of Nefer-Kare stands menacingly near the | ||
| CF | centre of the lot, wrapped in dirty bandages. | ||
| CF | | ||
| CF | A horde of shambling zombies, led by a slightly less decomposed | ||
| CF | Security Guard, stumble around. | ||
| CF | | ||
| CF | Vampire thralls stand in a surly group, shooting suspicious glances at | ||
| CF | you. | ||
| CF | | ||
| CF | Over by the studio walls, the Count stands listlessly, staring off | ||
| CF | into the sky. | ||
| CF | | ||
| CF | The Countess paces impatiently around the lot. | ||
| CF | | ||
| CF | A dead cultist lies sprawled on the ground, his face frozen in a | ||
| CF | horrifying rictus. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] Studio Waiting Room 11/839 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | Studio Waiting Room | ||
| CF | The dim lights barely illuminate the scattering of uncomfortable | ||
| CF | chairs where actors are supposed to spend their time between takes. A | ||
| CF | door to the north leads outside and dark doorways lead to the east and | ||
| CF | west deeper into the studio. | ||
| CF | | ||
| CF | The kitchen counter along one wall, stained with coffee mug rings, | ||
| CF | holds the accumulated detritus of a hundred extras' various drink | ||
| CF | making ingredients. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] Studio Store 11/840 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | Studio Store | ||
| CF | Props from a hundred bad movies loom out of the dim light in piles on | ||
| CF | the floor and stacked on metal shelving. Wide hangers hold arrays of | ||
| CF | multi-colored clothing. There may be a storage methodology at work | ||
| CF | here, but you can't see it. To your eyes, it just looks like random | ||
| CF | piles of junk made from cloth and plywood. Dimly lit doorways in the | ||
| CF | west and south walls lead into shadow. | ||
| CF | | ||
| CF | A rolled up rug is next to an open trapdoor, leading down into a | ||
| CF | brightly lit room. | ||
| CF | | ||
| CF | A sewing machine sits on a workbench in front of the clothes hangers. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "d" | ||
| CF ] Studio Crypt 11/841 | ||
| CF | > | ||
| CF | > D | ||
| CF | | ||
| CF | Studio Crypt | ||
| CF | The square windowless room, grimly lit by a bright light from the | ||
| CF | naked lightbulb on the ceiling, is surrounded on three sides by a | ||
| CF | large cage made from iron bars that run from ceiling to floor. A | ||
| CF | barred door into the cage is open. One one side, next to a | ||
| CF | lightswitch, a rickety wooden ramp leads up to a hole in the ceiling. | ||
| CF | The walls are made from grey stone and drip with moisture. The whole | ||
| CF | room seems to give off a damp earthy smell of decay! | ||
| CF | | ||
| CF | In the centre of the room is a large white box that looks like a | ||
| CF | kitchen refrigerator. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "open fridge" | ||
| CF ] Studio Crypt 11/842 | ||
| CF | > | ||
| CF | > OPEN FRIDGE | ||
| CF | | ||
| CF | The fridge is already open. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "look in fridge" | ||
| CF ] Studio Crypt 11/843 | ||
| CF | > | ||
| CF | > LOOK IN FRIDGE | ||
| CF | | ||
| CF | It is an old kitchen refrigerator! The large white fridge sits | ||
| CF | incongruously in the middle of the room. It is open. | ||
| CF | | ||
| CF | In the kitchen refrigerator are Melissa's chopped-up remains and | ||
| CF | Beanie's partially dissolved skeleton. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take legs" | ||
| CF ] Studio Crypt 11/844 | ||
| CF | > | ||
| CF | > TAKE LEGS | ||
| CF | | ||
| CF | The remains are far too bulky to carry around. | ||
| CF | | ||
| CF | > | DavidW says, "hmm" | |
| DavidW says (to ClubFloyd), "x legs" | ||
| CF ] Studio Crypt 11/845 | ||
| CF | > | ||
| CF | > X LEGS | ||
| CF | | ||
| CF | Just two legs on top of a mound of chopped up body parts. You can | ||
| CF | hardly bear to look. | ||
| CF | | ||
| CF | > | Krumar says, "wheelbarrow" | |
| Knight_Otu says, "Sounds like it." | ||
| DavidW says, "We can't bring the barrow in here." | ||
| Knight_Otu says, "Oh, right." | ||
| Jacqueline says, "huh" | ||
| Knight_Otu says, "I guess a werewolf movie might have some severed limbs." | ||
| DavidW says, "I think we need to cut the legs loose from the rest of the remains." | ||
| Jacqueline says (to KO), "Yes." | ||
| DavidW says (to ClubFloyd), "x arms" | ||
| CF ] Studio Crypt 11/846 | ||
| CF | > | ||
| CF | > X ARMS | ||
| CF | | ||
| CF | A partially dissolved skeleton connected to a couple of relatively | ||
| CF | unscathed arms. Beanie seems to look at you with one good eye! | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take arms" | ||
| CF ] Studio Crypt 11/847 | ||
| CF | > | ||
| CF | > TAKE ARMS | ||
| CF | | ||
| CF | Beanie's skeleton is far too bulky to carry around. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "i" | ||
| CF ] Studio Crypt 11/848 | ||
| CF | > | ||
| CF | > I | ||
| CF | | ||
| CF | You are carrying a music box, a coil of cord, a jaunty hat, a leather | ||
| CF | whip, a reel of strong cotton, a bone needle, a wicked little voodoo | ||
| CF | doll, a strawberry milk bottle, an evil book of black magic, a small | ||
| CF | brass key, a tea caddy and a stained crimson robe. You are wearing the | ||
| CF | Bracelet of Nefer-Kare, Buster's Stetson, a crucifix, a gold | ||
| CF | pocketwatch and a grey suit. | ||
| CF | | ||
| CF | > | Jacqueline says, "This is why I am an advocate for switching gears (no pun intended) to the werewolf bit. But we can also just get part of the way through this before seeking limbs from the other section first." | |
| DavidW says, "I don't see a cutting tool in our inventory." | ||
| Krumar says, "Lets get the werewolf." | ||
| DavidW says, "okayh" | ||
| DavidW says (to ClubFloyd), "u" | ||
| CF ] Studio Store 11/849 | ||
| CF | > | ||
| CF | > U | ||
| CF | | ||
| CF | | ||
| CF | Studio Store | ||
| CF | Props from a hundred bad movies loom out of the dim light in piles on | ||
| CF | the floor and stacked on metal shelving. Wide hangers hold arrays of | ||
| CF | multi-colored clothing. There may be a storage methodology at work | ||
| CF | here, but you can't see it. To your eyes, it just looks like random | ||
| CF | piles of junk made from cloth and plywood. Dimly lit doorways in the | ||
| CF | west and south walls lead into shadow. | ||
| CF | | ||
| CF | A rolled up rug is next to an open trapdoor, leading down into a | ||
| CF | brightly lit room. | ||
| CF | | ||
| CF | A sewing machine sits on a workbench in front of the clothes hangers. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "w" | ||
| CF ] Studio Waiting Room 11/850 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Studio Waiting Room | ||
| CF | The dim lights barely illuminate the scattering of uncomfortable | ||
| CF | chairs where actors are supposed to spend their time between takes. A | ||
| CF | door to the north leads outside and dark doorways lead to the east and | ||
| CF | west deeper into the studio. | ||
| CF | | ||
| CF | The kitchen counter along one wall, stained with coffee mug rings, | ||
| CF | holds the accumulated detritus of a hundred extras' various drink | ||
| CF | making ingredients. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] Studio Lot South 11/851 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | Studio Lot South | ||
| CF | Here, the lot is surrounded on three sides by Studios, looming out of | ||
| CF | the night like ancient guardians. The lot continues to the north into | ||
| CF | shadow. To the east side is the door to Studio 3, to the west, Studio | ||
| CF | 4 and to the south the door to Studio 5 where you have spent so much | ||
| CF | time over the last two weeks. A sign over each door proclaims the | ||
| CF | movie that is being made there. | ||
| CF | | ||
| CF | Nefer-Kare's ancient servants skulk in a dusty group around their | ||
| CF | leader. | ||
| CF | | ||
| CF | The huge mummified form of Nefer-Kare stands menacingly near the | ||
| CF | centre of the lot, wrapped in dirty bandages. | ||
| CF | | ||
| CF | A horde of shambling zombies, led by a slightly less decomposed | ||
| CF | Security Guard, stumble around. | ||
| CF | | ||
| CF | Vampire thralls stand in a surly group, shooting suspicious glances at | ||
| CF | you. | ||
| CF | | ||
| CF | Over by the studio walls, the Count stands listlessly, staring off | ||
| CF | into the sky. | ||
| CF | | ||
| CF | The Countess paces impatiently around the lot. | ||
| CF | | ||
| CF | A dead cultist lies sprawled on the ground, his face frozen in a | ||
| CF | horrifying rictus. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] Studio Lot North 11/852 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Studio Lot North | ||
| CF | The northern end of the huge lot, oppressively surrounded by the | ||
| CF | looming, darkened studio buildings, is overlooked to the north by the | ||
| CF | ugly and squat offices, their windows watching over the lot like great | ||
| CF | eyes. Who knows what lurks behind them. To the west, the door to | ||
| CF | Studio 1 is closed. To the east, the open Studio 2 door. On each door, | ||
| CF | a sign. The lot continues to the south into shadow. | ||
| CF | | ||
| CF | The glass doors into the offices to the north have been replaced by | ||
| CF | gigantic doors that seem to be made entirely from human bones. The | ||
| CF | doorframe is made from hideous grinning human skulls! | ||
| CF | | ||
| CF | Sharp wooden spikes stick out from the ground around the door at all | ||
| CF | angles. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "w" | ||
| CF ] Path through the Forest 11/853 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | (first opening Studio 1 door) | ||
| CF | Path through the Forest | ||
| CF | Surrounded by the bottom two thirds of densely packed plywood fir | ||
| CF | trees, the path, covered in glued down gravel, runs west, deeper into | ||
| CF | the studio and east, where it ends at the studio door. Gaps in the | ||
| CF | scenery lead northwest and southwest into gloom. | ||
| CF | | ||
| CF | Just next to the path is a deep, earthy pit in the floor. It's at | ||
| CF | least as twice as deep as you and pretty big. It's so deep that the | ||
| CF | bottom is all in darkness. | ||
| CF | | ||
| CF | A cage dangles from a rope to one side of the pit, its floor level | ||
| CF | with the top of the pit wall. The rope is attached to a pulley system | ||
| CF | and winch. | ||
| CF | | ||
| CF | This is exciting. The Blood of the Werewolf's Claw is a closed set. | ||
| CF | You have absolutely no idea about this film. Your friend Davor | ||
| CF | Slyzvak, who is playing, as he put it with a wink and a tap of his | ||
| CF | nose, one of the main supporting characters, had been | ||
| CF | uncharacteristically evasive when you had asked him about the movie. | ||
| CF | | ||
| CF | "I cannot tell you," he had said in his thick Eastern European accent | ||
| CF | (which you know for a fact is put-on, given that he's from a little | ||
| CF | town not far away from your hometown). "I am sworn to secrecy, yes?" | ||
| CF | | ||
| CF | You can hear footsteps to the southwest. They seem to be slowly | ||
| CF | receding into the distance. | ||
| CF | | ||
| CF | > | MoyTravis says, "It'd be a funny change if, instead of having been murdered by the cult, your friend is the werewolf this time." | |
| Knight_Otu says, "He might be." | ||
| DavidW says, "oh, dear, another guard." | ||
| DavidW says (to ClubFloyd), "x cage" | ||
| CF ] Path through the Forest 11/854 | ||
| CF | > | ||
| CF | > X CAGE | ||
| CF | | ||
| CF | It's a simple wooden cage with one side missing to allow entry. It is | ||
| CF | attached by a rope to a pulley system. | ||
| CF | | ||
| CF | You can hear footsteps to the northwest. They seem to be getting | ||
| CF | closer! | ||
| CF | | ||
| CF | You might be in a perilous situation! | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "hide" | ||
| CF ] Path through the Forest 11/855 | ||
| CF | > | ||
| CF | > HIDE | ||
| CF | | ||
| CF | You back into the darker shadows of the set as the footsteps tap ever | ||
| CF | closer. | ||
| CF | | ||
| CF | A security guard walks in from the northwest. He gives you a genial | ||
| CF | smile. | ||
| CF | | ||
| CF | This guard seems to have eagle eyes! You thought you were getting good | ||
| CF | at hiding by now, but he spotted you straight away. But, then again, | ||
| CF | he doesn't seem to care that you're on set. Looks like you have | ||
| CF | nothing to fear here! | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "talk to guard" | ||
| CF ] Path through the Forest 11/856 | ||
| CF | > | ||
| CF | > TALK TO GUARD | ||
| CF | | ||
| CF | "Come for a pint, have you?" asks the Security Guard. "Can't blame | ||
| CF | you. I'd kill for one, myself! Got to work right now. No rest for the | ||
| CF | wicked!" | ||
| CF | | ||
| CF | The security guard waves to you and saunters off to the southwest. | ||
| CF | | ||
| CF | > | MoyTravis says, "Huh." | |
| Knight_Otu says, "Odd that." | ||
| DavidW says, "He's one of THEM." | ||
| Knight_Otu says, "Closed set, huge secrecy, and the guard is "Hey pal!"." | ||
| DavidW says (to ClubFloyd), "enter cage" | ||
| CF ] Path through the Forest 11/857 | ||
| CF | > | ||
| CF | > ENTER CAGE | ||
| CF | | ||
| CF | It's a bit too small and it doesn't look like it would hold your | ||
| CF | weight. | ||
| CF | | ||
| CF | You can hear footsteps to the southwest. They seem to be slowly | ||
| CF | receding into the distance. | ||
| CF | | ||
| CF | > | DavidW asks, "Would it hold a Wilma?" | |
| DavidW says (to ClubFloyd), "nw" | ||
| CF ] Desolate Windswept Hills 11/858 | ||
| CF | > | ||
| CF | > NW | ||
| CF | | ||
| CF | | ||
| CF | Desolate Windswept Hills | ||
| CF | It's not much, this set. A swathe of plastic grass and heather in a | ||
| CF | rounded mound is set against a painted backdrop on the studio wall | ||
| CF | that's supposed to represent distant hills. The set opens to the | ||
| CF | south, southeast and southwest, leading deeper into the gloomy studio. | ||
| CF | | ||
| CF | Rising out of the top of the mound, standing like a great sentinel lit | ||
| CF | eerily by the light from the moon, is a giant man-shaped sculpture | ||
| CF | made entirely from sticks and branches! | ||
| CF | | ||
| CF | Low on the studio wall, hangs the moon, its crescent filling the set | ||
| CF | with a ghostly pale light. | ||
| CF | | ||
| CF | A security guard walks in from the southwest. He grins at you and | ||
| CF | gives you a friendly nod. | ||
| CF | | ||
| CF | > | Krumar says, "x guard" | |
| DavidW says (to ClubFloyd), "x guard" | ||
| CF ] Desolate Windswept Hills 11/859 | ||
| CF | > | ||
| CF | > X GUARD | ||
| CF | | ||
| CF | The security guard looks like a jolly fellow. His florid face nicely | ||
| CF | matches his red uniform which is stretched tight over his stocky body. | ||
| CF | | ||
| CF | The security guard sighs and wanders southeast. | ||
| CF | | ||
| CF | > | Krumar says, "We must need soemthing from him." | |
| DavidW says, "No obvious token or bulge." | ||
| DavidW says, "Note that the moon is a crescent moon." | ||
| DavidW says (to ClubFloyd), "x moon" | ||
| CF ] Desolate Windswept Hills 11/860 | ||
| CF | > | ||
| CF | > X MOON | ||
| CF | | ||
| CF | Set into the wall, like a porthole, the lamp behind the glass is lit | ||
| CF | and glows brightly through the crescent shaped hole left by the | ||
| CF | half-open shutter. You could probably open and close it if you wanted | ||
| CF | to. | ||
| CF | | ||
| CF | You can hear footsteps to the southeast. They seem to be slowly | ||
| CF | receding into the distance. | ||
| CF | | ||
| CF | > | Krumar says, "The guard could be the wolf." | |
| DavidW says, "Thought it might be adjustable." | ||
| Krumar says, "Open it to a full moon on him." | ||
| DavidW says (to ClubFloyd), "x sculpture" | ||
| CF ] Desolate Windswept Hills 11/861 | ||
| CF | > | ||
| CF | > X SCULPTURE | ||
| CF | | ||
| CF | The sculpture of a gigantic man is made from a complex weave of willow | ||
| CF | sticks and branches. | ||
| CF | | ||
| CF | You can hear footsteps to the southwest. They seem to be getting | ||
| CF | closer! | ||
| CF | | ||
| CF | > | burl says, "i'm still wondering about the guard saying he'd kill for a pint" | |
| DavidW says (to Krumar), "I think that's worth trying after exploring more." | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] The Village of Nether Hallows 11/862 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | The Village of Nether Hallows | ||
| CF | The cobbled square, gloomy and shadowed by the surrounding pretend | ||
| CF | stone buildings, is dominated in the centre by a gnarled, blackened | ||
| CF | old tree. Gaps between the houses lead north and south deeper into the | ||
| CF | Studio. A track disappears to the east and to the west, the entrance | ||
| CF | to the pub is a square of welcoming yellow light. | ||
| CF | | ||
| CF | Outside the pub, a weathered sign hangs from a large wooden post. | ||
| CF | | ||
| CF | A noose hangs from one of the trees branches, swaying in a | ||
| CF | non-existent wind! | ||
| CF | | ||
| CF | You look closely at the buildings, expecting them to just be scenery | ||
| CF | propped up with beams, but no! They look like real three dimensional | ||
| CF | houses! That's odd. It's not like Mallet Studios to actually | ||
| CF | build something. | ||
| CF | | ||
| CF | But then, as you look around, some of the doors of the small houses | ||
| CF | open and, one by one, the villagers come out of them and into the | ||
| CF | square! They form a small crowd and mutter and whisper to each other, | ||
| CF | shooting suspicious glances at you. You swear you hear the word | ||
| CF | "Witch," at least a couple of times. | ||
| CF | | ||
| CF | The villagers mutter amongst themselves and shoot suspicious glances | ||
| CF | at you. | ||
| CF | | ||
| CF | You hear footsteps moving to the north of you. | ||
| CF | | ||
| CF | > | Krumar says, "A pint might be the token." | |
| Jacqueline says, "True" | ||
| Jacqueline says, "Maybe we find him a beer" | ||
| DavidW asks, "Everyone in favour of getting a beer?" | ||
| Knight_Otu says, "Sure." | ||
| DavidW asks, "Even though the villagers want to lynch us?" | ||
| Krumar asks, "sounds good but can we talke to the people?" | ||
| DavidW says (to ClubFloyd), "talk to villagers" | ||
| CF ] The Village of Nether Hallows 11/863 | ||
| CF | > | ||
| CF | > TALK TO VILLAGERS | ||
| CF | | ||
| CF | "What dost thou want, Witch?" says one of the villagers, stepping | ||
| CF | forward. This must be a head man or mayor or whatever. He's slightly | ||
| CF | less aromatic than the others and his clothes made from a better cut | ||
| CF | of sacking. "We shall have no truck with thy evil," he continues. | ||
| CF | "This is a godly place. We suffer no witches to live here. The noose | ||
| CF | awaits those with evil intent." | ||
| CF | | ||
| CF | (1) - "I'm not a witch." | ||
| CF | | ||
| CF | You hear footsteps moving to the east of you. | ||
| CF | | ||
| CF | You say > | ||
| DavidW says (to ClubFloyd), "1" | ||
| CF ] The Village of Nether Hallows 11/863 | ||
| CF | You say > | ||
| CF | > 1 | ||
| CF | | ||
| CF | "I'm not a witch," you say, defensively. | ||
| CF | | ||
| CF | "Hah," replies the villager. "Only a witch would say thus, for is it | ||
| CF | not written that only the most evil of witches would deny their evil | ||
| CF | witchery? Witch, I name thee and thrice damn thee to eternal | ||
| CF | damnation!" He shakes his sharp rake-thing at you, and the villagers | ||
| CF | edge closer. | ||
| CF | | ||
| CF | There's something odd here, though. Something is niggling at you. You | ||
| CF | take a closer look at the villager's face. Hang on a minute! | ||
| CF | | ||
| CF | (1) - "Derek?" | ||
| CF | | ||
| CF | You say > | ||
| DavidW says (to ClubFloyd), "1" | ||
| CF ] The Village of Nether Hallows 11/863 | ||
| CF | You say > | ||
| CF | > 1 | ||
| CF | | ||
| CF | "Derek," you say. "Is that you?" | ||
| CF | | ||
| CF | "Sssh," hisses the villager, sharply, and grabs your arm and leads you | ||
| CF | out of earshot of the group of villagers. "Don't break my character." | ||
| CF | | ||
| CF | Why, it is! It's Derek Paisley. Only last year you had been treading | ||
| CF | the boards with him in a production of "Mrs Palmer's Pantaloons" at | ||
| CF | the Old Albert theatre! | ||
| CF | | ||
| CF | Derek glances over your shoulder at the villagers. "OK," he says, "we | ||
| CF | can talk now. How are you, darling? Last time I saw you, we were | ||
| CF | playing at the Old A. Your Dinkie Bletherly was a triumph!" | ||
| CF | | ||
| CF | (1) - "I'm fine! It's great to see you," | ||
| CF | (2) - "What on earth are you doing here?" | ||
| CF | | ||
| CF | You say > | DavidW asks, "1 or 2?" | |
| Knight_Otu says, "Well." | ||
| Krumar says, "I would think 2" | ||
| DavidW says (to ClubFloyd), "2" | ||
| CF ] The Village of Nether Hallows 11/863 | ||
| CF | You say > | ||
| CF | > 2 | ||
| CF | | ||
| CF | "What are you doing here of all places?" you ask. | ||
| CF | | ||
| CF | Derek looks uncomfortable. "Embarrassed to say to be honest," he | ||
| CF | replies. "In somewhat reduced circumstances at the moment. When the | ||
| CF | play finished I was out of work for a while, ran rather low on the old | ||
| CF | funds and found myself without a place to rest my head. Answered an ad | ||
| CF | in the Actor and it turned out Mallet was looking for extras to | ||
| CF | live-in on set. Free housing, Free food. Have to dress like this, | ||
| CF | though. Always the danger of...well, never mind that." | ||
| CF | | ||
| CF | (1) - "So all these villagers are out of work actors?" | ||
| CF | | ||
| CF | You say > | Knight_Otu says, "2 I guess." | |
| DavidW says (to ClubFloyd), "1" | ||
| CF ] The Village of Nether Hallows 11/863 | ||
| CF | You say > | ||
| CF | > 1 | ||
| CF | | ||
| CF | "So these are all out work actors?" you gasp. | ||
| CF | | ||
| CF | "Oh yes," replies Derek. "Plenty of out of work actors about. Much | ||
| CF | cheaper to house and feed them than pay them, one supposes. It's not | ||
| CF | all bad though." He shrugs. "One really gets to live the role. A | ||
| CF | little worried about having to carry a lot of silver about all the | ||
| CF | time, and the wardrobe rather leaves something to be desired. But I | ||
| CF | really shouldn't complain. Best foot forward and all that." | ||
| CF | | ||
| CF | (1) - "You mentioned danger?" | ||
| CF | (2) - "Do you know what Mallet is up to?" | ||
| CF | (3) - "I'm raising an army of the undead." | ||
| CF | (4) - "Is there anything I can do to help?" | ||
| CF | (5) - "What's all this nonsense about witches?" | ||
| CF | (6) - "Goodbye." | ||
| CF | | ||
| CF | You say > | Krumar says, "Any of them look good." | |
| burl says, "i like how casual option #3 is" | ||
| Knight_Otu says, "To be fair to the villagers, we have cast spells." | ||
| DavidW says, "I'm tempted to just run the gamut starting with 1." | ||
| Krumar says, "Sounds good to me." | ||
| Knight_Otu says, "Sure, we can start there." | ||
| DavidW says (to ClubFloyd), "1" | ||
| CF ] The Village of Nether Hallows 11/863 | ||
| CF | You say > | ||
| CF | > 1 | ||
| CF | | ||
| CF | "You mentioned danger?" you say. | ||
| CF | | ||
| CF | "There are trials in every profession, darling," replies Derek, | ||
| CF | evasively. "We don't like to speak about it to be perfectly honest | ||
| CF | with you. Not good form so to say." | ||
| CF | | ||
| CF | (1) - "Do you know what Mallet is up to?" | ||
| CF | (2) - "I'm raising an army of the undead." | ||
| CF | (3) - "Is there anything I can do to help?" | ||
| CF | (4) - "Goodbye." | ||
| CF | | ||
| CF | You say > | ||
| DavidW says (to ClubFloyd), "1" | ||
| CF ] The Village of Nether Hallows 11/863 | ||
| CF | You say > | ||
| CF | > 1 | ||
| CF | | ||
| CF | "I know what Mallet is up to," you say. "Did you know?" | ||
| CF | | ||
| CF | "Of course, darling," says Derek, looking at you with surprise. "But | ||
| CF | what's to be done? One can't jeopardise one's career by rocking the | ||
| CF | boat." | ||
| CF | | ||
| CF | (1) - "You mentioned danger?" | ||
| CF | (2) - "I'm raising an army of the undead." | ||
| CF | (3) - "Is there anything I can do to help?" | ||
| CF | (4) - "Goodbye." | ||
| CF | | ||
| CF | You say > | ||
| DavidW says (to ClubFloyd), "2" | ||
| CF ] The Village of Nether Hallows 11/863 | ||
| CF | You say > | ||
| CF | > 2 | ||
| CF | | ||
| CF | "I'm raising an army of the undead to defeat Mallet," you say. | ||
| CF | | ||
| CF | "Oh, I say," replies Derek. "Good form. A rather brave although maybe | ||
| CF | somewhat futile endeavour. I'd heard the undead were tremendous hams | ||
| CF | when it comes to acting." | ||
| CF | | ||
| CF | (1) - "You mentioned danger?" | ||
| CF | (2) - "Do you know what Mallet is up to?" | ||
| CF | (3) - "Is there anything I can do to help?" | ||
| CF | (4) - "Goodbye." | ||
| CF | | ||
| CF | You say > | DavidW says, "undead hams is the new steamed hams" | |
| DavidW says (to ClubFloyd), "3" | ||
| CF ] The Village of Nether Hallows 11/863 | ||
| CF | You say > | ||
| CF | > 3 | ||
| CF | | ||
| CF | Is there anything I can do to help?" you ask. | ||
| CF | | ||
| CF | "Oh, I don't know," replies Derek. "One has become rather comfortable | ||
| CF | here. Somewhere to lay my head, I suppose. It is rather a shame | ||
| CF | about...well. All good things have their trials don't you think?" | ||
| CF | | ||
| CF | (1) - "You mentioned danger?" | ||
| CF | (2) - "Do you know what Mallet is up to?" | ||
| CF | (3) - "I'm raising an army of the undead." | ||
| CF | (4) - "Goodbye." | ||
| CF | | ||
| CF | You say > | DavidW says, "Derek, love, you're being evasive." | |
| DavidW says (to ClubFloyd), "4" | ||
| CF ] The Village of Nether Hallows 11/863 | ||
| CF | You say > | ||
| CF | > 4 | ||
| CF | | ||
| CF | "Goodbye, then," you say. | ||
| CF | | ||
| CF | "So soon?" says Derek. "I really must be off, then." He pats you on | ||
| CF | the shoulder "Awfully nice to see you again, darling. Must catch my | ||
| CF | forty winks, what? And don't worry about this rabble. They're all in | ||
| CF | character, but they won't bother you, really. All show and no action, | ||
| CF | eh? Such is a thespian's life." | ||
| CF | | ||
| CF | He gives you another friendly pat and then turns and disappears into | ||
| CF | one of the village houses. | ||
| CF | | ||
| CF | > | Knight_Otu says, ""No, no, you're just being blunt."" | |
| DavidW says (to ClubFloyd), "x sign" | ||
| CF ] The Village of Nether Hallows 11/864 | ||
| CF | > | ||
| CF | > X SIGN | ||
| CF | | ||
| CF | The sign is painted with the image of a wolf's head on a spike. The | ||
| CF | name of the pub, under it in red letters is "The Slaughtered Calf". | ||
| CF | | ||
| CF | You hear footsteps moving to the south of you. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "enter pub" | ||
| CF ] The Slaughtered Calf 11/865 | ||
| CF | > | ||
| CF | > ENTER PUB | ||
| CF | | ||
| CF | | ||
| CF | The Slaughtered Calf | ||
| CF | The pub, dominated by the large bar on one side, is smoky and warm. | ||
| CF | The walls and ceilings are all beamed with blackened oak that frames | ||
| CF | yellowing plaster. The ceiling is low, causing the smoke to twine | ||
| CF | around at head level, and the floorboards are covered with a layer of | ||
| CF | sawdust. Doorways out of the pub lead east into the village square and | ||
| CF | northeast and southeast into the darkened Studio. | ||
| CF | | ||
| CF | As you enter, the barman gives you a slow smile. "Welcome to the | ||
| CF | Slaughtered Calf," he says, his voice a gentle drawl. "Are you wanting | ||
| CF | to buy a drink?" Wait a minute. You recognise him. It's Bert, the | ||
| CF | barman who works most evenings at the studio bar! He must be | ||
| CF | moonlighting here! | ||
| CF | | ||
| CF | Opposite the bar, a roaring fire crackles and spits in a blackened | ||
| CF | stone fireplace. | ||
| CF | | ||
| CF | On the wall above the fireplace, a five-pointed star is scratched into | ||
| CF | the plaster of the wall! | ||
| CF | | ||
| CF | A few regular patrons sit in surly groups at the tables and watch you | ||
| CF | suspiciously over their beer glasses. | ||
| CF | | ||
| CF | Bert, the barman stands behind the bar polishing a glass with a dirty | ||
| CF | towel. | ||
| CF | | ||
| CF | Hanging on one wall, in pride of place near the fire, is an ancient | ||
| CF | antique Blunderbuss. | ||
| CF | | ||
| CF | A security guard walks in from the southeast. "You keep one in the | ||
| CF | pipe for me," says the Guard to Bert, winking at you. | ||
| CF | | ||
| CF | > | Krumar asks, "talk to the bartender?" | |
| DavidW says (to ClubFloyd), "x bert" | ||
| CF ] The Slaughtered Calf 11/866 | ||
| CF | > | ||
| CF | > X BERT | ||
| CF | | ||
| CF | Bert is huge! His perpetually smiling face under a shaved head sits | ||
| CF | atop a well muscled torso wrapped around with a stained apron. It's a | ||
| CF | surprise he can fit behind the bar. | ||
| CF | | ||
| CF | One of the regulars moves a chess piece. | ||
| CF | | ||
| CF | The security guard gives Bert a friendly wave and saunters northeast. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x blunderbuss" | ||
| CF ] The Slaughtered Calf 11/867 | ||
| CF | > | ||
| CF | > X BLUNDERBUSS | ||
| CF | | ||
| CF | The old gun is an ancient thing. At one end, its barrel flares out | ||
| CF | into a bell. At the other, a simple trigger under an oiled wooden | ||
| CF | stock. | ||
| CF | | ||
| CF | Bert pulls a pint and then hands it to a regular. | ||
| CF | | ||
| CF | You can hear footsteps to the northeast. They seem to be slowly | ||
| CF | receding into the distance. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "talk to bert" | ||
| CF ] The Slaughtered Calf 11/868 | ||
| CF | > | ||
| CF | > TALK TO BERT | ||
| CF | | ||
| CF | Bert smiles at you. "Afraid we don't take credit cards here," he says. | ||
| CF | "Doesn't look like you have enough money for a pint." | ||
| CF | | ||
| CF | "Do you want to hear a joke," says one of the patrons to Bert. "I know | ||
| CF | a good one about three fellas in an aeroplane." | ||
| CF | | ||
| CF | You can hear footsteps to the southeast. They seem to be getting | ||
| CF | closer! | ||
| CF | | ||
| CF | > | Jacqueline asks, "Did our friend Derek say he was lugging a bunch of silver about?" | |
| DavidW says, "Yes, Derek did say that." | ||
| Jacqueline says, "Also, OH NO FOOTSTEPS IN A BAR" | ||
| MoyTravis says, "Dunno about a bunch, but, he did have some on him." | ||
| DavidW says, "Obviously we should get some silver too." | ||
| Jacqueline says, "Just thinking about silver, and werewolves, and Blunderbusses..." | ||
| DavidW says, "I think all our stuff is brass or gold or whatever." | ||
| Knight_Otu says, "I mean, we want to control the weres, not kill them." | ||
| DavidW says (to ClubFloyd), "i" | ||
| CF ] The Slaughtered Calf 11/869 | ||
| CF | > | ||
| CF | > I | ||
| CF | | ||
| CF | You are carrying a music box, a coil of cord, a jaunty hat, a leather | ||
| CF | whip, a reel of strong cotton, a bone needle, a wicked little voodoo | ||
| CF | doll, a strawberry milk bottle, an evil book of black magic, a small | ||
| CF | brass key, a tea caddy and a stained crimson robe. You are wearing the | ||
| CF | Bracelet of Nefer-Kare, Buster's Stetson, a crucifix, a gold | ||
| CF | pocketwatch and a grey suit. | ||
| CF | | ||
| CF | A security guard walks in from the southeast. "Now then, Bert," he | ||
| CF | says, winking at you. "How are you?" | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x patrons" | ||
| CF ] The Slaughtered Calf 11/870 | ||
| CF | > | ||
| CF | > X PATRONS | ||
| CF | | ||
| CF | The regulars sit in small surly groups at the worn tables, nursing | ||
| CF | pints of beer and desultorily playing cards or chess. They | ||
| CF | occasionally glance at you and mutter amongst themselves. | ||
| CF | | ||
| CF | The security guard gives Bert a friendly wave and saunters northeast. | ||
| CF | | ||
| CF | > | Krumar asks, "can we ask bert about the guard?" | |
| DavidW says, "No. TALK TO is how conversation works in this game." | ||
| Knight_Otu says, "I think we can only TALK ... right." | ||
| Jacqueline says (to KO), "True about the not killing werewolves. Security guards, yeah, but not the undead." | ||
| DavidW says (to ClubFloyd), "take blunderbuss" | ||
| CF ] The Slaughtered Calf 11/871 | ||
| CF | > | ||
| CF | > TAKE BLUNDERBUSS | ||
| CF | | ||
| CF | You pick the Blunderbuss up. It's a heavy old thing! "Now you be | ||
| CF | careful with that," says Bert in his slow drawl. "It's an antique." | ||
| CF | | ||
| CF | You can hear footsteps to the northeast. They seem to be slowly | ||
| CF | receding into the distance. | ||
| CF | | ||
| CF | > | DavidW says, "huh. He let me take it." | |
| Knight_Otu says, "I'm surprised as well." | ||
| MoyTravis asks, "I, uh, do we have powder and shot for it?" | ||
| DavidW says, "no" | ||
| DavidW says, "Unless it's pre-loaded." | ||
| DavidW says (to ClubFloyd), "se" | ||
| CF ] The Den of the Beast 11/872 | ||
| CF | > | ||
| CF | > SE | ||
| CF | | ||
| CF | "Now you have a good day," calls Bert in his gentle drawl. "We'll see | ||
| CF | you next time." | ||
| CF | | ||
| CF | The Den of the Beast | ||
| CF | This seems to be a set representing a den of some kind of animal, | ||
| CF | maybe. A forbidding entranceway has been made with foam rocks and | ||
| CF | twisted thorny branches, forming an arch leading into what, at first | ||
| CF | glance, looks like a dark cave. On closer inspection though, there's | ||
| CF | no cave behind it at all, just a bit of the set wall painted black. | ||
| CF | | ||
| CF | A metal staircase runs up the wall to a balcony above you, and | ||
| CF | openings in the set lead north into gloom and northeast and northwest | ||
| CF | deeper into the studio. | ||
| CF | | ||
| CF | Mounds of bones are scattered around the front of the entrance to the | ||
| CF | den, and the pretend rocks are covered in splashes of red, that you | ||
| CF | suppose is meant to be blood. | ||
| CF | | ||
| CF | Lying near the entrance, its lifeless eyes staring at the ceiling, is | ||
| CF | the half-eaten corpse of a man! | ||
| CF | | ||
| CF | A security guard walks in from the northeast. He gives you a friendly | ||
| CF | nod. | ||
| CF | | ||
| CF | > | MoyTravis asks, "Right, I mean, that was my question - can we shoot it or is ut just a blunderbuss?" | |
| burl says, "maybe we load the silver into the blunderbuss" | ||
| DavidW says, "We don't have any silver yet either." | ||
| DavidW says (to ClubFloyd), "x corpse" | ||
| CF ] The Den of the Beast 11/873 | ||
| CF | > | ||
| CF | > X CORPSE | ||
| CF | | ||
| CF | The corpse is real! For a moment, you had hoped it was just a prop. | ||
| CF | But no! You look closer. You recognise the face! It's Davor! Davor | ||
| CF | Slyzvak, your friend who had been working on this film. He's been half | ||
| CF | eaten! You thought you hadn't seen him around because he'd just been | ||
| CF | busy. | ||
| CF | | ||
| CF | Davor has definitely been gnawed on. He's wearing some form of sacking | ||
| CF | tunic, but it has been shredded from some vicious attack and reduced | ||
| CF | to strips. Tied around his waist is an open pouch. You see a gleam of | ||
| CF | silver inside it. | ||
| CF | | ||
| CF | The security guard gives you a friendly wave and saunters northwest. | ||
| CF | | ||
| CF | > | Jacqueline says, "Hm... half-eatn corpse. Wonder what parts are left..." | |
| DavidW says (to ClubFloyd), "take silver" | ||
| CF ] The Den of the Beast 11/874 | ||
| CF | > | ||
| CF | > TAKE SILVER | ||
| CF | | ||
| CF | You gingerly reach inside the pouch, trying to avoid all the blood. | ||
| CF | You grab the silver thing and pull it out. Why's it's a large silver | ||
| CF | coin. On one side is a badly stamped picture of some sort of queen's | ||
| CF | head. On the other, it say "One Groat". | ||
| CF | | ||
| CF | You can hear footsteps to the northwest. They seem to be slowly | ||
| CF | receding into the distance. | ||
| CF | | ||
| CF | > | MoyTravis exclaims, "Yay silver!" | |
| DavidW says, "ok, now we have silver" | ||
| Knight_Otu says, "Well isn't that just groat." | ||
| DavidW says (to ClubFloyd), "load gun" | ||
| CF ] The Den of the Beast 11/874 | ||
| CF | > | ||
| CF | > LOAD GUN | ||
| CF | | ||
| CF | What do you want to load the ancient antique Blunderbuss with? | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "coin" | ||
| CF ] The Den of the Beast 11/875 | ||
| CF | > | ||
| CF | > COIN | ||
| CF | | ||
| CF | That's far too big to fit. | ||
| CF | | ||
| CF | You can hear footsteps to the northeast. They seem to be getting | ||
| CF | closer! | ||
| CF | | ||
| CF | > | Krumar says, "I feel like the silver is not going to help us, it didn't help him." | |
| DavidW says (to ClubFloyd), "x bones" | ||
| CF ] The Den of the Beast 11/876 | ||
| CF | > | ||
| CF | > X BONES | ||
| CF | | ||
| CF | The bones are scattered in hideous, blood-stained mounds around the | ||
| CF | front of the den. | ||
| CF | | ||
| CF | A security guard walks in from the northeast. He gives you a friendly | ||
| CF | nod. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "u" | ||
| CF ] Balcony 11/877 | ||
| CF | > | ||
| CF | > U | ||
| CF | | ||
| CF | | ||
| CF | Balcony | ||
| CF | Halfway up the studio wall, the staircase from below ends at a little | ||
| CF | platform, bounded by an iron railing. On the southern wall is a closed | ||
| CF | door. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x door" | ||
| CF ] Balcony 11/878 | ||
| CF | > | ||
| CF | > X DOOR | ||
| CF | | ||
| CF | The door, set into the wall of the studio, is closed. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "open it" | ||
| CF ] Balcony 11/879 | ||
| CF | > | ||
| CF | > OPEN IT | ||
| CF | | ||
| CF | You open the door. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] Comfortable Apartment 11/880 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | Comfortable Apartment | ||
| CF | The door opens up into a very nice little apartment! The curtains are | ||
| CF | drawn for the night and the room is lit by a standard lamp in the | ||
| CF | corner, which casts its gentle glow over the comfortable furnishings. | ||
| CF | | ||
| CF | A young woman sits, legs curled up, on the sofa. | ||
| CF | | ||
| CF | The young woman starts with surprise when you enter the room. "Who the | ||
| CF | hell are you?" she snaps. "You can't just go wandering into people's | ||
| CF | homes at night." | ||
| CF | | ||
| CF | (1) - "I'm really sorry! I didn't know this was an apartment." | ||
| CF | (2) - "Never mind who I am, who are you?" | ||
| CF | | ||
| CF | You say > | Krumar says, "Be tough, use number 2." | |
| DavidW says (to ClubFloyd), "2" | ||
| CF ] Comfortable Apartment 11/880 | ||
| CF | You say > | ||
| CF | > 2 | ||
| CF | | ||
| CF | "Never mind who I am," you say. "Who are you?" | ||
| CF | | ||
| CF | "What," shouts the young woman, incredulously. "You've got some cheek, | ||
| CF | coming into my place uninvited and thinking you're entitled to know my | ||
| CF | business. Now get the hell out of here." She leaps up from the sofa | ||
| CF | and begins herding you towards the door. | ||
| CF | | ||
| CF | (1) - "At least tell me why you're living above the studios." | ||
| CF | | ||
| CF | You say > | ||
| DavidW says (to ClubFloyd), "1" | ||
| CF ] Comfortable Apartment 11/880 | ||
| CF | You say > | ||
| CF | > 1 | ||
| CF | | ||
| CF | "At least tell me why you're living above the studios," you say, as | ||
| CF | nicely as you can. | ||
| CF | | ||
| CF | The young woman narrows her eyes. "I...help out. With the films," she | ||
| CF | says. Then, grudgingly. "I'm Annie. Now, get out and don't bother me | ||
| CF | again. It's late. I'm tired. Knock, next time. Not that I'll be | ||
| CF | answering tonight. Goodnight!" | ||
| CF | | ||
| CF | (1) - "Goodnight." | ||
| CF | | ||
| CF | You say > | ||
| DavidW says (to ClubFloyd), "1" | ||
| CF ] Balcony 11/880 | ||
| CF | You say > | ||
| CF | > 1 | ||
| CF | | ||
| CF | Annie finally hustles you out of the door. | ||
| CF | | ||
| CF | Balcony | ||
| CF | Halfway up the studio wall, the staircase from below ends at a little | ||
| CF | platform, bounded by an iron railing. On the southern wall is an open | ||
| CF | door. | ||
| CF | | ||
| CF | "Now stop walking into people's homes. It's not cool." says Annie, | ||
| CF | severely. She slams the apartment door and you hear the click of the | ||
| CF | lock. | ||
| CF | | ||
| CF | > | Knight_Otu says, "She has a point." | |
| DavidW says, "But Annie... you didn't get your gun." | ||
| MoyTravis says, "...pfft." | ||
| DavidW asks, "so, um, what next?" | ||
| Jacqueline says, "It does seem weird that there's an apartment here." | ||
| DavidW asks, "Change the moon to a full moon?" | ||
| Knight_Otu says, "We can trythat, sure." | ||
| DavidW asks, "Try to put Wilma in the cage ?" | ||
| Krumar asks, "should we try to buy a pint with the coin?" | ||
| DavidW says, "oh, I didn't think of that." | ||
| DavidW says, "We'd lose our silver, though." | ||
| Krumar says, "I say that because the coin obviously didn't keep him alive." | ||
| DavidW says, "True." | ||
| DavidW says (to ClubFloyd), "d" | ||
| CF ] The Den of the Beast 11/881 | ||
| CF | > | ||
| CF | > D | ||
| CF | | ||
| CF | | ||
| CF | The Den of the Beast | ||
| CF | This seems to be a set representing a den of some kind of animal, | ||
| CF | maybe. A forbidding entranceway has been made with foam rocks and | ||
| CF | twisted thorny branches, forming an arch leading into what, at first | ||
| CF | glance, looks like a dark cave. On closer inspection though, there's | ||
| CF | no cave behind it at all, just a bit of the set wall painted black. | ||
| CF | | ||
| CF | A metal staircase runs up the wall to a balcony above you, and | ||
| CF | openings in the set lead north into gloom and northeast and northwest | ||
| CF | deeper into the studio. | ||
| CF | | ||
| CF | Mounds of bones are scattered around the front of the entrance to the | ||
| CF | den, and the pretend rocks are covered in splashes of red, that you | ||
| CF | suppose is meant to be blood. | ||
| CF | | ||
| CF | A rotund, red-faced security guard pokes around the set. | ||
| CF | | ||
| CF | Lying near the entrance, its lifeless eyes staring at the ceiling, is | ||
| CF | the half-eaten corpse of a man! | ||
| CF | | ||
| CF | The security guard gives you a friendly wave and saunters northwest. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "nw" | ||
| CF ] The Slaughtered Calf 11/882 | ||
| CF | > | ||
| CF | > NW | ||
| CF | | ||
| CF | The Slaughtered Calf | ||
| CF | The pub, dominated by the large bar on one side, is smoky and warm. | ||
| CF | The walls and ceilings are all beamed with blackened oak that frames | ||
| CF | yellowing plaster. The ceiling is low, causing the smoke to twine | ||
| CF | around at head level, and the floorboards are covered with a layer of | ||
| CF | sawdust. Doorways out of the pub lead east into the village square and | ||
| CF | northeast and southeast into the darkened Studio. | ||
| CF | | ||
| CF | A rotund, red-faced security guard pokes around the set. | ||
| CF | | ||
| CF | Opposite the bar, a roaring fire crackles and spits in a blackened | ||
| CF | stone fireplace. | ||
| CF | | ||
| CF | On the wall above the fireplace, a five-pointed star is scratched into | ||
| CF | the plaster of the wall! | ||
| CF | | ||
| CF | A few regular patrons sit in surly groups at the tables and watch you | ||
| CF | suspiciously over their beer glasses. | ||
| CF | | ||
| CF | Bert, the barman stands behind the bar polishing a glass with a dirty | ||
| CF | towel. | ||
| CF | | ||
| CF | "Good evening to you," says Bert, smiling gently. "You after buying a | ||
| CF | drink?" | ||
| CF | | ||
| CF | The security guard gives Bert a friendly wave and saunters northeast. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "buy drink" | ||
| CF ] The Slaughtered Calf 11/883 | ||
| CF | > | ||
| CF | > BUY DRINK | ||
| CF | | ||
| CF | Bert takes the silver groat from you and pockets it. In return, he | ||
| CF | gives you a foaming pint of beer. | ||
| CF | | ||
| CF | You force the pint down. It's warm. You never really drink beer, | ||
| CF | preferring a crisp glass of white wine perhaps, but beggars can't be | ||
| CF | choosers. | ||
| CF | | ||
| CF | Bert and the rest of the patrons watch you drink the beer as if it's | ||
| CF | the most fascinating thing they've ever seen. "Hmm," you say. "Very | ||
| CF | nice. Very...earthy." The locals turn away and shake their heads as if | ||
| CF | you have failed some kind of test. You hand the empty glass back to | ||
| CF | Bert and he gives you a handful of small silver coins as change. | ||
| CF | | ||
| CF | You can hear footsteps to the northeast. They seem to be slowly | ||
| CF | receding into the distance. | ||
| CF | | ||
| CF | > | Knight_Otu says, "Hm." | |
| DavidW says (to ClubFloyd), "x coins" | ||
| CF ] The Slaughtered Calf 11/884 | ||
| CF | > | ||
| CF | > X COINS | ||
| CF | | ||
| CF | The small silver coins are of all denominations. They're all stamped | ||
| CF | on the back with a tiny queen's head. | ||
| CF | | ||
| CF | One of the regulars moves a chess piece. | ||
| CF | | ||
| CF | You can hear footsteps to the southeast. They seem to be getting | ||
| CF | closer! | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "ne" | ||
| CF ] Desolate Windswept Hills 11/885 | ||
| CF | > | ||
| CF | > NE | ||
| CF | | ||
| CF | "Now you have a good day," calls Bert in his gentle drawl. "We'll see | ||
| CF | you next time." | ||
| CF | | ||
| CF | Desolate Windswept Hills | ||
| CF | It's not much, this set. A swathe of plastic grass and heather in a | ||
| CF | rounded mound is set against a painted backdrop on the studio wall | ||
| CF | that's supposed to represent distant hills. The set opens to the | ||
| CF | south, southeast and southwest, leading deeper into the gloomy studio. | ||
| CF | | ||
| CF | Rising out of the top of the mound, standing like a great sentinel lit | ||
| CF | eerily by the light from the moon, is a giant man-shaped sculpture | ||
| CF | made entirely from sticks and branches! | ||
| CF | | ||
| CF | Low on the studio wall, hangs the moon, its crescent filling the set | ||
| CF | with a ghostly pale light. | ||
| CF | | ||
| CF | You can hear footsteps to the southwest. They seem to be getting | ||
| CF | closer! | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "turn moon" | ||
| CF ] Desolate Windswept Hills 11/886 | ||
| CF | > | ||
| CF | > TURN MOON | ||
| CF | | ||
| CF | The shutters across the moon are designed for opening and closing. | ||
| CF | | ||
| CF | A security guard walks in from the southwest. He grins at you and | ||
| CF | gives you a friendly nod. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "open shutter" | ||
| CF ] Desolate Windswept Hills 11/887 | ||
| CF | > | ||
| CF | > OPEN SHUTTER | ||
| CF | | ||
| CF | You open the shutter, revealing the glory of a full moon! | ||
| CF | | ||
| CF | In the distance, suddenly, there is a blood-chilling howl! It | ||
| CF | reverberates around the studio triumphantly and it seems to be getting | ||
| CF | closer! Oh no! That doesn't sound good! | ||
| CF | | ||
| CF | The security guard gives a shout of terror! "Don't do that," he gasps | ||
| CF | "you'll get us into all sorts of trouble." He closes the moon so it's | ||
| CF | only a crescent again. "That was a close one," he continues. "Best not | ||
| CF | to touch that." | ||
| CF | | ||
| CF | There is another, fainter, howl. It trails off in what seems like | ||
| CF | disappointment. | ||
| CF | | ||
| CF | The security guard sighs and wanders southeast. | ||
| CF | | ||
| CF | > | MoyTravis says, "Well it ain't him, then." | |
| Krumar says, "Annie might be the wolf." | ||
| Jacqueline says, "Okay, that was funny." | ||
| DavidW says (to ClubFloyd), "load gun with coins" | ||
| CF ] Desolate Windswept Hills 11/888 | ||
| CF | > | ||
| CF | > LOAD GUN WITH COINS | ||
| CF | | ||
| CF | You put the coins into the bell end of the Blunderbuss. They rattle | ||
| CF | and jingle all down the barrel. You tap the butt end of the gun on the | ||
| CF | floor so they will settle firmly in. | ||
| CF | | ||
| CF | You can hear footsteps to the southeast. They seem to be slowly | ||
| CF | receding into the distance. | ||
| CF | | ||
| CF | > | Jacqueline says, "And I guess buying the beer does not allow us to give it to the guard." | |
| burl says, "bert seems like the last person i would expect so they're the first person i suspect" | ||
| Knight_Otu says, "I suspect the whole village are wolves." | ||
| Jacqueline asks (of DW), "That... that worked?" | ||
| Knight_Otu says, "Huh." | ||
| DavidW says, "Smaller coins. The large groat didn't fit." | ||
| DavidW asks, "Try opening the shutter now?" | ||
| DavidW says (to ClubFloyd), "open shutter" | ||
| CF ] Desolate Windswept Hills 11/889 | ||
| CF | > | ||
| CF | > OPEN SHUTTER | ||
| CF | | ||
| CF | You open the shutter, revealing the glory of a full moon! | ||
| CF | | ||
| CF | In the distance, suddenly, there is a blood-chilling howl! It | ||
| CF | reverberates around the studio triumphantly and it seems to be getting | ||
| CF | closer! Oh no! That doesn't sound good! | ||
| CF | | ||
| CF | All at once, a security guard runs onto the set. "Don't do that," he | ||
| CF | gasps, panting and out of breath, "you'll get us into all sorts of | ||
| CF | trouble." He closes the moon so it's only a crescent again. "That was | ||
| CF | a close one," he continues. "Best not to touch that." | ||
| CF | | ||
| CF | There is another, fainter, howl. It trails off in what seems like | ||
| CF | disappointment. | ||
| CF | | ||
| CF | The security guard sighs and wanders southeast. | ||
| CF | | ||
| CF | > | DavidW asks, "I guess we have to deal with the guard first. Pit?" | |
| Knight_Otu says, "Quick guard." | ||
| DavidW says (to ClubFloyd), "se" | ||
| CF ] Path through the Forest 11/890 | ||
| CF | > | ||
| CF | > SE | ||
| CF | | ||
| CF | | ||
| CF | Path through the Forest | ||
| CF | Surrounded by the bottom two thirds of densely packed plywood fir | ||
| CF | trees, the path, covered in glued down gravel, runs west, deeper into | ||
| CF | the studio and east, where it ends at the studio door. Gaps in the | ||
| CF | scenery lead northwest and southwest into gloom. | ||
| CF | | ||
| CF | A rotund, red-faced security guard pokes around the set. | ||
| CF | | ||
| CF | Just next to the path is a deep, earthy pit in the floor. It's at | ||
| CF | least as twice as deep as you and pretty big. It's so deep that the | ||
| CF | bottom is all in darkness. | ||
| CF | | ||
| CF | A cage dangles from a rope to one side of the pit, its floor level | ||
| CF | with the top of the pit wall. The rope is attached to a pulley system | ||
| CF | and winch. | ||
| CF | | ||
| CF | The security guard waves to you and saunters off to the southwest. | ||
| CF | | ||
| CF | > | Knight_Otu says, "I guess so." | |
| DavidW says (to ClubFloyd), "z" | ||
| CF ] Path through the Forest 11/891 | ||
| CF | > | ||
| CF | > Z | ||
| CF | | ||
| CF | Time passes. | ||
| CF | | ||
| CF | You can hear footsteps to the southwest. They seem to be slowly | ||
| CF | receding into the distance. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "z" | ||
| CF ] Path through the Forest 11/892 | ||
| CF | > | ||
| CF | > Z | ||
| CF | | ||
| CF | Time passes. | ||
| CF | | ||
| CF | You can hear footsteps to the northwest. They seem to be getting | ||
| CF | closer! | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "z" | ||
| CF ] Path through the Forest 11/893 | ||
| CF | > | ||
| CF | > Z | ||
| CF | | ||
| CF | Time passes. | ||
| CF | | ||
| CF | A security guard walks in from the northwest. He gives you a genial | ||
| CF | smile. | ||
| CF | | ||
| CF | > | burl says, "it would be funny if we could put a beer in the cage" | |
| DavidW says (to ClubFloyd), "push guard into cage" | ||
| CF ] Path through the Forest 11/894 | ||
| CF | > | ||
| CF | > PUSH GUARD INTO CAGE | ||
| CF | | ||
| CF | (first taking Security Guard) | ||
| CF | I don't suppose Security Guard would care for that. | ||
| CF | | ||
| CF | The security guard waves to you and saunters off to the southwest. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "undo" | ||
| CF ] Path through the Forest 11/893 | ||
| CF | | ||
| CF | > UNDO | ||
| CF | | ||
| CF | Path through the Forest | ||
| CF | [Previous turn undone.] | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "push guard into pit" | ||
| CF ] Path through the Forest 11/894 | ||
| CF | > | ||
| CF | > PUSH GUARD INTO PIT | ||
| CF | | ||
| CF | You think about it for a moment, but the Guard isn't near enough to | ||
| CF | the edge of the pit. It would never work! | ||
| CF | | ||
| CF | The security guard waves to you and saunters off to the southwest. | ||
| CF | | ||
| CF | > | Knight_Otu says, "Hm." | |
| DavidW asks, "So we have to bait the pit edge?" | ||
| DavidW asks, "With what?" | ||
| Jacqueline whispers, "Wilma." She looks sad. | ||
| DavidW says, "I don't think that's the answer." | ||
| DavidW says (to ClubFloyd), "turn winch" | ||
| CF ] Path through the Forest 11/895 | ||
| CF | > | ||
| CF | > TURN WINCH | ||
| CF | | ||
| CF | You turn the winch. As you turn, the cage lowers into the darkness of | ||
| CF | the pit until it is out of sight. | ||
| CF | | ||
| CF | You can hear footsteps to the southwest. They seem to be slowly | ||
| CF | receding into the distance. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "turn winch" | ||
| CF ] Path through the Forest 11/896 | ||
| CF | > | ||
| CF | > TURN WINCH | ||
| CF | | ||
| CF | You turn the winch. As you turn, the cage raises from the pit until it | ||
| CF | is level with the edge. | ||
| CF | | ||
| CF | You can hear footsteps to the northwest. They seem to be getting | ||
| CF | closer! | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "z" | ||
| CF ] Path through the Forest 11/897 | ||
| CF | > | ||
| CF | > Z | ||
| CF | | ||
| CF | Time passes. | ||
| CF | | ||
| CF | A security guard walks in from the northwest. He gives you a genial | ||
| CF | smile. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "talk to guard" | ||
| CF ] Path through the Forest 11/898 | ||
| CF | > | ||
| CF | > TALK TO GUARD | ||
| CF | | ||
| CF | "Come for a pint, have you?" asks the Security Guard. "Can't blame | ||
| CF | you. I'd kill for one, myself! Got to work right now. No rest for the | ||
| CF | wicked!" | ||
| CF | | ||
| CF | The security guard waves to you and saunters off to the southwest. | ||
| CF | | ||
| CF | > | Krumar asks, "We don't know what is at the bottom of the pit do we?" | |
| DavidW says, "Seems if we could drop a pint of beer here, he might pick it up." | ||
| DavidW says (to Krumar), "no" | ||
| DavidW says, "We can't enter the cage. Too small." | ||
| Jacqueline says, "I thought we drank the beer we were given." | ||
| DavidW says, "We did." | ||
| DavidW says (to ClubFloyd), "i" | ||
| CF ] Path through the Forest 11/899 | ||
| CF | > | ||
| CF | > I | ||
| CF | | ||
| CF | You are carrying an antique blunderbuss loaded with a handful of small | ||
| CF | silver coins, a music box, a coil of cord, a jaunty hat, a leather | ||
| CF | whip, a reel of strong cotton, a bone needle, a wicked little voodoo | ||
| CF | doll, a strawberry milk bottle, an evil book of black magic, a small | ||
| CF | brass key, a tea caddy and a stained crimson robe. You are wearing the | ||
| CF | Bracelet of Nefer-Kare, Buster's Stetson, a crucifix, a gold | ||
| CF | pocketwatch and a grey suit. | ||
| CF | | ||
| CF | You can hear footsteps to the southwest. They seem to be slowly | ||
| CF | receding into the distance. | ||
| CF | | ||
| CF | > | Jacqueline says, "Also, fwiw, I will be quite pleased if Wilma does not die." | |
| Krumar says, "If the cage is too small for us, it's probably too small for the guard." | ||
| Jacqueline says, "So I hope she is not the solution." | ||
| Jacqueline says, "(Wilma, I mean)" | ||
| DavidW says, "I'll fetch Wilma if people want me to, but I really doubt she's needed here." | ||
| Jacqueline says, "I am fine with us only murdering security guards and protecting a cute old sheep. Don't get her if you don't think that's the solution." | ||
| Krumar says, "I think we should keep looking here, check witht the bar some more." | ||
| DavidW says, "Maybe the corpse has more silver. Or talk to the villagers without Derek." | ||
| DavidW says (to ClubFloyd), "sw" | ||
| CF ] The Den of the Beast 11/900 | ||
| CF | > | ||
| CF | > SW | ||
| CF | | ||
| CF | | ||
| CF | The Den of the Beast | ||
| CF | This seems to be a set representing a den of some kind of animal, | ||
| CF | maybe. A forbidding entranceway has been made with foam rocks and | ||
| CF | twisted thorny branches, forming an arch leading into what, at first | ||
| CF | glance, looks like a dark cave. On closer inspection though, there's | ||
| CF | no cave behind it at all, just a bit of the set wall painted black. | ||
| CF | | ||
| CF | A metal staircase runs up the wall to a balcony above you, and | ||
| CF | openings in the set lead north into gloom and northeast and northwest | ||
| CF | deeper into the studio. | ||
| CF | | ||
| CF | Mounds of bones are scattered around the front of the entrance to the | ||
| CF | den, and the pretend rocks are covered in splashes of red, that you | ||
| CF | suppose is meant to be blood. | ||
| CF | | ||
| CF | Lying near the entrance, its lifeless eyes staring at the ceiling, is | ||
| CF | the half-eaten corpse of a man! | ||
| CF | | ||
| CF | You can hear footsteps to the northwest. They seem to be slowly | ||
| CF | receding into the distance. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x corpse" | ||
| CF ] The Den of the Beast 11/901 | ||
| CF | > | ||
| CF | > X CORPSE | ||
| CF | | ||
| CF | Davor has definitely been gnawed on. He's wearing some form of sacking | ||
| CF | tunic, but it has been shredded from some vicious attack and reduced | ||
| CF | to strips. Tied around his waist is an open pouch. | ||
| CF | | ||
| CF | You can hear footsteps to the northeast. They seem to be getting | ||
| CF | closer! | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "look in pouch" | ||
| CF ] The Den of the Beast 11/902 | ||
| CF | > | ||
| CF | > LOOK IN POUCH | ||
| CF | | ||
| CF | The pouch is tied around the corpse's waist. | ||
| CF | | ||
| CF | A security guard walks in from the northeast. He gives you a friendly | ||
| CF | nod. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "search davor" | ||
| CF ] The Den of the Beast 11/903 | ||
| CF | > | ||
| CF | > SEARCH DAVOR | ||
| CF | | ||
| CF | Davor has definitely been gnawed on. He's wearing some form of sacking | ||
| CF | tunic, but it has been shredded from some vicious attack and reduced | ||
| CF | to strips. Tied around his waist is an open pouch. | ||
| CF | | ||
| CF | The security guard gives you a friendly wave and saunters northwest. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] The Village of Nether Hallows 11/904 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | The Village of Nether Hallows | ||
| CF | The cobbled square, gloomy and shadowed by the surrounding pretend | ||
| CF | stone buildings, is dominated in the centre by a gnarled, blackened | ||
| CF | old tree. Gaps between the houses lead north and south deeper into the | ||
| CF | Studio. A track disappears to the east and to the west, the entrance | ||
| CF | to the pub is a square of welcoming yellow light. | ||
| CF | | ||
| CF | A small crowd of villagers are gathered in a tight, scowling group to | ||
| CF | one side of the square. | ||
| CF | | ||
| CF | Outside the pub, a weathered sign hangs from a large wooden post. | ||
| CF | | ||
| CF | A noose hangs from one of the trees branches, swaying in a | ||
| CF | non-existent wind! | ||
| CF | | ||
| CF | You hear footsteps moving to the north of you. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "talk to villagers" | ||
| CF ] The Village of Nether Hallows 11/905 | ||
| CF | > | ||
| CF | > TALK TO VILLAGERS | ||
| CF | | ||
| CF | Now Derek has gone, none of the villagers seem interested in breaking | ||
| CF | character and talking to you. They just look at you suspiciously and | ||
| CF | wave their farm implements. | ||
| CF | | ||
| CF | "Get thee hence," yells one of the villagers. | ||
| CF | | ||
| CF | You hear footsteps moving to the east of you. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x noose" | ||
| CF ] The Village of Nether Hallows 11/906 | ||
| CF | > | ||
| CF | > X NOOSE | ||
| CF | | ||
| CF | The noose, made from thick old rope, hangs threateningly down from one | ||
| CF | of the tree's lower branches. Its very presence gives you a sense of | ||
| CF | that terrible deeds have been committed here! | ||
| CF | | ||
| CF | You hear footsteps moving to the south of you. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take noose" | ||
| CF ] The Village of Nether Hallows 11/907 | ||
| CF | > | ||
| CF | > TAKE NOOSE | ||
| CF | | ||
| CF | The noose is out of reach. | ||
| CF | | ||
| CF | You hear footsteps moving to the west of you. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x tree" | ||
| CF ] The Village of Nether Hallows 11/908 | ||
| CF | > | ||
| CF | > X TREE | ||
| CF | | ||
| CF | The large gnarled, leafless tree, obviously a well-made prop, | ||
| CF | dominates the centre of the square. Hanging from one of its lower | ||
| CF | branches is a noose! | ||
| CF | | ||
| CF | You hear footsteps moving to the north of you. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "climb tree" | ||
| CF ] The Village of Nether Hallows 11/909 | ||
| CF | > | ||
| CF | > CLIMB TREE | ||
| CF | | ||
| CF | There are no good footholds on the trunk of the tree. | ||
| CF | | ||
| CF | You hear footsteps moving to the east of you. | ||
| CF | | ||
| CF | > | Krumar says, "We could used the noose on the guard, may be." | |
| DavidW says, "It's out of reach, though." | ||
| burl asks, "is there a barstool we could grab?" | ||
| DavidW says (to ClubFloyd), "w" | ||
| CF ] The Slaughtered Calf 11/910 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | The Slaughtered Calf | ||
| CF | The pub, dominated by the large bar on one side, is smoky and warm. | ||
| CF | The walls and ceilings are all beamed with blackened oak that frames | ||
| CF | yellowing plaster. The ceiling is low, causing the smoke to twine | ||
| CF | around at head level, and the floorboards are covered with a layer of | ||
| CF | sawdust. Doorways out of the pub lead east into the village square and | ||
| CF | northeast and southeast into the darkened Studio. | ||
| CF | | ||
| CF | Opposite the bar, a roaring fire crackles and spits in a blackened | ||
| CF | stone fireplace. | ||
| CF | | ||
| CF | On the wall above the fireplace, a five-pointed star is scratched into | ||
| CF | the plaster of the wall! | ||
| CF | | ||
| CF | A few regular patrons sit in surly groups at the tables and watch you | ||
| CF | suspiciously over their beer glasses. | ||
| CF | | ||
| CF | Bert, the barman stands behind the bar polishing a glass with a dirty | ||
| CF | towel. | ||
| CF | | ||
| CF | "Good evening to you," says Bert, smiling gently. "You after buying a | ||
| CF | drink?" | ||
| CF | | ||
| CF | "I ought to be getting home," says one of the regulars, settling back | ||
| CF | more comfortably in her seat. | ||
| CF | | ||
| CF | You can hear footsteps to the southeast. They seem to be getting | ||
| CF | closer! | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x star" | ||
| CF ] The Slaughtered Calf 11/911 | ||
| CF | > | ||
| CF | > X STAR | ||
| CF | | ||
| CF | The five pointed star, no, the pentagram, has been crudely scratched | ||
| CF | into the plaster of the wall. | ||
| CF | | ||
| CF | One of the locals sees you looking at it. "Never mind that, you," he | ||
| CF | says, sharply. "That's not for outsiders." | ||
| CF | | ||
| CF | One of the regulars moves a chess piece. | ||
| CF | | ||
| CF | A security guard walks in from the southeast. "You keep one in the | ||
| CF | pipe for me," says the Guard to Bert, winking at you. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x stool" | ||
| CF ] The Slaughtered Calf 11/911 | ||
| CF | > | ||
| CF | > X STOOL | ||
| CF | | ||
| CF | You can't see any such thing. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x barstool" | ||
| CF ] The Slaughtered Calf 11/911 | ||
| CF | > | ||
| CF | > X BARSTOOL | ||
| CF | | ||
| CF | You can't see any such thing. | ||
| CF | | ||
| CF | > | Krumar says, "the star seems important." | |
| DavidW says, "I don't remember seeing the star before." | ||
| Jacqueline says, "It was there." | ||
| Jacqueline says, "But it was just a star, not a pentagram." | ||
| DavidW says (to ClubFloyd), "x fireplace" | ||
| CF ] The Slaughtered Calf 11/912 | ||
| CF | > | ||
| CF | > X FIREPLACE | ||
| CF | | ||
| CF | The fire roars merrily in the fireplace, filling the room with smoke | ||
| CF | | ||
| CF | "Nothing better than a fire on a cold night, eh?" says one of the | ||
| CF | locals. "Makes you feel safe from...." He doesn't get chance to | ||
| CF | finish. One of the other patrons hushes him sharply. | ||
| CF | | ||
| CF | The security guard gives Bert a friendly wave and saunters northeast. | ||
| CF | | ||
| CF | > | Jacqueline says, "I'm proud of our PC for noticing it might be more than a star upon further reflection." | |
| DavidW says (to ClubFloyd), "x chess" | ||
| CF ] The Slaughtered Calf 11/913 | ||
| CF | > | ||
| CF | > X CHESS | ||
| CF | | ||
| CF | The regulars play chess and cards with one another, but their hearts | ||
| CF | don't seem in it. | ||
| CF | | ||
| CF | "Snap," yells one of the customers and slaps a card down on the table, | ||
| CF | making you jump. | ||
| CF | | ||
| CF | You can hear footsteps to the northeast. They seem to be slowly | ||
| CF | receding into the distance. | ||
| CF | | ||
| CF | > | Knight_Otu says, "They might be learning." | |
| DavidW says (to ClubFloyd), "talk to patrons" | ||
| CF ] The Slaughtered Calf 11/914 | ||
| CF | > | ||
| CF | > TALK TO PATRONS | ||
| CF | | ||
| CF | "Hark at him with his fancy city ways," one of the customers says | ||
| CF | loudly. | ||
| CF | | ||
| CF | You can hear footsteps to the southeast. They seem to be getting | ||
| CF | closer! | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "talk to bert" | ||
| CF ] The Slaughtered Calf 11/915 | ||
| CF | > | ||
| CF | > TALK TO BERT | ||
| CF | | ||
| CF | Bert smiles at you. "Afraid we don't take credit cards here," he says. | ||
| CF | "Doesn't look like you have enough money for a pint." | ||
| CF | | ||
| CF | A security guard walks in from the southeast. The Guard winks at you. | ||
| CF | "I could murder a pint, Bert," he says. "You have one ready when I'm | ||
| CF | off shift." | ||
| CF | | ||
| CF | > | DavidW says, "I'm running out of ideas" | |
| Jacqueline says, "I could murder a pint." | ||
| burl says, "can we win money at the card or chess games" | ||
| DavidW says (to ClubFloyd), "play chess" | ||
| CF ] The Slaughtered Calf 11/916 | ||
| CF | > | ||
| CF | > PLAY CHESS | ||
| CF | | ||
| CF | The regulars look at you so suspiciously that you step back. | ||
| CF | | ||
| CF | "I ought to be getting home," says one of the regulars, settling back | ||
| CF | more comfortably in her seat. | ||
| CF | | ||
| CF | The security guard gives Bert a friendly wave and saunters northeast. | ||
| CF | | ||
| CF | > | Jacqueline says, "I really do wonder if it's beer in the cage, trap the guard even though we do not fit and he shouldn't either." | |
| Knight_Otu says, "Maybe we do need Wilma." | ||
| burl says, "yeah the sheep head is more plausible (but less funny so i'm still rooting for the ol' security guard beer trap)" | ||
| Jacqueline says (to KO), "Shhhh" | ||
| DavidW says, "I can fetch her, but we couldn't get her into the south corridor, so I suspect she won't go into a cage either." | ||
| Knight_Otu zips up his mouth. | ||
| burl says, "before we leave could we try to play cards" | ||
| Krumar says, "when we tried to buy a beer we just drank it though." | ||
| DavidW says (to ClubFloyd), "play cards" | ||
| CF ] The Slaughtered Calf 11/917 | ||
| CF | > | ||
| CF | > PLAY CARDS | ||
| CF | | ||
| CF | The regulars look at you so suspiciously that you step back. | ||
| CF | | ||
| CF | The regulars laugh nastily to one another and glance at you. | ||
| CF | | ||
| CF | You can hear footsteps to the northeast. They seem to be slowly | ||
| CF | receding into the distance. | ||
| CF | | ||
| CF | > | burl says, "ah well" | |
| DavidW says (to ClubFloyd), "x bar" | ||
| CF ] The Slaughtered Calf 11/918 | ||
| CF | > | ||
| CF | > X BAR | ||
| CF | | ||
| CF | The bar stretches along one side of the pub. Bert stands behind it | ||
| CF | polishing a glass. | ||
| CF | | ||
| CF | Bert pulls a pint and then hands it to a regular. | ||
| CF | | ||
| CF | You can hear footsteps to the southeast. They seem to be getting | ||
| CF | closer! | ||
| CF | | ||
| CF | > | burl says, "does the parser understand buy the guard a beer even if our wallets can't do that" | |
| Knight_Otu says, "Probably not." | ||
| DavidW says (to ClubFloyd), "buy the guard a beer" | ||
| CF ] The Slaughtered Calf 11/918 | ||
| CF | > | ||
| CF | > BUY THE GUARD A BEER | ||
| CF | | ||
| CF | You can't see any such thing. | ||
| CF | | ||
| CF | > | DavidW says, "It thinks we want to buy a 'guard a beer'." | |
| Krumar asks, "want to try to check on annie some more?" | ||
| DavidW says, "I'll go get Wilma, just to be sure she isn't the answer." | ||
| Jacqueline says (to ClubFloyd), "buy beer for guard" | ||
| CF ] The Slaughtered Calf 11/918 | ||
| CF | > | ||
| CF | > BUY BEER FOR GUARD | ||
| CF | | ||
| CF | I only understood you as far as wanting to buy the beer glasses. | ||
| CF | | ||
| CF | > | burl says, "so we need a way to get to the tree, there might be some funny business with the star, that guard sure would like a beer, and the wolf may be deterred by being shot with a silver gun, but also there's a cage just hanging there" | |
| DavidW says (to ClubFloyd), "touch star" | ||
| CF ] The Slaughtered Calf 11/919 | ||
| CF | > | ||
| CF | > TOUCH STAR | ||
| CF | | ||
| CF | It's just crudely scratched into the wall. | ||
| CF | | ||
| CF | A security guard walks in from the southeast. "Now then, Bert," he | ||
| CF | says, winking at you. "How are you?" | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "talk to guard" | ||
| CF ] The Slaughtered Calf 11/920 | ||
| CF | > | ||
| CF | > TALK TO GUARD | ||
| CF | | ||
| CF | "Come for a pint, have you?" asks the Security Guard. "Can't blame | ||
| CF | you. I'd kill for one, myself! Got to work right now. No rest for the | ||
| CF | wicked!" | ||
| CF | | ||
| CF | The security guard gives Bert a friendly wave and saunters northeast. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] The Village of Nether Hallows 11/921 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | "Now you have a good day," calls Bert in his gentle drawl. "We'll see | ||
| CF | you next time." | ||
| CF | | ||
| CF | The Village of Nether Hallows | ||
| CF | The cobbled square, gloomy and shadowed by the surrounding pretend | ||
| CF | stone buildings, is dominated in the centre by a gnarled, blackened | ||
| CF | old tree. Gaps between the houses lead north and south deeper into the | ||
| CF | Studio. A track disappears to the east and to the west, the entrance | ||
| CF | to the pub is a square of welcoming yellow light. | ||
| CF | | ||
| CF | A small crowd of villagers are gathered in a tight, scowling group to | ||
| CF | one side of the square. | ||
| CF | | ||
| CF | Outside the pub, a weathered sign hangs from a large wooden post. | ||
| CF | | ||
| CF | A noose hangs from one of the trees branches, swaying in a | ||
| CF | non-existent wind! | ||
| CF | | ||
| CF | The villagers wave their farming implements at you, threateningly. | ||
| CF | | ||
| CF | You hear footsteps moving to the east of you. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] Path through the Forest 11/922 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | Path through the Forest | ||
| CF | Surrounded by the bottom two thirds of densely packed plywood fir | ||
| CF | trees, the path, covered in glued down gravel, runs west, deeper into | ||
| CF | the studio and east, where it ends at the studio door. Gaps in the | ||
| CF | scenery lead northwest and southwest into gloom. | ||
| CF | | ||
| CF | A rotund, red-faced security guard pokes around the set. | ||
| CF | | ||
| CF | Just next to the path is a deep, earthy pit in the floor. It's at | ||
| CF | least as twice as deep as you and pretty big. It's so deep that the | ||
| CF | bottom is all in darkness. | ||
| CF | | ||
| CF | A cage dangles from a rope to one side of the pit, its floor level | ||
| CF | with the top of the pit wall. The rope is attached to a pulley system | ||
| CF | and winch. | ||
| CF | | ||
| CF | The security guard waves to you and saunters off to the southwest. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "stand on cage" | ||
| CF ] Path through the Forest 11/923 | ||
| CF | > | ||
| CF | > STAND ON CAGE | ||
| CF | | ||
| CF | It's a bit too small and it doesn't look like it would hold your | ||
| CF | weight. | ||
| CF | | ||
| CF | You can hear footsteps to the southwest. They seem to be slowly | ||
| CF | receding into the distance. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] Studio Lot North 11/924 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | Studio Lot North | ||
| CF | The northern end of the huge lot, oppressively surrounded by the | ||
| CF | looming, darkened studio buildings, is overlooked to the north by the | ||
| CF | ugly and squat offices, their windows watching over the lot like great | ||
| CF | eyes. Who knows what lurks behind them. To the west, the door to | ||
| CF | Studio 1 is open. To the east, the open Studio 2 door. On each door, a | ||
| CF | sign. The lot continues to the south into shadow. | ||
| CF | | ||
| CF | The glass doors into the offices to the north have been replaced by | ||
| CF | gigantic doors that seem to be made entirely from human bones. The | ||
| CF | doorframe is made from hideous grinning human skulls! | ||
| CF | | ||
| CF | Sharp wooden spikes stick out from the ground around the door at all | ||
| CF | angles. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] Guard's Break Room 11/925 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | Guard's Break Room | ||
| CF | Someone has carved out a comfortable nook in this little space in | ||
| CF | between the door and the studio proper. There's a small table next to | ||
| CF | a comfy chair in one corner and on the table is a lit lamp, creating a | ||
| CF | welcoming pool of light in the gloom. A dingy gap in the wall to the | ||
| CF | east leads deeper into the studio and the door out to the lot, to the | ||
| CF | west, lies open. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "w" | ||
| CF ] Studio Lot North 11/926 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Studio Lot North | ||
| CF | The northern end of the huge lot, oppressively surrounded by the | ||
| CF | looming, darkened studio buildings, is overlooked to the north by the | ||
| CF | ugly and squat offices, their windows watching over the lot like great | ||
| CF | eyes. Who knows what lurks behind them. To the west, the door to | ||
| CF | Studio 1 is open. To the east, the open Studio 2 door. On each door, a | ||
| CF | sign. The lot continues to the south into shadow. | ||
| CF | | ||
| CF | The glass doors into the offices to the north have been replaced by | ||
| CF | gigantic doors that seem to be made entirely from human bones. The | ||
| CF | doorframe is made from hideous grinning human skulls! | ||
| CF | | ||
| CF | Sharp wooden spikes stick out from the ground around the door at all | ||
| CF | angles. | ||
| CF | | ||
| CF | > | burl says, "it's the 'gentle drawl' that really makes the barkeep a little bit sus" | |
| DavidW says (to ClubFloyd), "s" | ||
| CF ] Studio Lot South 11/927 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | Studio Lot South | ||
| CF | Here, the lot is surrounded on three sides by Studios, looming out of | ||
| CF | the night like ancient guardians. The lot continues to the north into | ||
| CF | shadow. To the east side is the door to Studio 3, to the west, Studio | ||
| CF | 4 and to the south the door to Studio 5 where you have spent so much | ||
| CF | time over the last two weeks. A sign over each door proclaims the | ||
| CF | movie that is being made there. | ||
| CF | | ||
| CF | Nefer-Kare's ancient servants skulk in a dusty group around their | ||
| CF | leader. | ||
| CF | | ||
| CF | The huge mummified form of Nefer-Kare stands menacingly near the | ||
| CF | centre of the lot, wrapped in dirty bandages. | ||
| CF | | ||
| CF | A horde of shambling zombies, led by a slightly less decomposed | ||
| CF | Security Guard, stumble around. | ||
| CF | | ||
| CF | Vampire thralls stand in a surly group, shooting suspicious glances at | ||
| CF | you. | ||
| CF | | ||
| CF | Over by the studio walls, the Count stands listlessly, staring off | ||
| CF | into the sky. | ||
| CF | | ||
| CF | The Countess paces impatiently around the lot. | ||
| CF | | ||
| CF | A dead cultist lies sprawled on the ground, his face frozen in a | ||
| CF | horrifying rictus. | ||
| CF | | ||
| CF | "Hurry," says the countess, impatiently. "It won't be long before | ||
| CF | we'll be in real trouble." | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] Studio Menagerie 11/928 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | Studio Menagerie | ||
| CF | This small dingy room is filled with mostly empty cages for the | ||
| CF | animals the Studio uses in its movies. It smells quite bad, to be | ||
| CF | honest. A door lies open to the west and, opposite it, a relatively | ||
| CF | brightly lit space in the wall opens up to the east. | ||
| CF | | ||
| CF | Wilma, the studio sheep is standing quietly here. A lead trails from a | ||
| CF | collar around her neck. | ||
| CF | | ||
| CF | On one side of the room, a large cage contains a huge crocodile. | ||
| CF | | ||
| CF | You can also see a cage of snakes here. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take lead" | ||
| CF ] Studio Menagerie 11/929 | ||
| CF | > | ||
| CF | > TAKE LEAD | ||
| CF | | ||
| CF | You grab Wilma's lead. The sheep looks at you with disdain. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "w" | ||
| CF ] Studio Lot South 11/930 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | Studio Lot South | ||
| CF | Here, the lot is surrounded on three sides by Studios, looming out of | ||
| CF | the night like ancient guardians. The lot continues to the north into | ||
| CF | shadow. To the east side is the door to Studio 3, to the west, Studio | ||
| CF | 4 and to the south the door to Studio 5 where you have spent so much | ||
| CF | time over the last two weeks. A sign over each door proclaims the | ||
| CF | movie that is being made there. | ||
| CF | | ||
| CF | Wilma snuffles around just nearby. | ||
| CF | | ||
| CF | Nefer-Kare's ancient servants skulk in a dusty group around their | ||
| CF | leader. | ||
| CF | | ||
| CF | The huge mummified form of Nefer-Kare stands menacingly near the | ||
| CF | centre of the lot, wrapped in dirty bandages. | ||
| CF | | ||
| CF | A horde of shambling zombies, led by a slightly less decomposed | ||
| CF | Security Guard, stumble around. | ||
| CF | | ||
| CF | Vampire thralls stand in a surly group, shooting suspicious glances at | ||
| CF | you. | ||
| CF | | ||
| CF | Over by the studio walls, the Count stands listlessly, staring off | ||
| CF | into the sky. | ||
| CF | | ||
| CF | The Countess paces impatiently around the lot. | ||
| CF | | ||
| CF | A dead cultist lies sprawled on the ground, his face frozen in a | ||
| CF | horrifying rictus. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] Studio Lot North 11/931 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Studio Lot North | ||
| CF | The northern end of the huge lot, oppressively surrounded by the | ||
| CF | looming, darkened studio buildings, is overlooked to the north by the | ||
| CF | ugly and squat offices, their windows watching over the lot like great | ||
| CF | eyes. Who knows what lurks behind them. To the west, the door to | ||
| CF | Studio 1 is open. To the east, the open Studio 2 door. On each door, a | ||
| CF | sign. The lot continues to the south into shadow. | ||
| CF | | ||
| CF | Wilma stands near your legs, looking bored. | ||
| CF | | ||
| CF | The glass doors into the offices to the north have been replaced by | ||
| CF | gigantic doors that seem to be made entirely from human bones. The | ||
| CF | doorframe is made from hideous grinning human skulls! | ||
| CF | | ||
| CF | Sharp wooden spikes stick out from the ground around the door at all | ||
| CF | angles. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "w" | ||
| CF ] Path through the Forest 11/932 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Path through the Forest | ||
| CF | Surrounded by the bottom two thirds of densely packed plywood fir | ||
| CF | trees, the path, covered in glued down gravel, runs west, deeper into | ||
| CF | the studio and east, where it ends at the studio door. Gaps in the | ||
| CF | scenery lead northwest and southwest into gloom. | ||
| CF | | ||
| CF | Wilma snuffles around just nearby. | ||
| CF | | ||
| CF | Just next to the path is a deep, earthy pit in the floor. It's at | ||
| CF | least as twice as deep as you and pretty big. It's so deep that the | ||
| CF | bottom is all in darkness. | ||
| CF | | ||
| CF | A cage dangles from a rope to one side of the pit, its floor level | ||
| CF | with the top of the pit wall. The rope is attached to a pulley system | ||
| CF | and winch. | ||
| CF | | ||
| CF | You can hear footsteps to the northwest. They seem to be getting | ||
| CF | closer! | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "put wilma in cage" | ||
| CF ] Path through the Forest 11/933 | ||
| CF | > | ||
| CF | > PUT WILMA IN CAGE | ||
| CF | | ||
| CF | You lead Wilma into the cage. She doesn't seem to mind. It's like | ||
| CF | she's used to it. She stands there, bleating softly. | ||
| CF | | ||
| CF | A security guard walks in from the northwest. He gives you a genial | ||
| CF | smile. | ||
| CF | | ||
| CF | > | DavidW says, "oh, that did work." | |
| DavidW says (to ClubFloyd), "turn winch" | ||
| CF ] Path through the Forest 11/934 | ||
| CF | > | ||
| CF | > TURN WINCH | ||
| CF | | ||
| CF | You turn the winch. As you turn, the cage lowers into the darkness of | ||
| CF | the pit until it is out of sight. | ||
| CF | | ||
| CF | The Guard has one last look inside the Pit, then shrugs and saunters | ||
| CF | off to the southwest. | ||
| CF | | ||
| CF | Deep inside the pit, Wilma's plaintive bleating is magnified by the | ||
| CF | pit walls and echoes eerily around the set. | ||
| CF | | ||
| CF | > | burl says, "yeah! the sheep and cage are no longer mysteries" | |
| DavidW says (to ClubFloyd), "z" | ||
| CF ] Path through the Forest 11/935 | ||
| CF | > | ||
| CF | > Z | ||
| CF | | ||
| CF | Time passes. | ||
| CF | | ||
| CF | You can hear footsteps to the southwest. They seem to be slowly | ||
| CF | receding into the distance. | ||
| CF | | ||
| CF | Deep inside the pit, Wilma's plaintive bleating is magnified by the | ||
| CF | pit walls and echoes eerily around the set. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "z" | ||
| CF ] Path through the Forest 11/936 | ||
| CF | > | ||
| CF | > Z | ||
| CF | | ||
| CF | Time passes. | ||
| CF | | ||
| CF | You can hear footsteps to the northwest. They seem to be getting | ||
| CF | closer! | ||
| CF | | ||
| CF | Deep inside the pit, Wilma's plaintive bleating is magnified by the | ||
| CF | pit walls and echoes eerily around the set. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "z" | ||
| CF ] Path through the Forest 11/937 | ||
| CF | > | ||
| CF | > Z | ||
| CF | | ||
| CF | Time passes. | ||
| CF | | ||
| CF | A security guard walks in from the northwest. He gives you a genial | ||
| CF | smile, then he hears Wilma's plaintive bleating coming from inside the | ||
| CF | pit. "What on earth is that?" he says to himself, and walks right to | ||
| CF | the edge of the pit to have a good look in. He peers into the | ||
| CF | darkness, but can't seem to see anything. | ||
| CF | | ||
| CF | Deep inside the pit, Wilma's plaintive bleating is magnified by the | ||
| CF | pit walls and echoes eerily around the set. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "push guard" | ||
| CF ] Path through the Forest 12/938 | ||
| CF | > | ||
| CF | > PUSH GUARD | ||
| CF | | ||
| CF | Plucking up all your courage, you rush up to the Security Guard and | ||
| CF | give him a quick push in the back. He teeters for a moment and then | ||
| CF | falls forward into the pit! There is a crash from below, and then out | ||
| CF | of the darkness the guard shouts up to you. "Thanks alot! Very funny! | ||
| CF | Now get me out of here." | ||
| CF | | ||
| CF | Phew! For a moment, you were worried that the guard would get hurt! | ||
| CF | | ||
| CF | You survived a perilous situation! | ||
| CF | | ||
| CF | Deep inside the pit, Wilma's plaintive bleating is magnified by the | ||
| CF | pit walls and echoes eerily around the set. | ||
| CF | | ||
| CF | "I'm supposed to be working!" shouts the Security Guard. "I need to | ||
| CF | get out." | ||
| CF | | ||
| CF | > | burl exclaims, "yeah!!" | |
| DavidW says (to ClubFloyd), "SAVE" | ||
| DavidW says (to ClubFloyd), "cf12" | ||
| CF | > | ||
| CF | > SAVE | ||
| CF | %% Enter a save filename to write: | ||
| CF ] Path through the Forest 12/938 | ||
| CF | > SAVEOk. | ||
| CF | | ||
| CF | > | Krumar says, "now we can get the full moon." | |
| MoyTravis says, "Nice." | ||
| Knight_Otu says, "I'm sure the guard is getting hurt soon enough." | ||
| DavidW says, "Safest place for him right now" | ||
| DavidW says (to ClubFloyd), "nw" | ||
| CF ] Desolate Windswept Hills 12/939 | ||
| CF | > | ||
| CF | > NW | ||
| CF | | ||
| CF | | ||
| CF | Desolate Windswept Hills | ||
| CF | It's not much, this set. A swathe of plastic grass and heather in a | ||
| CF | rounded mound is set against a painted backdrop on the studio wall | ||
| CF | that's supposed to represent distant hills. The set opens to the | ||
| CF | south, southeast and southwest, leading deeper into the gloomy studio. | ||
| CF | | ||
| CF | Rising out of the top of the mound, standing like a great sentinel lit | ||
| CF | eerily by the light from the moon, is a giant man-shaped sculpture | ||
| CF | made entirely from sticks and branches! | ||
| CF | | ||
| CF | Low on the studio wall, hangs the moon, its crescent filling the set | ||
| CF | with a ghostly pale light. | ||
| CF | | ||
| CF | > | burl asks, "was that whole bit about the beer one big red herring?" | |
| DavidW says (to ClubFloyd), "open shutter" | ||
| CF ] Desolate Windswept Hills 12/940 | ||
| CF | > | ||
| CF | > OPEN SHUTTER | ||
| CF | | ||
| CF | You open the shutter, revealing the glory of a full moon! | ||
| CF | | ||
| CF | You hear a blood-chilling howl in the distance! It reverberates around | ||
| CF | the studio triumphantly and it seems to be getting closer. Oh no! That | ||
| CF | doesn't sound good! | ||
| CF | | ||
| CF | The howling moves around the studio to the southeast of you. But then | ||
| CF | it suddenly stops. You hear a terrible snarling and then a long howl | ||
| CF | that seems to have a note of frustration in it! | ||
| CF | | ||
| CF | > | DavidW says, "Well, no. It was a clue for us to buy a beer for ourselves." | |
| DavidW says, "Otherwise, we might have never spent that silver coin." | ||
| Jacqueline says, "Is Wilma locked safely inside the cage? She might be safe in there." | ||
| DavidW says, "No lock. It's open on one side." | ||
| DavidW says, "But she's in the pit." | ||
| DavidW says (to ClubFloyd), "se" | ||
| CF ] Path through the Forest 12/941 | ||
| CF | > | ||
| CF | > SE | ||
| CF | | ||
| CF | | ||
| CF | Path through the Forest | ||
| CF | Surrounded by the bottom two thirds of densely packed plywood fir | ||
| CF | trees, the path, covered in glued down gravel, runs west, deeper into | ||
| CF | the studio and east, where it ends at the studio door. Gaps in the | ||
| CF | scenery lead northwest and southwest into gloom. | ||
| CF | | ||
| CF | Just next to the path is a deep, earthy pit in the floor. It's at | ||
| CF | least as twice as deep as you and pretty big. It's so deep that the | ||
| CF | bottom is all in darkness. | ||
| CF | | ||
| CF | A rope stretches into the darkness of the pit from a pulley system | ||
| CF | above. The other end is attached to a winch. | ||
| CF | | ||
| CF | There seems to be a terrible beast trapped! | ||
| CF | | ||
| CF | A loud scrabbling sound is coming out of the pit as if something is | ||
| CF | trying to get out! | ||
| CF | | ||
| CF | > | Jacqueline frowns. | |
| DavidW says, "hmmm. Except there's a beast in there now." | ||
| Knight_Otu says, "Huh." | ||
| Krumar says, "Bring it up." | ||
| DavidW asks, "Maybe Wilma was a weresheep?" | ||
| DavidW says (to ClubFloyd), "turn winch" | ||
| CF ] Path through the Forest 12/942 | ||
| CF | > | ||
| CF | > TURN WINCH | ||
| CF | | ||
| CF | You turn the winch. As you turn, the cage raises from the pit until it | ||
| CF | is level with the edge. | ||
| CF | | ||
| CF | The beast in the pit lets out a frustrated howl. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "look in pit" | ||
| CF ] Path through the Forest 12/943 | ||
| CF | > | ||
| CF | > LOOK IN PIT | ||
| CF | | ||
| CF | It's dug directly into the studio floor. You look into it. You'd never | ||
| CF | get out of there if you got in! | ||
| CF | | ||
| CF | The vicious beast in the pit yelps and snarls. | ||
| CF | | ||
| CF | > | Jacqueline exclaims, "!" | |
| Jacqueline says (to ClubFloyd), "x cage" | ||
| CF ] Path through the Forest 12/944 | ||
| CF | > | ||
| CF | > X CAGE | ||
| CF | | ||
| CF | It's a simple wooden cage with one side missing to allow entry. It is | ||
| CF | attached by a rope to a pulley system. | ||
| CF | | ||
| CF | The beast in the pit lets out a frustrated howl. | ||
| CF | | ||
| CF | > | ||
| Jacqueline says (to ClubFloyd), "look in cage" | ||
| CF ] Path through the Forest 12/945 | ||
| CF | > | ||
| CF | > LOOK IN CAGE | ||
| CF | | ||
| CF | It's a simple wooden cage with one side missing to allow entry. It is | ||
| CF | attached by a rope to a pulley system. | ||
| CF | | ||
| CF | A loud scrabbling sound is coming out of the pit as if something is | ||
| CF | trying to get out! | ||
| CF | | ||
| CF | > | DavidW says, "Wilma and the guard are gone." | |
| Jacqueline says, "Nooooooooooooooooooooooooooooooooooo" | ||
| burl says, "well, the guard doesn't seem gone gone" | ||
| Knight_Otu says, "So much for safest place." | ||
| DavidW says (to ClubFloyd), "shoot beast" | ||
| CF ] Path through the Forest 12/946 | ||
| CF | > | ||
| CF | > SHOOT BEAST | ||
| CF | | ||
| CF | You pull the trigger. It just gives a faint click. Of course it does - | ||
| CF | it's just an antique - it's obviously not got any gunpowder in it. | ||
| CF | | ||
| CF | A tremendous snarling and growling is coming from the pit. | ||
| CF | | ||
| CF | > | burl says, "i bet if the moon is changed the guard is in the pit and the wolf is not" | |
| DavidW says, "We can check that." | ||
| DavidW says (to ClubFloyd), "nw" | ||
| CF ] Desolate Windswept Hills 12/947 | ||
| CF | > | ||
| CF | > NW | ||
| CF | | ||
| CF | | ||
| CF | Desolate Windswept Hills | ||
| CF | It's not much, this set. A swathe of plastic grass and heather in a | ||
| CF | rounded mound is set against a painted backdrop on the studio wall | ||
| CF | that's supposed to represent distant hills. The set opens to the | ||
| CF | south, southeast and southwest, leading deeper into the gloomy studio. | ||
| CF | | ||
| CF | Rising out of the top of the mound, standing like a great sentinel lit | ||
| CF | eerily by the light from the moon, is a giant man-shaped sculpture | ||
| CF | made entirely from sticks and branches! | ||
| CF | | ||
| CF | Low on the studio wall hangs the full moon, filling the set with a | ||
| CF | ghostly pale light. | ||
| CF | | ||
| CF | > | Jacqueline says, "Yeah. It seemed weird earlier, though, that he was talking to us and there was a wolf howl in the distance." | |
| DavidW says (to ClubFloyd), "close shutter" | ||
| CF ] Desolate Windswept Hills 12/948 | ||
| CF | > | ||
| CF | > CLOSE SHUTTER | ||
| CF | | ||
| CF | You close the shutter halfway, limiting the moon to a sliver of | ||
| CF | moonlight in a crescent. | ||
| CF | | ||
| CF | In the distance, to the east of the studio, you hear a howl of | ||
| CF | disappointment that suddenly trails away into silence. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "se" | ||
| CF ] Path through the Forest 12/949 | ||
| CF | > | ||
| CF | > SE | ||
| CF | | ||
| CF | Path through the Forest | ||
| CF | Surrounded by the bottom two thirds of densely packed plywood fir | ||
| CF | trees, the path, covered in glued down gravel, runs west, deeper into | ||
| CF | the studio and east, where it ends at the studio door. Gaps in the | ||
| CF | scenery lead northwest and southwest into gloom. | ||
| CF | | ||
| CF | Just next to the path is a deep, earthy pit in the floor. It's at | ||
| CF | least as twice as deep as you and pretty big. It's so deep that the | ||
| CF | bottom is all in darkness. | ||
| CF | | ||
| CF | A cage dangles from a rope to one side of the pit, its floor level | ||
| CF | with the top of the pit wall. The rope is attached to a pulley system | ||
| CF | and winch. | ||
| CF | | ||
| CF | A voice suddenly calls from the pit. "Hello? Anybody up there?" It's | ||
| CF | the voice of, what sounds like, a young woman! | ||
| CF | | ||
| CF | "If you're up there," she continues, "If you'd be so kind as to lower | ||
| CF | the cage and then winch me up, I'd be very grateful." | ||
| CF | | ||
| CF | > | burl exclaims, "annie!" | |
| MoyTravis says, "Annie, then." | ||
| Jacqueline says, "ANNIE" | ||
| Knight_Otu says, "I'm surprised that apparently we solved the first two studios after studio 5 in the right order." | ||
| burl says, "little morphin' annie" | ||
| Jacqueline asks, "So, Annie, are you okay? Are you okay, Annie?" | ||
| DavidW says, "I noticed the gun didn't work." | ||
| DavidW asks, "Do we let her out?" | ||
| Jacqueline says, "Yeah. Needs powder maybe." | ||
| Krumar asks, "can we get teh coins out of it?" | ||
| MoyTravis says, "We have shot, but no powder." | ||
| Jacqueline says, "I do not think we let anything out of that pit." | ||
| DavidW says (to ClubFloyd), "take coins" | ||
| CF ] Path through the Forest 12/950 | ||
| CF | > | ||
| CF | > TAKE COINS | ||
| CF | | ||
| CF | The coins are firmly settled at the other end of the gun barrel. | ||
| CF | There's no getting them out now. | ||
| CF | | ||
| CF | "A little help?" shouts the young woman in the pit. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "turn winch" | ||
| CF ] Path through the Forest 12/951 | ||
| CF | > | ||
| CF | > TURN WINCH | ||
| CF | | ||
| CF | You turn the winch. As you turn, the cage lowers into the darkness of | ||
| CF | the pit until it is out of sight. | ||
| CF | | ||
| CF | "I'm on!"" calls the young woman from the darkness. "Now winch me up!" | ||
| CF | | ||
| CF | "Hello!" calls a voice from the pit. "Is anyone there?" | ||
| CF | | ||
| CF | > | MoyTravis asks, "Talk to her?" | |
| Jacqueline says, "Well, unless we let her out and have a talking to her and recruit her to our army." | ||
| Knight_Otu asks, "Maybe search her apartment?" | ||
| Krumar says, "I say seasrch while she is out." | ||
| DavidW says, "oh, that's a thought." | ||
| Jacqueline nods. | ||
| DavidW says (to ClubFloyd), "sw" | ||
| CF ] The Den of the Beast 12/952 | ||
| CF | > | ||
| CF | > SW | ||
| CF | | ||
| CF | | ||
| CF | The Den of the Beast | ||
| CF | This seems to be a set representing a den of some kind of animal, | ||
| CF | maybe. A forbidding entranceway has been made with foam rocks and | ||
| CF | twisted thorny branches, forming an arch leading into what, at first | ||
| CF | glance, looks like a dark cave. On closer inspection though, there's | ||
| CF | no cave behind it at all, just a bit of the set wall painted black. | ||
| CF | | ||
| CF | A metal staircase runs up the wall to a balcony above you, and | ||
| CF | openings in the set lead north into gloom and northeast and northwest | ||
| CF | deeper into the studio. | ||
| CF | | ||
| CF | Mounds of bones are scattered around the front of the entrance to the | ||
| CF | den, and the pretend rocks are covered in splashes of red, that you | ||
| CF | suppose is meant to be blood. | ||
| CF | | ||
| CF | Lying near the entrance, its lifeless eyes staring at the ceiling, is | ||
| CF | the half-eaten corpse of a man! | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "u" | ||
| CF ] Balcony 12/953 | ||
| CF | > | ||
| CF | > U | ||
| CF | | ||
| CF | | ||
| CF | Balcony | ||
| CF | Halfway up the studio wall, the staircase from below ends at a little | ||
| CF | platform, bounded by an iron railing. On the southern wall is a closed | ||
| CF | door. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] Balcony 12/954 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | (first opening the door) | ||
| CF | It seems to be locked. | ||
| CF | | ||
| CF | > | Knight_Otu says, "Huh." | |
| DavidW says (to ClubFloyd), "d" | ||
| CF ] The Den of the Beast 12/955 | ||
| CF | > | ||
| CF | > D | ||
| CF | | ||
| CF | | ||
| CF | The Den of the Beast | ||
| CF | This seems to be a set representing a den of some kind of animal, | ||
| CF | maybe. A forbidding entranceway has been made with foam rocks and | ||
| CF | twisted thorny branches, forming an arch leading into what, at first | ||
| CF | glance, looks like a dark cave. On closer inspection though, there's | ||
| CF | no cave behind it at all, just a bit of the set wall painted black. | ||
| CF | | ||
| CF | A metal staircase runs up the wall to a balcony above you, and | ||
| CF | openings in the set lead north into gloom and northeast and northwest | ||
| CF | deeper into the studio. | ||
| CF | | ||
| CF | Mounds of bones are scattered around the front of the entrance to the | ||
| CF | den, and the pretend rocks are covered in splashes of red, that you | ||
| CF | suppose is meant to be blood. | ||
| CF | | ||
| CF | Lying near the entrance, its lifeless eyes staring at the ceiling, is | ||
| CF | the half-eaten corpse of a man! | ||
| CF | | ||
| CF | > | Krumar says, "she's a clever wolf" | |
| DavidW says (to ClubFloyd), "ne" | ||
| CF ] Path through the Forest 12/956 | ||
| CF | > | ||
| CF | > NE | ||
| CF | | ||
| CF | Path through the Forest | ||
| CF | Surrounded by the bottom two thirds of densely packed plywood fir | ||
| CF | trees, the path, covered in glued down gravel, runs west, deeper into | ||
| CF | the studio and east, where it ends at the studio door. Gaps in the | ||
| CF | scenery lead northwest and southwest into gloom. | ||
| CF | | ||
| CF | Just next to the path is a deep, earthy pit in the floor. It's at | ||
| CF | least as twice as deep as you and pretty big. It's so deep that the | ||
| CF | bottom is all in darkness. | ||
| CF | | ||
| CF | A rope stretches into the darkness of the pit from a pulley system | ||
| CF | above. The other end is attached to a winch. | ||
| CF | | ||
| CF | A voice suddenly calls from the pit. "Hello? Anybody up there?" It's | ||
| CF | the voice of, what sounds like, a young woman! | ||
| CF | | ||
| CF | "If you're up there," she continues, "I'm standing on the cage. If | ||
| CF | you'd be so kind as to winch me up, I'd be very grateful." | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "turn winch" | ||
| CF ] Path through the Forest 12/957 | ||
| CF | > | ||
| CF | > TURN WINCH | ||
| CF | | ||
| CF | You turn the winch. As you turn, the cage raises from the pit until it | ||
| CF | is level with the edge. | ||
| CF | | ||
| CF | A young woman in tattered clothing jumps from the top of the cage. | ||
| CF | "Oh, hello," she says. "Thanks. I could've been stuck down there all | ||
| CF | night. I'm Annie, by the way." | ||
| CF | | ||
| CF | Annie yawns and stretches. "I really should be getting some sleep." | ||
| CF | She grins at you. "Still, no rest for the wicked." | ||
| CF | | ||
| CF | (1) - "What are you doing in the pit?" | ||
| CF | (2) - "You must be a Werewolf!" | ||
| CF | | ||
| CF | You say > | ||
| DavidW says (to ClubFloyd), "2" | ||
| CF ] Path through the Forest 12/957 | ||
| CF | You say > | ||
| CF | > 2 | ||
| CF | | ||
| CF | "You must be a Werewolf!" you gasp. | ||
| CF | | ||
| CF | Anie gives you a thumbs up. "Bingo!," she says and shrugs. "Woman and | ||
| CF | girl." | ||
| CF | | ||
| CF | (1) - "What's it like?" | ||
| CF | (2) - "You're one of the undead!" | ||
| CF | | ||
| CF | You say > | ||
| DavidW says (to ClubFloyd), "1" | ||
| CF ] Path through the Forest 12/957 | ||
| CF | You say > | ||
| CF | > 1 | ||
| CF | | ||
| CF | "What's it like," you ask, "being a Werewolf?" | ||
| CF | | ||
| CF | "Most of the time, not so bad," replies Annie. "You know - once or | ||
| CF | twice a month I need to feed on human flesh, but, really, you just get | ||
| CF | on with your life, you know? Well, up until the last couple of years. | ||
| CF | I got," and here she grimaces, "trained." She finishes with a | ||
| CF | scowl and shakes her head. | ||
| CF | | ||
| CF | (1) - "What do you mean, trained?" | ||
| CF | | ||
| CF | You say > | MoyTravis asks, "You know, I'm not sure if a werewolf is undead?" | |
| DavidW says (to ClubFloyd), "1" | ||
| CF ] Path through the Forest 12/957 | ||
| CF | You say > | ||
| CF | > 1 | ||
| CF | | ||
| CF | "What do you mean, trained?" you ask. | ||
| CF | | ||
| CF | Annie looks directly at you and her eyes are like thunder. "Like an | ||
| CF | animal," she says. "It was fun, at first, making movies, but | ||
| CF | when Arnie realized I could only film a few nights a month, they | ||
| CF | installed that moon on the Studio wall. I mean, it's just a lamp | ||
| CF | behind a pane of glass, but they started putting prey out when they | ||
| CF | opened it, and eventually, I couldn't help myself. The whole | ||
| CF | Lycanthropy thing took over and I was changing at their whims, to | ||
| CF | their schedule." Now she seems to be getting really angry. | ||
| CF | "Do you know," she growls, "how many times I've been stuck in | ||
| CF | that pit?" | ||
| CF | | ||
| CF | (1) - "Why don't you escape?" | ||
| CF | | ||
| CF | You say > | Knight_Otu says, "Not in modern parlance, but in myths, the lines are more blurry." | |
| DavidW says (to ClubFloyd), "1" | ||
| CF ] Path through the Forest 12/957 | ||
| CF | You say > | ||
| CF | > 1 | ||
| CF | | ||
| CF | "Why don't you escape?" you ask. | ||
| CF | | ||
| CF | "They're all protected," she says and gives a sad smile. "I've tried. | ||
| CF | They've got their hexes and their silver. I never get far." | ||
| CF | | ||
| CF | (1) - "I'm raising an undead army. Join us!" | ||
| CF | | ||
| CF | You say > | ||
| DavidW says (to ClubFloyd), "1" | ||
| CF ] Path through the Forest 12/957 | ||
| CF | You say > | ||
| CF | > 1 | ||
| CF | | ||
| CF | "I'm raising an undead army?" you say. "Join us! We're gathering in | ||
| CF | the studio lot." | ||
| CF | | ||
| CF | Annie looks at you quizzically. "Why?" she says. "No offence, but | ||
| CF | you're human. Why would you want to help the undead. And me." | ||
| CF | | ||
| CF | (1) - "Arnie and his Cult are summoning Astaroth and his demonic | ||
| CF | hordes." | ||
| CF | | ||
| CF | You say > | ||
| DavidW says (to ClubFloyd), "1" | ||
| CF ] Desolate Windswept Hills 12/957 | ||
| CF | You say > | ||
| CF | > 1 | ||
| CF | | ||
| CF | "Arnie and his Cult are summoning Astaroth and his demonic hordes." | ||
| CF | | ||
| CF | Annie laughs "So it's not just out of the goodness of your heart then. | ||
| CF | Helping the undead in distress." She sees you looking chastened and | ||
| CF | grins at you. "Only kidding. Of course I'll help. If it will give | ||
| CF | Arnie and all his sycophants a black eye, I'm in." | ||
| CF | | ||
| CF | It's all you can do to stop yourself giving a cheer. You have a | ||
| CF | werewolf for your army! | ||
| CF | | ||
| CF | "But first," continues Annie, determinedly, "there's something I need | ||
| CF | to do." | ||
| CF | | ||
| CF | She grabs your hand and marches you both to the northwest, to the | ||
| CF | hills set. | ||
| CF | | ||
| CF | Desolate Windswept Hills | ||
| CF | It's not much, this set. A swathe of plastic grass and heather in a | ||
| CF | rounded mound is set against a painted backdrop on the studio wall | ||
| CF | that's supposed to represent distant hills. The set opens to the | ||
| CF | south, southeast and southwest, leading deeper into the gloomy studio. | ||
| CF | | ||
| CF | Rising out of the top of the mound, standing like a great sentinel lit | ||
| CF | eerily by the light from the moon, is a giant man-shaped sculpture | ||
| CF | made entirely from sticks and branches! | ||
| CF | | ||
| CF | Low on the studio wall, hangs the moon, its crescent filling the set | ||
| CF | with a ghostly pale light. | ||
| CF | | ||
| CF | Annie grins at you and flexes her shoulders. "Right," she says. "Let's | ||
| CF | go to war, but first." She suddenly turns and rips the moon's shutters | ||
| CF | clean off the wall, revealing the full moon in all its glory. "I | ||
| CF | should have done that years ago," she continues, as hair begins to | ||
| CF | sprout on her face. "I'm not letting that thing control me any | ||
| CF | moroooooh..." Her voice becomes a prolonged howl. | ||
| CF | | ||
| CF | Annie changes. Her face lengthens and she begins to get | ||
| CF | bigger. A lot bigger. Her legs and arms sprout hair, as does the rest | ||
| CF | of her body. Her teeth - well, they become sharp, shining fangs in a | ||
| CF | long wolf-like face. It is over in a moment, and the Werewolf, in its | ||
| CF | full ravenous glory, stands in front of you, panting. | ||
| CF | | ||
| CF | Its red, furious eyes fix on yours and it begins to snarl. | ||
| CF | | ||
| CF | > | burl says, "werewolves say worker's rights" | |
| DavidW says, "um. We don't have any silver." | ||
| DavidW says (to ClubFloyd), "break blunderbuss" | ||
| CF ] Desolate Windswept Hills 13/958 | ||
| CF | > | ||
| CF | > BREAK BLUNDERBUSS | ||
| CF | | ||
| CF | Violence isn't the answer to this one. | ||
| CF | | ||
| CF | The Werewolf sees the Blunderbuss you are carrying and sniffs the air. | ||
| CF | It seems to smell something it doesn't like! The hackles on its back | ||
| CF | raise up and it looks at you balefully. It gives a heavy sigh and | ||
| CF | gestures to you, pointing out towards the main lot. With one final | ||
| CF | shrug, it lopes out of the set. It must be off to join your undead | ||
| CF | army! You punch the air with delight! | ||
| CF | | ||
| CF | You have grown your Undead Army! | ||
| CF | | ||
| CF | You have survived a perilous situation! | ||
| CF | | ||
| CF | > | MoyTravis says, "Well, ok." | |
| DavidW says, "oh. The coins in the gun still count." | ||
| Knight_Otu says, "Whew." | ||
| MoyTravis says, "I guess it understands guns, but can't smell our lack of powder? Sure. I'll take it." | ||
| MoyTravis says, "She, I guess." | ||
| DavidW says, "We didn't get any cutting tool." | ||
| DavidW asks, "Could there be a scalpel or something that we missed?" | ||
| DavidW says (to ClubFloyd), "score" | ||
| CF ] Desolate Windswept Hills 13/958 | ||
| CF | > | ||
| CF | > SCORE | ||
| CF | | ||
| CF | You're still in one piece. That's a good start. | ||
| CF | | ||
| CF | You are building an undead army! So far, it consists of, the mummified | ||
| CF | Pharaoh Nefer-Kare and his shuffling ancient servants, a horde of | ||
| CF | shambling zombies led by an understandably annoyed Security Guard, a | ||
| CF | fearsome ravening werewolf, the Count, the Countess and their | ||
| CF | bloodthirsty vampire thralls. | ||
| CF | | ||
| CF | You have survived thirteen perilous situations! | ||
| CF | | ||
| CF | - You avoided the murderous attentions of the Cult of Astaroth! | ||
| CF | - You managed to escape from the Cult's Lair! | ||
| CF | - You killed a crazed Cultist with a wooden stake! | ||
| CF | - You chopped a relatively blameless security guard into little | ||
| CF | pieces with a huge axe! | ||
| CF | - You protected yourself from vampires with a simple golden | ||
| CF | crucifix! | ||
| CF | - You managed to sort out a bunch of squabbling ghosts! | ||
| CF | - A horde of shambling zombies stopped attacking you because you | ||
| CF | were holding a voodoo doll of power! | ||
| CF | - You inadvertently led a horde of zombies to a poor Security | ||
| CF | Guard and they bit and infected her! | ||
| CF | - You terrified a nice security guard so much with horrible | ||
| CF | creatures that he ran into a trapped passageway and got speared to | ||
| CF | death! | ||
| CF | - You tamed Nefer-Kare and his mummified servants with the ancient | ||
| CF | magic of his own bracelet! | ||
| CF | - You cremated a young security guard in a huge oven! | ||
| CF | - You pushed a decent hard-working security guard into a deep pit | ||
| CF | for some reason. | ||
| CF | - You loaded an ancient Blunderbuss with a handful of silver | ||
| CF | pocket-change and bluffed a Werewolf! | ||
| CF | | ||
| CF | > | Knight_Otu says, "Maybe. It would make sense if there's one in the Frankenstein studio, I guess." | |
| Jacqueline thinks about Wilma, and presses F. | ||
| DavidW says (to ClubFloyd), "se" | ||
| CF ] Path through the Forest 13/959 | ||
| CF | > | ||
| CF | > SE | ||
| CF | | ||
| CF | | ||
| CF | Path through the Forest | ||
| CF | Surrounded by the bottom two thirds of densely packed plywood fir | ||
| CF | trees, the path, covered in glued down gravel, runs west, deeper into | ||
| CF | the studio and east, where it ends at the studio door. Gaps in the | ||
| CF | scenery lead northwest and southwest into gloom. | ||
| CF | | ||
| CF | Just next to the path is a deep, earthy pit in the floor. It's at | ||
| CF | least as twice as deep as you and pretty big. It's so deep that the | ||
| CF | bottom is all in darkness. | ||
| CF | | ||
| CF | A cage dangles from a rope to one side of the pit, its floor level | ||
| CF | with the top of the pit wall. The rope is attached to a pulley system | ||
| CF | and winch. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] Studio Lot North 13/960 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | Studio Lot North | ||
| CF | The northern end of the huge lot, oppressively surrounded by the | ||
| CF | looming, darkened studio buildings, is overlooked to the north by the | ||
| CF | ugly and squat offices, their windows watching over the lot like great | ||
| CF | eyes. Who knows what lurks behind them. To the west, the door to | ||
| CF | Studio 1 is open. To the east, the open Studio 2 door. On each door, a | ||
| CF | sign. The lot continues to the south into shadow. | ||
| CF | | ||
| CF | The glass doors into the offices to the north have been replaced by | ||
| CF | gigantic doors that seem to be made entirely from human bones. The | ||
| CF | doorframe is made from hideous grinning human skulls! | ||
| CF | | ||
| CF | Sharp wooden spikes stick out from the ground around the door at all | ||
| CF | angles. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] Studio Lot South 13/961 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | Studio Lot South | ||
| CF | Here, the lot is surrounded on three sides by Studios, looming out of | ||
| CF | the night like ancient guardians. The lot continues to the north into | ||
| CF | shadow. To the east side is the door to Studio 3, to the west, Studio | ||
| CF | 4 and to the south the door to Studio 5 where you have spent so much | ||
| CF | time over the last two weeks. A sign over each door proclaims the | ||
| CF | movie that is being made there. | ||
| CF | | ||
| CF | A ravening Werewolf paces the lot restlessly. | ||
| CF | | ||
| CF | Nefer-Kare's ancient servants skulk in a dusty group around their | ||
| CF | leader. | ||
| CF | | ||
| CF | The huge mummified form of Nefer-Kare stands menacingly near the | ||
| CF | centre of the lot, wrapped in dirty bandages. | ||
| CF | | ||
| CF | A horde of shambling zombies, led by a slightly less decomposed | ||
| CF | Security Guard, stumble around. | ||
| CF | | ||
| CF | Vampire thralls stand in a surly group, shooting suspicious glances at | ||
| CF | you. | ||
| CF | | ||
| CF | Over by the studio walls, the Count stands listlessly, staring off | ||
| CF | into the sky. | ||
| CF | | ||
| CF | The Countess paces impatiently around the lot. | ||
| CF | | ||
| CF | A dead cultist lies sprawled on the ground, his face frozen in a | ||
| CF | horrifying rictus. | ||
| CF | | ||
| CF | The Countess comes up to you when you enter the lot. "Oh, good work," | ||
| CF | she says and you think you detect a faint note of admiration in her | ||
| CF | voice. She nods towards the Werewolf. "She's powerful and fast. Just | ||
| CF | what we need. I'm beginning to think we might actually have a chance | ||
| CF | in this war." | ||
| CF | | ||
| CF | The Countess grins at you. "Now get out there and find us more undead | ||
| CF | recruits!" | ||
| CF | | ||
| CF | > | Knight_Otu says, "I appreciate that the game calls us out for our security guard murders for the most part." | |
| Jacqueline says, "Yeah, they're probably a tool in the Frankenstein area - there's also the wheel barrow and the giant blade, but that sounds like a lot of work schlepping stuff around and I hope that is not the way things go down." | ||
| DavidW says (to ClubFloyd), "w" | ||
| CF ] Studio Workshop 13/962 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Studio Workshop | ||
| CF | This must be where they build the sets! The walls and most of the | ||
| CF | floor is covered in offcuts of plywood. Large rectangular pieces of | ||
| CF | the foam they use to carve all sorts of things out of like boulders | ||
| CF | and statues lie in piles in between wooden trestles. Pots of paint, | ||
| CF | dripped and smeared with a hundred different colours, are roughly | ||
| CF | stacked in the corners. Forbidding doorways lead into shadow to the | ||
| CF | west and south and the door out of the Studio, to the east, lies open. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x plywood" | ||
| CF ] Studio Workshop 13/963 | ||
| CF | > | ||
| CF | > X PLYWOOD | ||
| CF | | ||
| CF | The pieces of plywood are all sorts of shapes and sizes. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "search it" | ||
| CF ] Studio Workshop 13/964 | ||
| CF | > | ||
| CF | > SEARCH IT | ||
| CF | | ||
| CF | The pieces of plywood are all sorts of shapes and sizes. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] The Laboratory of Dr Von Hummels 13/965 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | The Laboratory of Dr Von Hummels | ||
| CF | The centre of the room is dominated by an ominous metallic slab atop | ||
| CF | an iron plinth. On a large wooden table next to it, tubes, pipes, | ||
| CF | flasks and beakers bubble and hiss with strange looking liquids that | ||
| CF | make the room reek with their stinging chemical smell. Around the | ||
| CF | walls are prop bookcases filled with painted book spines. Doorways | ||
| CF | gape to the north and west into shadowed darkness and a gap in the | ||
| CF | fake walls leads south. | ||
| CF | | ||
| CF | Attached to one end of the slab is a metal helmet, to the other, a | ||
| CF | smooth brass handle. | ||
| CF | | ||
| CF | In the centre of the slab is a limbless human torso. Sewn onto its | ||
| CF | neck with haphazard stitches is Harry Higginbotham's decapitated head! | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x helmet" | ||
| CF ] The Laboratory of Dr Von Hummels 13/966 | ||
| CF | > | ||
| CF | > X HELMET | ||
| CF | | ||
| CF | More of a skull cap, really, with holes in it. To be honest it looks | ||
| CF | like someone in props has taken a metal colander and re-imagined it. | ||
| CF | Attached to the top of the helmet is a round metal ring. | ||
| CF | | ||
| CF | > | Jacqueline says, "And by THEY'RE PROBABLY A TOOL, I meant THERE IS PROBABLY A TOOL" | |
| DavidW says, "Interesting that there's three rings in this studio, not two." | ||
| DavidW says (to ClubFloyd), "x table" | ||
| CF ] The Laboratory of Dr Von Hummels 13/967 | ||
| CF | > | ||
| CF | > X TABLE | ||
| CF | | ||
| CF | The table is covered in a mass of complicated laboratory equipment. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "search table" | ||
| CF ] The Laboratory of Dr Von Hummels 13/968 | ||
| CF | > | ||
| CF | > SEARCH TABLE | ||
| CF | | ||
| CF | The table is covered in a mass of complicated laboratory equipment. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x equipment" | ||
| CF ] The Laboratory of Dr Von Hummels 13/969 | ||
| CF | > | ||
| CF | > X EQUIPMENT | ||
| CF | | ||
| CF | The complicated mess of glass pipes, flasks, bottles, beakers and | ||
| CF | tubes contain colored liquids that give off a terrible chemical smell. | ||
| CF | | ||
| CF | > | Krumar says, "You mighthave to "move" the energy to the equipment then to the body." | |
| DavidW says, "perhaps." | ||
| Knight_Otu says, "Three rings for the Frankensteins, to conjure lghtning and raise their monsters." | ||
| DavidW says (to ClubFloyd), "x blade" | ||
| CF ] The Laboratory of Dr Von Hummels 13/969 | ||
| CF | > | ||
| CF | > X BLADE | ||
| CF | | ||
| CF | You can't see any such thing. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x knife" | ||
| CF ] The Laboratory of Dr Von Hummels 13/969 | ||
| CF | > | ||
| CF | > X KNIFE | ||
| CF | | ||
| CF | You can't see any such thing. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x scalpel" | ||
| CF ] The Laboratory of Dr Von Hummels 13/969 | ||
| CF | > | ||
| CF | > X SCALPEL | ||
| CF | | ||
| CF | You can't see any such thing. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "l" | ||
| CF ] The Laboratory of Dr Von Hummels 13/970 | ||
| CF | > | ||
| CF | > L | ||
| CF | | ||
| CF | The Laboratory of Dr Von Hummels | ||
| CF | The centre of the room is dominated by an ominous metallic slab atop | ||
| CF | an iron plinth. On a large wooden table next to it, tubes, pipes, | ||
| CF | flasks and beakers bubble and hiss with strange looking liquids that | ||
| CF | make the room reek with their stinging chemical smell. Around the | ||
| CF | walls are prop bookcases filled with painted book spines. Doorways | ||
| CF | gape to the north and west into shadowed darkness and a gap in the | ||
| CF | fake walls leads south. | ||
| CF | | ||
| CF | Attached to one end of the slab is a metal helmet, to the other, a | ||
| CF | smooth brass handle. | ||
| CF | | ||
| CF | In the centre of the slab is a limbless human torso. Sewn onto its | ||
| CF | neck with haphazard stitches is Harry Higginbotham's decapitated head! | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] Crematorium 13/971 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | Crematorium | ||
| CF | The whole set is painted the same light green you see in a hospital | ||
| CF | ward. You know this is a crematorium because of the word "Crematorium" | ||
| CF | written in large white letters on the wall. You assume this is to let | ||
| CF | the audience know too without too much exposition. Dark gaps in the | ||
| CF | set walls lead north and west. | ||
| CF | | ||
| CF | On one wall is the open door to what must be the cremation oven! | ||
| CF | | ||
| CF | > | DavidW says, "Just the oven here. No cabinet or cupboard." | |
| DavidW says (to ClubFloyd), "pull gurney" | ||
| CF ] Crematorium 13/972 | ||
| CF | > | ||
| CF | > PULL GURNEY | ||
| CF | | ||
| CF | The gurney slides smoothly out of the oven and into the room. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "search it" | ||
| CF ] Crematorium 13/973 | ||
| CF | > | ||
| CF | > SEARCH IT | ||
| CF | | ||
| CF | It's a flat topped metal trolley, about long enough for a person. It's | ||
| CF | attached to the oven by metal rods. It looks like you could push it | ||
| CF | and it would go into the oven, or pull it out again. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "w" | ||
| CF ] The Castle Rooftop 13/974 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | The Castle Rooftop | ||
| CF | Ah, the roof of Dr Von Hummel's Castle. The set consists of a small | ||
| CF | catwalk around a tiled dome. The narrow walkway is surrounded by | ||
| CF | crenelated battlements and the set designers have really gone over the | ||
| CF | top with the gargoyles! There are dragons, imps, devils and things you | ||
| CF | don't even know the name of. They all have one thing in common - they | ||
| CF | seem to stare directly at you with their empty evil eyes! Or you could | ||
| CF | be just imagining it. Spaces in the set walls lead into dimly lit | ||
| CF | areas of the studio to the north and east. | ||
| CF | | ||
| CF | On top of the dome is a huge metal spike that stretches almost all the | ||
| CF | way to the studio ceiling. | ||
| CF | | ||
| CF | Some terrible energies in the very air itself are making the hairs | ||
| CF | stand up on the back of your neck. | ||
| CF | | ||
| CF | A smooth brass handle pokes out of the set wall. | ||
| CF | | ||
| CF | Behind one of the battlements, set into the floor, is a large iron | ||
| CF | wheel. | ||
| CF | | ||
| CF | > | Krumar says, "No idea what the wheel does yet." | |
| DavidW says, "It made our hair stand on end." | ||
| DavidW says, "We have static electricity somewhere." | ||
| DavidW says (to ClubFloyd), "x knife" | ||
| CF ] The Castle Rooftop 13/974 | ||
| CF | > | ||
| CF | > X KNIFE | ||
| CF | | ||
| CF | You can't see any such thing. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] Glade in the Forest 13/975 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Glade in the Forest | ||
| CF | Behind some plywood trees, the rest of the forest is just painted onto | ||
| CF | the walls. The floor is covered in unconvincing plastic grass, and | ||
| CF | across the length of the set stretches the riverbed, which is | ||
| CF | currently just a channel lined with blue rubber sheeting. You suppose | ||
| CF | they put water in there when they're ready to film. Shadowy doorways | ||
| CF | lead north and south, and a gap between the forest-painted set boards | ||
| CF | opens to the east. | ||
| CF | | ||
| CF | Next to the river is a conveniently placed mossy log. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x grass" | ||
| CF ] Glade in the Forest 13/976 | ||
| CF | > | ||
| CF | > X GRASS | ||
| CF | | ||
| CF | It's the same type of plastic grass your friend Cicily uses so she has | ||
| CF | a low maintenance garden. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take log" | ||
| CF ] Glade in the Forest 13/977 | ||
| CF | > | ||
| CF | > TAKE LOG | ||
| CF | | ||
| CF | The log must be attached to the floor in some way. It won't budge. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "sit on log" | ||
| CF ] Glade in the Forest 13/978 | ||
| CF | > | ||
| CF | > SIT ON LOG | ||
| CF | | ||
| CF | You get onto the mossy log. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "search log" | ||
| CF ] Glade in the Forest 13/979 | ||
| CF | > | ||
| CF | > SEARCH LOG | ||
| CF | | ||
| CF | The log is made from some sort of heavy foam and painted brown and | ||
| CF | green. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "stand" | ||
| CF ] Glade in the Forest 13/980 | ||
| CF | > | ||
| CF | > STAND | ||
| CF | | ||
| CF | You get off the mossy log. | ||
| CF | | ||
| CF | Glade in the Forest | ||
| CF | Behind some plywood trees, the rest of the forest is just painted onto | ||
| CF | the walls. The floor is covered in unconvincing plastic grass, and | ||
| CF | across the length of the set stretches the riverbed, which is | ||
| CF | currently just a channel lined with blue rubber sheeting. You suppose | ||
| CF | they put water in there when they're ready to film. Shadowy doorways | ||
| CF | lead north and south, and a gap between the forest-painted set boards | ||
| CF | opens to the east. | ||
| CF | | ||
| CF | Next to the river is a conveniently placed mossy log. | ||
| CF | | ||
| CF | > | Jacqueline says, "Well, hairs standing up is a thing before lightning strikes." | |
| DavidW says (to ClubFloyd), "open secret compartment in log where they hide the good candy bars." | ||
| CF ] Glade in the Forest 13/980 | ||
| CF | > | ||
| CF | > OPEN SECRET COMPARTMENT IN LOG WHERE THEY HIDE THE GOOD CANDY BARS. | ||
| CF | | ||
| CF | You can't see any such thing. | ||
| CF | | ||
| CF | > | burl says, "always worth a try" | |
| DavidW says, "It just occured to me that we cremated the guard's lurid novel as well and now I'm sad." | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] The Evil Machinery of Dr Von Hummels 13/981 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | The Evil Machinery of Dr Von Hummels | ||
| CF | Huge interlocking plywood cogs, painted like rusty metal, form a | ||
| CF | complex machine all across one side of the room. Giant glass valves | ||
| CF | are lined up along the walls, connected by thick wires which stick out | ||
| CF | at various points in great winding loops. Doorways lead east and south | ||
| CF | deeper into the Studio. | ||
| CF | | ||
| CF | A smooth brass handle pokes out of the side of the machinery. | ||
| CF | | ||
| CF | In the centre of the room is a huge complicated semi-circular control | ||
| CF | board. | ||
| CF | | ||
| CF | > | Jacqueline presses F again. | |
| DavidW says (to ClubFloyd), "x wires" | ||
| CF ] The Evil Machinery of Dr Von Hummels 13/982 | ||
| CF | > | ||
| CF | > X WIRES | ||
| CF | | ||
| CF | The wiring coils in and out of the valves and machine. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "search board" | ||
| CF ] The Evil Machinery of Dr Von Hummels 13/983 | ||
| CF | > | ||
| CF | > SEARCH BOARD | ||
| CF | | ||
| CF | The control board seems to be made from steel and is covered with all | ||
| CF | sorts of big switches and levers and lights. They're all probably just | ||
| CF | props though, and won't do anything. | ||
| CF | | ||
| CF | Attached to the side of the control board is a round metal ring. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] Glade in the Forest 13/984 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | Glade in the Forest | ||
| CF | Behind some plywood trees, the rest of the forest is just painted onto | ||
| CF | the walls. The floor is covered in unconvincing plastic grass, and | ||
| CF | across the length of the set stretches the riverbed, which is | ||
| CF | currently just a channel lined with blue rubber sheeting. You suppose | ||
| CF | they put water in there when they're ready to film. Shadowy doorways | ||
| CF | lead north and south, and a gap between the forest-painted set boards | ||
| CF | opens to the east. | ||
| CF | | ||
| CF | Next to the river is a conveniently placed mossy log. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] The Castle Rooftop 13/985 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | The Castle Rooftop | ||
| CF | Ah, the roof of Dr Von Hummel's Castle. The set consists of a small | ||
| CF | catwalk around a tiled dome. The narrow walkway is surrounded by | ||
| CF | crenelated battlements and the set designers have really gone over the | ||
| CF | top with the gargoyles! There are dragons, imps, devils and things you | ||
| CF | don't even know the name of. They all have one thing in common - they | ||
| CF | seem to stare directly at you with their empty evil eyes! Or you could | ||
| CF | be just imagining it. Spaces in the set walls lead into dimly lit | ||
| CF | areas of the studio to the north and east. | ||
| CF | | ||
| CF | On top of the dome is a huge metal spike that stretches almost all the | ||
| CF | way to the studio ceiling. | ||
| CF | | ||
| CF | Some terrible energies in the very air itself are making the hairs | ||
| CF | stand up on the back of your neck. | ||
| CF | | ||
| CF | A smooth brass handle pokes out of the set wall. | ||
| CF | | ||
| CF | Behind one of the battlements, set into the floor, is a large iron | ||
| CF | wheel. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "pull handle" | ||
| CF ] The Castle Rooftop 13/986 | ||
| CF | > | ||
| CF | > PULL HANDLE | ||
| CF | | ||
| CF | (the brass handle) | ||
| CF | You pull the handle and, suddenly, impressive bolts of lightning shoot | ||
| CF | down from the ceiling, into the metal spike and down the copper band | ||
| CF | on the dome. Wow! You can't help but be impressed by the special | ||
| CF | effects. You bet they look good on screen! | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "g" | ||
| CF ] The Castle Rooftop 13/987 | ||
| CF | > | ||
| CF | > G | ||
| CF | | ||
| CF | (the brass handle) | ||
| CF | You pull on the handle. Nothing obvious happens. | ||
| CF | | ||
| CF | > | Jacqueline exclaims, "Special effects!" | |
| Knight_Otu asks, "I seem to recall that our friend in the mummy studio had a weapon for his role. Do we need to brave the trapped tunnel somehow after all?" | ||
| DavidW asks (of Knight), "Maybe yes? He had a scimitar, right?" | ||
| Jacqueline says, "There kinda has to be a reason to go through that tunnel, I'm thinking." | ||
| Knight_Otu says, "Something like that, yes." | ||
| Krumar asks, "I just got back, are we still looking for a blade?" | ||
| DavidW says, "We never used the crocodile." | ||
| DavidW says (to Krumar), "yes" | ||
| DavidW says, "We think maybe there's a scimitar in the trap corridor." | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] Crematorium 13/988 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | Crematorium | ||
| CF | The whole set is painted the same light green you see in a hospital | ||
| CF | ward. You know this is a crematorium because of the word "Crematorium" | ||
| CF | written in large white letters on the wall. You assume this is to let | ||
| CF | the audience know too without too much exposition. Dark gaps in the | ||
| CF | set walls lead north and west. | ||
| CF | | ||
| CF | On one wall is the open door to what must be the cremation oven! | ||
| CF | | ||
| CF | Extending from the oven into the centre of the room is a wheeled metal | ||
| CF | gurney. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] The Laboratory of Dr Von Hummels 13/989 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | The Laboratory of Dr Von Hummels | ||
| CF | The centre of the room is dominated by an ominous metallic slab atop | ||
| CF | an iron plinth. On a large wooden table next to it, tubes, pipes, | ||
| CF | flasks and beakers bubble and hiss with strange looking liquids that | ||
| CF | make the room reek with their stinging chemical smell. Around the | ||
| CF | walls are prop bookcases filled with painted book spines. Doorways | ||
| CF | gape to the north and west into shadowed darkness and a gap in the | ||
| CF | fake walls leads south. | ||
| CF | | ||
| CF | Attached to one end of the slab is a metal helmet, to the other, a | ||
| CF | smooth brass handle. | ||
| CF | | ||
| CF | In the centre of the slab is a limbless human torso. Sewn onto its | ||
| CF | neck with haphazard stitches is Harry Higginbotham's decapitated head! | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] Studio Workshop 13/990 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Studio Workshop | ||
| CF | This must be where they build the sets! The walls and most of the | ||
| CF | floor is covered in offcuts of plywood. Large rectangular pieces of | ||
| CF | the foam they use to carve all sorts of things out of like boulders | ||
| CF | and statues lie in piles in between wooden trestles. Pots of paint, | ||
| CF | dripped and smeared with a hundred different colours, are roughly | ||
| CF | stacked in the corners. Forbidding doorways lead into shadow to the | ||
| CF | west and south and the door out of the Studio, to the east, lies open. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] Studio Lot South 13/991 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | Studio Lot South | ||
| CF | Here, the lot is surrounded on three sides by Studios, looming out of | ||
| CF | the night like ancient guardians. The lot continues to the north into | ||
| CF | shadow. To the east side is the door to Studio 3, to the west, Studio | ||
| CF | 4 and to the south the door to Studio 5 where you have spent so much | ||
| CF | time over the last two weeks. A sign over each door proclaims the | ||
| CF | movie that is being made there. | ||
| CF | | ||
| CF | A ravening Werewolf paces the lot restlessly. | ||
| CF | | ||
| CF | Nefer-Kare's ancient servants skulk in a dusty group around their | ||
| CF | leader. | ||
| CF | | ||
| CF | The huge mummified form of Nefer-Kare stands menacingly near the | ||
| CF | centre of the lot, wrapped in dirty bandages. | ||
| CF | | ||
| CF | A horde of shambling zombies, led by a slightly less decomposed | ||
| CF | Security Guard, stumble around. | ||
| CF | | ||
| CF | Vampire thralls stand in a surly group, shooting suspicious glances at | ||
| CF | you. | ||
| CF | | ||
| CF | Over by the studio walls, the Count stands listlessly, staring off | ||
| CF | into the sky. | ||
| CF | | ||
| CF | The Countess paces impatiently around the lot. | ||
| CF | | ||
| CF | A dead cultist lies sprawled on the ground, his face frozen in a | ||
| CF | horrifying rictus. | ||
| CF | | ||
| CF | The Countess sighs heavily. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] Studio Lot North 13/992 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Studio Lot North | ||
| CF | The northern end of the huge lot, oppressively surrounded by the | ||
| CF | looming, darkened studio buildings, is overlooked to the north by the | ||
| CF | ugly and squat offices, their windows watching over the lot like great | ||
| CF | eyes. Who knows what lurks behind them. To the west, the door to | ||
| CF | Studio 1 is open. To the east, the open Studio 2 door. On each door, a | ||
| CF | sign. The lot continues to the south into shadow. | ||
| CF | | ||
| CF | The glass doors into the offices to the north have been replaced by | ||
| CF | gigantic doors that seem to be made entirely from human bones. The | ||
| CF | doorframe is made from hideous grinning human skulls! | ||
| CF | | ||
| CF | Sharp wooden spikes stick out from the ground around the door at all | ||
| CF | angles. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] Guard's Break Room 13/993 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | Guard's Break Room | ||
| CF | Someone has carved out a comfortable nook in this little space in | ||
| CF | between the door and the studio proper. There's a small table next to | ||
| CF | a comfy chair in one corner and on the table is a lit lamp, creating a | ||
| CF | welcoming pool of light in the gloom. A dingy gap in the wall to the | ||
| CF | east leads deeper into the studio and the door out to the lot, to the | ||
| CF | west, lies open. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "w" | ||
| CF ] Studio Lot North 13/994 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Studio Lot North | ||
| CF | The northern end of the huge lot, oppressively surrounded by the | ||
| CF | looming, darkened studio buildings, is overlooked to the north by the | ||
| CF | ugly and squat offices, their windows watching over the lot like great | ||
| CF | eyes. Who knows what lurks behind them. To the west, the door to | ||
| CF | Studio 1 is open. To the east, the open Studio 2 door. On each door, a | ||
| CF | sign. The lot continues to the south into shadow. | ||
| CF | | ||
| CF | The glass doors into the offices to the north have been replaced by | ||
| CF | gigantic doors that seem to be made entirely from human bones. The | ||
| CF | doorframe is made from hideous grinning human skulls! | ||
| CF | | ||
| CF | Sharp wooden spikes stick out from the ground around the door at all | ||
| CF | angles. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] Studio Lot South 13/995 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | Studio Lot South | ||
| CF | Here, the lot is surrounded on three sides by Studios, looming out of | ||
| CF | the night like ancient guardians. The lot continues to the north into | ||
| CF | shadow. To the east side is the door to Studio 3, to the west, Studio | ||
| CF | 4 and to the south the door to Studio 5 where you have spent so much | ||
| CF | time over the last two weeks. A sign over each door proclaims the | ||
| CF | movie that is being made there. | ||
| CF | | ||
| CF | A ravening Werewolf paces the lot restlessly. | ||
| CF | | ||
| CF | Nefer-Kare's ancient servants skulk in a dusty group around their | ||
| CF | leader. | ||
| CF | | ||
| CF | The huge mummified form of Nefer-Kare stands menacingly near the | ||
| CF | centre of the lot, wrapped in dirty bandages. | ||
| CF | | ||
| CF | A horde of shambling zombies, led by a slightly less decomposed | ||
| CF | Security Guard, stumble around. | ||
| CF | | ||
| CF | Vampire thralls stand in a surly group, shooting suspicious glances at | ||
| CF | you. | ||
| CF | | ||
| CF | Over by the studio walls, the Count stands listlessly, staring off | ||
| CF | into the sky. | ||
| CF | | ||
| CF | The Countess paces impatiently around the lot. | ||
| CF | | ||
| CF | A dead cultist lies sprawled on the ground, his face frozen in a | ||
| CF | horrifying rictus. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] Studio Menagerie 13/996 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | Studio Menagerie | ||
| CF | This small dingy room is filled with mostly empty cages for the | ||
| CF | animals the Studio uses in its movies. It smells quite bad, to be | ||
| CF | honest. A door lies open to the west and, opposite it, a relatively | ||
| CF | brightly lit space in the wall opens up to the east. | ||
| CF | | ||
| CF | On one side of the room, a large cage contains a huge crocodile. | ||
| CF | | ||
| CF | You can also see a cage of snakes here. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x crocodile" | ||
| CF ] Studio Menagerie 13/997 | ||
| CF | > | ||
| CF | > X CROCODILE | ||
| CF | | ||
| CF | The huge crocodile just stares back at you with heavy lidded eyes. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take snakes" | ||
| CF ] Studio Menagerie 13/998 | ||
| CF | > | ||
| CF | > TAKE SNAKES | ||
| CF | | ||
| CF | You gingerly pick up the cage. The snakes try and bite you with their | ||
| CF | poisonous fangs, but they can't reach you through the narrow bars. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] The Shrine of the Sphinx 13/999 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | The Shrine of the Sphinx | ||
| CF | They've only bothered to actually build the front legs of the Sphinx. | ||
| CF | For longer shots, you assume they use the matte backdrop of the whole | ||
| CF | thing painted onto the Studio wall to the set's left. The Sphinx's | ||
| CF | legs extend out from the Studio walls and between them is the Mummy's | ||
| CF | shrine, carved from greyish sandy painted construction foam. | ||
| CF | | ||
| CF | To the west, there is an opening in the Studio wall. Southwest, | ||
| CF | towards the other side of the Studio, you can see distant sand dunes. | ||
| CF | The set opens out to the south to reveal some sort of building and | ||
| CF | beyond it, a group of ruins. To the southeast, you can see the tops of | ||
| CF | a group of tents. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] Archaeological Dig Site 13/1000 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | Archaeological Dig Site | ||
| CF | The dark entrance to the Mummy's tombs leads down a ladder through a | ||
| CF | hole in the ground in-between the exposed ancient buildings. But | ||
| CF | they're not actually buildings. They're just the front walls of | ||
| CF | buildings held up with wooden scaffolding at the back. | ||
| CF | | ||
| CF | Here, right in the middle of the Studio, you can see all across the | ||
| CF | huge set. To the north is the looming Sphinx, to the west, rolling | ||
| CF | sand dunes. On the east side of the building are the tops of some | ||
| CF | colorful tents and to the south of you, what seem like ruins. | ||
| CF | | ||
| CF | An empty cage lies open on the floor. | ||
| CF | | ||
| CF | A mob of horrific cockroaches scutter in and out of the scenery. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] The Ruins of Men-nefer 13/1001 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | The Ruins of Men-nefer | ||
| CF | This is quite a set! Against the southern studio wall of the studio | ||
| CF | are the fronts of a row of crumbling ruins. They are all covered in | ||
| CF | statues and carvings of monsters and ancient gods - really impressive | ||
| CF | work by the set designer. They loom over you, the faces of the | ||
| CF | statues, they seem to leer at you, giving a terrible air of horrifying | ||
| CF | menace to the whole set! | ||
| CF | | ||
| CF | Opposite the ruins, to the north, you can see some buildings. Dunes | ||
| CF | rise up from the ground to the northwest and northeast are some | ||
| CF | distant tents. | ||
| CF | | ||
| CF | Right in the centre of the row of ruins is an entranceway to a dark | ||
| CF | passage, leading south. You can see a little way in. There seem to be | ||
| CF | holes in the floor and narrow slots in the wall. Part way down, | ||
| CF | slumped against one wall, is an evilly grinning skeleton! Further | ||
| CF | along, and you can see a pile of bones near one of the wall slots. | ||
| CF | | ||
| CF | The slumped body of the poor security guard lies a little way down the | ||
| CF | passage. | ||
| CF | | ||
| CF | You can also see a cage of spiders here. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "put snakes in corridor" | ||
| CF ] The Ruins of Men-nefer 13/1001 | ||
| CF | > | ||
| CF | > PUT SNAKES IN CORRIDOR | ||
| CF | | ||
| CF | You can't see any such thing. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "drop snakes" | ||
| CF ] The Ruins of Men-nefer 13/1002 | ||
| CF | > | ||
| CF | > DROP SNAKES | ||
| CF | | ||
| CF | Dropped. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "open snakes" | ||
| CF ] The Ruins of Men-nefer 13/1003 | ||
| CF | > | ||
| CF | > OPEN SNAKES | ||
| CF | | ||
| CF | You open the cage. The snakes slither out of it in a tangled mass of | ||
| CF | scales and flickering tongues! | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take spiders" | ||
| CF ] The Ruins of Men-nefer 13/1004 | ||
| CF | > | ||
| CF | > TAKE SPIDERS | ||
| CF | | ||
| CF | You gingerly pick up the cage. The spiders try and bite you with their | ||
| CF | poisonous fangs, but they can't reach you through the narrow bars. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] Archaeological Dig Site 13/1005 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Archaeological Dig Site | ||
| CF | The dark entrance to the Mummy's tombs leads down a ladder through a | ||
| CF | hole in the ground in-between the exposed ancient buildings. But | ||
| CF | they're not actually buildings. They're just the front walls of | ||
| CF | buildings held up with wooden scaffolding at the back. | ||
| CF | | ||
| CF | Here, right in the middle of the Studio, you can see all across the | ||
| CF | huge set. To the north is the looming Sphinx, to the west, rolling | ||
| CF | sand dunes. On the east side of the building are the tops of some | ||
| CF | colorful tents and to the south of you, what seem like ruins. | ||
| CF | | ||
| CF | An empty cage lies open on the floor. | ||
| CF | | ||
| CF | A mob of horrific cockroaches scutter in and out of the scenery. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] The Shrine of the Sphinx 13/1006 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | The Shrine of the Sphinx | ||
| CF | They've only bothered to actually build the front legs of the Sphinx. | ||
| CF | For longer shots, you assume they use the matte backdrop of the whole | ||
| CF | thing painted onto the Studio wall to the set's left. The Sphinx's | ||
| CF | legs extend out from the Studio walls and between them is the Mummy's | ||
| CF | shrine, carved from greyish sandy painted construction foam. | ||
| CF | | ||
| CF | To the west, there is an opening in the Studio wall. Southwest, | ||
| CF | towards the other side of the Studio, you can see distant sand dunes. | ||
| CF | The set opens out to the south to reveal some sort of building and | ||
| CF | beyond it, a group of ruins. To the southeast, you can see the tops of | ||
| CF | a group of tents. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "w" | ||
| CF ] Studio Menagerie 13/1007 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Studio Menagerie | ||
| CF | This small dingy room is filled with mostly empty cages for the | ||
| CF | animals the Studio uses in its movies. It smells quite bad, to be | ||
| CF | honest. A door lies open to the west and, opposite it, a relatively | ||
| CF | brightly lit space in the wall opens up to the east. | ||
| CF | | ||
| CF | On one side of the room, a large cage contains a huge crocodile. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "drop spiders" | ||
| CF ] Studio Menagerie 13/1008 | ||
| CF | > | ||
| CF | > DROP SPIDERS | ||
| CF | | ||
| CF | Dropped. | ||
| CF | | ||
| CF | > | burl says, "inventory: spider, spider, spider, spider" | |
| DavidW says (to ClubFloyd), "open spiaders" | ||
| CF ] Studio Menagerie 13/1008 | ||
| CF | > | ||
| CF | > OPEN SPIADERS | ||
| CF | | ||
| CF | You can't see any such thing. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "open spiders" | ||
| CF ] Studio Menagerie 13/1009 | ||
| CF | > | ||
| CF | > OPEN SPIDERS | ||
| CF | | ||
| CF | You open the cage, but the spiders wave their front legs nervously and | ||
| CF | refuse to emerge. There must be something here they don't like. You | ||
| CF | quickly close the cage again. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "open crocodile cage" | ||
| CF ] Studio Menagerie 13/1010 | ||
| CF | > | ||
| CF | > OPEN CROCODILE CAGE | ||
| CF | | ||
| CF | You see the crocodile's huge stained teeth and think better of it! | ||
| CF | You'd definitely want someone between you and that thing before you | ||
| CF | opened the cage up! | ||
| CF | | ||
| CF | > | Krumar says, "can we get any of our army tohelp with this" | |
| DavidW says (to ClubFloyd), "push it east" | ||
| CF ] Studio Menagerie 13/1011 | ||
| CF | > | ||
| CF | > PUSH IT EAST | ||
| CF | | ||
| CF | The huge crocodile stares at you with its dead eyes and you think | ||
| CF | better of it. | ||
| CF | | ||
| CF | > | DavidW says, "No." | |
| Jacqueline says (to ClubFloyd), "x me" | ||
| CF ] Studio Menagerie 13/1012 | ||
| CF | > | ||
| CF | > X ME | ||
| CF | | ||
| CF | After a long day on the set, your stage makeup, thickly applied, is | ||
| CF | all over the place. Your ill-fitting clothes from wardrobe chafe and | ||
| CF | itch in unexpected places, and, to be quite honest, you could do with | ||
| CF | a good lie down and a cup of tea. | ||
| CF | | ||
| CF | > | DavidW says, "If you talk to any of them, it's just more background info on them." | |
| Jacqueline says (to ClubFloyd), "i" | ||
| CF ] Studio Menagerie 13/1013 | ||
| CF | > | ||
| CF | > I | ||
| CF | | ||
| CF | You are carrying an antique blunderbuss loaded with a handful of small | ||
| CF | silver coins, a music box, a coil of cord, a jaunty hat, a leather | ||
| CF | whip, a reel of strong cotton, a bone needle, a wicked little voodoo | ||
| CF | doll, a strawberry milk bottle, an evil book of black magic, a small | ||
| CF | brass key, a tea caddy and a stained crimson robe. You are wearing the | ||
| CF | Bracelet of Nefer-Kare, Buster's Stetson, a crucifix, a gold | ||
| CF | pocketwatch and a grey suit. | ||
| CF | | ||
| CF | > | Jacqueline asks, "Do we use the whip?" | |
| Jacqueline asks, "Or is that just to put thing back in their cages?" | ||
| burl says, "and become a ringmaster of spiders" | ||
| DavidW says, "as far as I know, just to put critters in cages." | ||
| DavidW says, "If there's another use, I don't know of any." | ||
| DavidW says, "'whip' isn't a verb." | ||
| Jacqueline says, "right" | ||
| DavidW says (to ClubFloyd), "whip crocodile" | ||
| CF ] Studio Menagerie 13/1013 | ||
| CF | > | ||
| CF | > WHIP CROCODILE | ||
| CF | | ||
| CF | That's not a verb I recognise. | ||
| CF | | ||
| CF | > | DavidW says, "So we can't whip the bones." | |
| DavidW says, "I'd like to send the crocodile down the passage, but I have no idea how." | ||
| Jacqueline asks, "It's a very silly idea, but could we use the gurney to get through the passage so quickly we miss the spikes?" | ||
| Krumar says, "I think it's on rails." | ||
| Jacqueline asks, "Or is there some other way to avoid triggering them? They're activated by the floor, right?" | ||
| DavidW says, "No, the gurney is attached to the oven." | ||
| burl says, "whare are crocodiles supposed to be afraid of or sensitive to" | ||
| Jacqueline says (to Krumar), "Ah" | ||
| Jacqueline says (to ClubFloyd), "turn crocodile cage upside down" | ||
| CF ] Studio Menagerie 13/1013 | ||
| CF | > | ||
| CF | > TURN CROCODILE CAGE UPSIDE DOWN | ||
| CF | | ||
| CF | I only understood you as far as wanting to turn the crocodile cage. | ||
| CF | | ||
| CF | > | DavidW says, "There's a wheelbarrow, but I think it doesn't trigger anything." | |
| Knight_Otu says, "Maybe the wheelbarrow can hold off the... yeah." | ||
| Jacqueline says (to ClubFloyd), "flip crocodile" | ||
| CF ] Studio Menagerie 13/1013 | ||
| CF | > | ||
| CF | > FLIP CROCODILE | ||
| CF | | ||
| CF | That's not a verb I recognise. | ||
| CF | | ||
| CF | > | DavidW asks, "Should I get the wheelbarrow?" | |
| Knight_Otu says, "It can't hurt to try, at least." | ||
| DavidW says (to ClubFloyd), "w" | ||
| CF ] Studio Lot South 13/1014 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | Studio Lot South | ||
| CF | Here, the lot is surrounded on three sides by Studios, looming out of | ||
| CF | the night like ancient guardians. The lot continues to the north into | ||
| CF | shadow. To the east side is the door to Studio 3, to the west, Studio | ||
| CF | 4 and to the south the door to Studio 5 where you have spent so much | ||
| CF | time over the last two weeks. A sign over each door proclaims the | ||
| CF | movie that is being made there. | ||
| CF | | ||
| CF | A ravening Werewolf paces the lot restlessly. | ||
| CF | | ||
| CF | Nefer-Kare's ancient servants skulk in a dusty group around their | ||
| CF | leader. | ||
| CF | | ||
| CF | The huge mummified form of Nefer-Kare stands menacingly near the | ||
| CF | centre of the lot, wrapped in dirty bandages. | ||
| CF | | ||
| CF | A horde of shambling zombies, led by a slightly less decomposed | ||
| CF | Security Guard, stumble around. | ||
| CF | | ||
| CF | Vampire thralls stand in a surly group, shooting suspicious glances at | ||
| CF | you. | ||
| CF | | ||
| CF | Over by the studio walls, the Count stands listlessly, staring off | ||
| CF | into the sky. | ||
| CF | | ||
| CF | The Countess paces impatiently around the lot. | ||
| CF | | ||
| CF | A dead cultist lies sprawled on the ground, his face frozen in a | ||
| CF | horrifying rictus. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] Studio Lot North 13/1015 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Studio Lot North | ||
| CF | The northern end of the huge lot, oppressively surrounded by the | ||
| CF | looming, darkened studio buildings, is overlooked to the north by the | ||
| CF | ugly and squat offices, their windows watching over the lot like great | ||
| CF | eyes. Who knows what lurks behind them. To the west, the door to | ||
| CF | Studio 1 is open. To the east, the open Studio 2 door. On each door, a | ||
| CF | sign. The lot continues to the south into shadow. | ||
| CF | | ||
| CF | The glass doors into the offices to the north have been replaced by | ||
| CF | gigantic doors that seem to be made entirely from human bones. The | ||
| CF | doorframe is made from hideous grinning human skulls! | ||
| CF | | ||
| CF | Sharp wooden spikes stick out from the ground around the door at all | ||
| CF | angles. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] Guard's Break Room 13/1016 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | Guard's Break Room | ||
| CF | Someone has carved out a comfortable nook in this little space in | ||
| CF | between the door and the studio proper. There's a small table next to | ||
| CF | a comfy chair in one corner and on the table is a lit lamp, creating a | ||
| CF | welcoming pool of light in the gloom. A dingy gap in the wall to the | ||
| CF | east leads deeper into the studio and the door out to the lot, to the | ||
| CF | west, lies open. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] Alleway, Rue des Verrièrs 13/1017 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | Alleway, Rue des Verrièrs | ||
| CF | A set designer has gone to great lengths to re-imagine a narrow | ||
| CF | alleyway running between rows of townhouses in somewhere like New | ||
| CF | Orleans. The facades of the houses, propped up by beams at the back, | ||
| CF | are painted in dusky oranges, reds and creams to resemble stucco | ||
| CF | rendering. Arches, separated by ornate columns, cover the frontages, | ||
| CF | each with its own darkened window. Elaborate iron balconies, created | ||
| CF | from plywood, stretch in between each arch, complete with hanging | ||
| CF | plastic plants and vines. Here, in the semi-darkness, the false | ||
| CF | buildings feel oppressive. Like they are hiding secrets! | ||
| CF | | ||
| CF | Gloomy openings in the set walls lead south and east deeper into the | ||
| CF | studio. To the west, a brighter gap opens into the guard's break room. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] Deep in the Bayou 13/1018 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | Deep in the Bayou | ||
| CF | Surrounded by the trunks of enormous trees, the Bayou has been emptied | ||
| CF | for the night. It's just a rubber lined dip in the floor now, with a | ||
| CF | few sad plastic plants lying in the bottom of it. Openings in the set | ||
| CF | lead south and east into the gloom. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] Voodoo Temple 13/1019 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | Voodoo Temple | ||
| CF | All the masks lining the walls of the set seem to regard you with | ||
| CF | narrowed, suspicious eyes. There are dozens of them in all shapes and | ||
| CF | sizes. In between and around them hang colourful drapes, their | ||
| CF | attractive patterns at odds with the skulls on the floor and | ||
| CF | statuettes of frightening figures in little alcoves. Unlit candles | ||
| CF | cover almost every surface and everything is draped in a patina of | ||
| CF | nylon cobwebs. Doorways in the set walls lead into the gloom to the | ||
| CF | north and south. | ||
| CF | | ||
| CF | Dominating one wall is a large ornately carved wooden throne. | ||
| CF | | ||
| CF | In front of the throne is a small black table. | ||
| CF | | ||
| CF | A small compartment in the table is open. | ||
| CF | | ||
| CF | Scattered across the table are small fragments of bone. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] The Cemetery of St. Louise de Marillac 13/1020 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | The Cemetery of St. Louise de Marillac | ||
| CF | What a set this is! Mallet Studios must have actually spent some real | ||
| CF | money on this. The large space, bounded by walls painted with distant | ||
| CF | scenery, is row after row of forbidding tombs, ornamented gravestones | ||
| CF | and imposing hooded statues. Vines and tropical looking plastic plants | ||
| CF | wind over everything, giving a real atmosphere of age and shadowy | ||
| CF | menace. Openings in the set walls lead north and west deeper into the | ||
| CF | studio. | ||
| CF | | ||
| CF | To one side of the set is a row of freshly filled in graves! | ||
| CF | | ||
| CF | You can also see a wheelbarrow (which contains a sacred voodoo stone) | ||
| CF | here. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take barrow" | ||
| CF ] The Cemetery of St. Louise de Marillac 13/1021 | ||
| CF | > | ||
| CF | > TAKE BARROW | ||
| CF | | ||
| CF | You grab hold of the wheelbarrow's handles. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] Voodoo Temple 13/1022 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Voodoo Temple | ||
| CF | All the masks lining the walls of the set seem to regard you with | ||
| CF | narrowed, suspicious eyes. There are dozens of them in all shapes and | ||
| CF | sizes. In between and around them hang colourful drapes, their | ||
| CF | attractive patterns at odds with the skulls on the floor and | ||
| CF | statuettes of frightening figures in little alcoves. Unlit candles | ||
| CF | cover almost every surface and everything is draped in a patina of | ||
| CF | nylon cobwebs. Doorways in the set walls lead into the gloom to the | ||
| CF | north and south. | ||
| CF | | ||
| CF | Dominating one wall is a large ornately carved wooden throne. | ||
| CF | | ||
| CF | In front of the throne is a small black table. | ||
| CF | | ||
| CF | A small compartment in the table is open. | ||
| CF | | ||
| CF | Scattered across the table are small fragments of bone. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] Deep in the Bayou 13/1023 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Deep in the Bayou | ||
| CF | Surrounded by the trunks of enormous trees, the Bayou has been emptied | ||
| CF | for the night. It's just a rubber lined dip in the floor now, with a | ||
| CF | few sad plastic plants lying in the bottom of it. Openings in the set | ||
| CF | lead south and east into the gloom. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "w" | ||
| CF ] Alleway, Rue des Verrièrs 13/1024 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Alleway, Rue des Verrièrs | ||
| CF | A set designer has gone to great lengths to re-imagine a narrow | ||
| CF | alleyway running between rows of townhouses in somewhere like New | ||
| CF | Orleans. The facades of the houses, propped up by beams at the back, | ||
| CF | are painted in dusky oranges, reds and creams to resemble stucco | ||
| CF | rendering. Arches, separated by ornate columns, cover the frontages, | ||
| CF | each with its own darkened window. Elaborate iron balconies, created | ||
| CF | from plywood, stretch in between each arch, complete with hanging | ||
| CF | plastic plants and vines. Here, in the semi-darkness, the false | ||
| CF | buildings feel oppressive. Like they are hiding secrets! | ||
| CF | | ||
| CF | Gloomy openings in the set walls lead south and east deeper into the | ||
| CF | studio. To the west, a brighter gap opens into the guard's break room. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "w" | ||
| CF ] Guard's Break Room 13/1025 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Guard's Break Room | ||
| CF | Someone has carved out a comfortable nook in this little space in | ||
| CF | between the door and the studio proper. There's a small table next to | ||
| CF | a comfy chair in one corner and on the table is a lit lamp, creating a | ||
| CF | welcoming pool of light in the gloom. A dingy gap in the wall to the | ||
| CF | east leads deeper into the studio and the door out to the lot, to the | ||
| CF | west, lies open. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "w" | ||
| CF ] Studio Lot North 13/1026 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Studio Lot North | ||
| CF | The northern end of the huge lot, oppressively surrounded by the | ||
| CF | looming, darkened studio buildings, is overlooked to the north by the | ||
| CF | ugly and squat offices, their windows watching over the lot like great | ||
| CF | eyes. Who knows what lurks behind them. To the west, the door to | ||
| CF | Studio 1 is open. To the east, the open Studio 2 door. On each door, a | ||
| CF | sign. The lot continues to the south into shadow. | ||
| CF | | ||
| CF | The glass doors into the offices to the north have been replaced by | ||
| CF | gigantic doors that seem to be made entirely from human bones. The | ||
| CF | doorframe is made from hideous grinning human skulls! | ||
| CF | | ||
| CF | Sharp wooden spikes stick out from the ground around the door at all | ||
| CF | angles. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] Studio Lot South 13/1027 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | Studio Lot South | ||
| CF | Here, the lot is surrounded on three sides by Studios, looming out of | ||
| CF | the night like ancient guardians. The lot continues to the north into | ||
| CF | shadow. To the east side is the door to Studio 3, to the west, Studio | ||
| CF | 4 and to the south the door to Studio 5 where you have spent so much | ||
| CF | time over the last two weeks. A sign over each door proclaims the | ||
| CF | movie that is being made there. | ||
| CF | | ||
| CF | A ravening Werewolf paces the lot restlessly. | ||
| CF | | ||
| CF | Nefer-Kare's ancient servants skulk in a dusty group around their | ||
| CF | leader. | ||
| CF | | ||
| CF | The huge mummified form of Nefer-Kare stands menacingly near the | ||
| CF | centre of the lot, wrapped in dirty bandages. | ||
| CF | | ||
| CF | A horde of shambling zombies, led by a slightly less decomposed | ||
| CF | Security Guard, stumble around. | ||
| CF | | ||
| CF | Vampire thralls stand in a surly group, shooting suspicious glances at | ||
| CF | you. | ||
| CF | | ||
| CF | Over by the studio walls, the Count stands listlessly, staring off | ||
| CF | into the sky. | ||
| CF | | ||
| CF | The Countess paces impatiently around the lot. | ||
| CF | | ||
| CF | A dead cultist lies sprawled on the ground, his face frozen in a | ||
| CF | horrifying rictus. | ||
| CF | | ||
| CF | The vampire thralls mutter to one another. "We should be getting out | ||
| CF | of here," says one. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] Studio Menagerie 13/1028 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | Studio Menagerie | ||
| CF | This small dingy room is filled with mostly empty cages for the | ||
| CF | animals the Studio uses in its movies. It smells quite bad, to be | ||
| CF | honest. A door lies open to the west and, opposite it, a relatively | ||
| CF | brightly lit space in the wall opens up to the east. | ||
| CF | | ||
| CF | On one side of the room, a large cage contains a huge crocodile. | ||
| CF | | ||
| CF | You can also see a cage of spiders here. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "open crocodile cage" | ||
| CF ] Studio Menagerie 13/1029 | ||
| CF | > | ||
| CF | > OPEN CROCODILE CAGE | ||
| CF | | ||
| CF | You see the crocodile's huge stained teeth and think better of it! | ||
| CF | You'd definitely want someone between you and that thing before you | ||
| CF | opened the cage up! | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] The Shrine of the Sphinx 13/1030 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | The Shrine of the Sphinx | ||
| CF | They've only bothered to actually build the front legs of the Sphinx. | ||
| CF | For longer shots, you assume they use the matte backdrop of the whole | ||
| CF | thing painted onto the Studio wall to the set's left. The Sphinx's | ||
| CF | legs extend out from the Studio walls and between them is the Mummy's | ||
| CF | shrine, carved from greyish sandy painted construction foam. | ||
| CF | | ||
| CF | To the west, there is an opening in the Studio wall. Southwest, | ||
| CF | towards the other side of the Studio, you can see distant sand dunes. | ||
| CF | The set opens out to the south to reveal some sort of building and | ||
| CF | beyond it, a group of ruins. To the southeast, you can see the tops of | ||
| CF | a group of tents. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] Archaeological Dig Site 13/1031 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | Archaeological Dig Site | ||
| CF | The dark entrance to the Mummy's tombs leads down a ladder through a | ||
| CF | hole in the ground in-between the exposed ancient buildings. But | ||
| CF | they're not actually buildings. They're just the front walls of | ||
| CF | buildings held up with wooden scaffolding at the back. | ||
| CF | | ||
| CF | Here, right in the middle of the Studio, you can see all across the | ||
| CF | huge set. To the north is the looming Sphinx, to the west, rolling | ||
| CF | sand dunes. On the east side of the building are the tops of some | ||
| CF | colorful tents and to the south of you, what seem like ruins. | ||
| CF | | ||
| CF | An empty cage lies open on the floor. | ||
| CF | | ||
| CF | A mob of horrific cockroaches scutter in and out of the scenery. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] The Ruins of Men-nefer 13/1032 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | The Ruins of Men-nefer | ||
| CF | This is quite a set! Against the southern studio wall of the studio | ||
| CF | are the fronts of a row of crumbling ruins. They are all covered in | ||
| CF | statues and carvings of monsters and ancient gods - really impressive | ||
| CF | work by the set designer. They loom over you, the faces of the | ||
| CF | statues, they seem to leer at you, giving a terrible air of horrifying | ||
| CF | menace to the whole set! | ||
| CF | | ||
| CF | Opposite the ruins, to the north, you can see some buildings. Dunes | ||
| CF | rise up from the ground to the northwest and northeast are some | ||
| CF | distant tents. | ||
| CF | | ||
| CF | Right in the centre of the row of ruins is an entranceway to a dark | ||
| CF | passage, leading south. You can see a little way in. There seem to be | ||
| CF | holes in the floor and narrow slots in the wall. Part way down, | ||
| CF | slumped against one wall, is an evilly grinning skeleton! Further | ||
| CF | along, and you can see a pile of bones near one of the wall slots. | ||
| CF | | ||
| CF | An empty cage lies open on the floor. | ||
| CF | | ||
| CF | A writhing mass of snakes slither all over the set. | ||
| CF | | ||
| CF | The slumped body of the poor security guard lies a little way down the | ||
| CF | passage. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "push barrow south" | ||
| CF ] The Ruins of Men-nefer 13/1033 | ||
| CF | > | ||
| CF | > PUSH BARROW SOUTH | ||
| CF | | ||
| CF | Now you've got the wheelbarrow, you can just move around as normal. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "drop barrow" | ||
| CF ] The Ruins of Men-nefer 13/1034 | ||
| CF | > | ||
| CF | > DROP BARROW | ||
| CF | | ||
| CF | You let go of the wheelbarrow's handles. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "push barrow south" | ||
| CF ] The Ruins of Men-nefer 13/1035 | ||
| CF | > | ||
| CF | > PUSH BARROW SOUTH | ||
| CF | | ||
| CF | You grab the handles of the wheelbarrow. Now you've got it, you can | ||
| CF | just move around as normal. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] The Ruins of Men-nefer 13/1035 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | You bravely step into the gloom. Oh no! As soon as your foot hits the | ||
| CF | floor of the passage you realise your terrible mistake! Suddenly, an | ||
| CF | incredibly sharp circular disk emerges from one of the slots on the | ||
| CF | wall, shoots across the passage, slices you into two pieces, and | ||
| CF | disappears through the opposite slot! Your separated halves fall on | ||
| CF | top of the pile of bones and your vision darkens until everything is | ||
| CF | black. | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | ***Roll Credits. The End*** | ||
| CF | | ||
| CF | | ||
| CF | You built an undead army! It consisted of, the mummified Pharaoh | ||
| CF | Nefer-Kare and his shuffling ancient servants, a horde of shambling | ||
| CF | zombies led by an understandably annoyed Security Guard, a fearsome | ||
| CF | ravening werewolf, the Count, the Countess and their bloodthirsty | ||
| CF | vampire thralls. | ||
| CF | | ||
| CF | You managed to survive thirteen perilous situations! | ||
| CF | | ||
| CF | - You avoided the murderous attentions of the Cult of Astaroth! | ||
| CF | - You managed to escape from the Cult's Lair! | ||
| CF | - You killed a crazed Cultist with a wooden stake! | ||
| CF | - You chopped a relatively blameless security guard into little | ||
| CF | pieces with a huge axe! | ||
| CF | - You protected yourself from vampires with a simple golden | ||
| CF | crucifix! | ||
| CF | - You managed to sort out a bunch of squabbling ghosts! | ||
| CF | - A horde of shambling zombies stopped attacking you because you | ||
| CF | were holding a voodoo doll of power! | ||
| CF | - You inadvertently led a horde of zombies to a poor Security | ||
| CF | Guard and they bit and infected her! | ||
| CF | - You terrified a nice security guard so much with horrible | ||
| CF | creatures that he ran into a trapped passageway and got speared to | ||
| CF | death! | ||
| CF | - You tamed Nefer-Kare and his mummified servants with the ancient | ||
| CF | magic of his own bracelet! | ||
| CF | - You cremated a young security guard in a huge oven! | ||
| CF | - You pushed a decent hard-working security guard into a deep pit | ||
| CF | for some reason. | ||
| CF | - You loaded an ancient Blunderbuss with a handful of silver | ||
| CF | pocket-change and bluffed a Werewolf! | ||
| CF | | ||
| CF | | ||
| CF | Would you like to RESTART, RESTORE a saved game, QUIT or UNDO the last | ||
| CF | command? | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "undo" | ||
| CF ] The Ruins of Men-nefer 13/1035 | ||
| CF | | ||
| CF | > UNDO | ||
| CF | | ||
| CF | The Ruins of Men-nefer | ||
| CF | [Previous turn undone.] | ||
| CF | | ||
| CF | > | Jacqueline says, "eep" | |
| DavidW says, "The barrow doesn't work the way we'd like." | ||
| Knight_Otu says, "Unfortunately." | ||
| Krumar asks, "Can you throw that stone down the passage?" | ||
| Knight_Otu says, "Likely too heavy." | ||
| DavidW says, "No, it's far to heavy to carry." | ||
| DavidW says, "too heavy" | ||
| DavidW says, "It's after 5 pm here, btw." | ||
| Knight_Otu says, "Oh, true. 1 hour to midnight here." | ||
| DavidW says (to ClubFloyd), "talk to skeleton" | ||
| CF ] The Ruins of Men-nefer 13/1036 | ||
| CF | > | ||
| CF | > TALK TO SKELETON | ||
| CF | | ||
| CF | You can't reach the skeleton from here. | ||
| CF | | ||
| CF | > | MoyTravis says, "Seems a fair place to stop." | |
| Jacqueline says, "Oh dang, yeah." | ||
| Jacqueline says, "Stuck the same place we were last week, sort of." | ||
| Jacqueline exclaims, "Okay - have a great rest of the week, everyone. Happy 2022!" | ||
| DavidW says (to ClubFloyd), "save" | ||
| CF | > | ||
| CF | > SAVE | ||
| CF | %% Enter a save filename to write: | Krumar exclaims, "Have a great day everyone!" | |
| Knight_Otu says, "I mean, we solved a studio and made progress on the last one." | ||
| MoyTravis says, "Mrm, yep, best wishes for 2022. Cya'll 'round." | ||
| Jacqueline says (to KO), "Yeah. Hence my 'sort of'" | ||
| Jacqueline says, "I'm glad we went and did other stuff." | ||
| DavidW says (to ClubFloyd), "cfdrhorrornoblade" | ||
| CF ] The Ruins of Men-nefer 13/1036 | ||
| CF | > SAVEOk. | ||
| CF | | ||
| CF | > | Jacqueline says, "But this tunnel continues to confound." | |
| Knight_Otu says, "May 2022 be better than the last few years. Of course, '21 went downhill very fast." | ||
| DavidW says, "so tired. Shame we're stuck again." | ||
| Krumar goes home. | ||
| MoyTravis goes home. | Knight_Otu exclaims, "Good night, and stay safe, everyone!" | |
| Knight_Otu goes home. | ||
| Krumar has arrived. | ||
| Krumar disappears through an invisible gap in the MUD. You think you may have heard the sounds of chatting before the gap closed again. | DavidW says, "thanks all for the game" | |
| burl exclaims, "thanks!" | ||
| *** SESSION 5 *** | ||
| DavidW says, "I've updated my notes at [LINK]" | ||
| Krumar says, "David, the site is really cool." | ||
| DavidW says, "Also, I discovered that we don't need to solve the deadly corridor yet." | ||
| DavidW says (to Krumar), "thanks" | ||
| Knight_Otu says, "That's good, because my only idea was to try and summon ghosts at that spot." | ||
| DavidW says, "When playing last week, I forgot about a bit of the geography: that the way to the studio crypt is a RAMP." | ||
| DavidW says, "Which means we can take the wheelbarrow to the fridge o' bodyparts." | ||
| Jacqueline says (to DW), "oooh nice" | ||
| Knight_Otu says, "Oh yeah, that would help, wouldn't it." | ||
| Krumar asks, "We still think we are looking for something to cut with right?" | ||
| DavidW says (to Krumar), "Actually no, but there is another blade: the pendulum axe." | ||
| Krumar says, "Cool." | ||
| Jacqueline says, "Yeah, I think we're just getting already severed parts." | ||
| DavidW says, "Anyway, if people are willing, I can solve the frankie puzzle right away." | ||
| Krumar says, "I don't know of a reason not too." | ||
| Jacqueline says, "I am okay with this." | ||
| DavidW says, "Also, I found out that there was a 2nd way to deal with the jovial guard in Studio 1 that didn't involve pushing him into a pit." | ||
| Knight_Otu says, "Please do." | ||
| DavidW says (to ClubFloyd), "look" | ||
| CF ] The Ruins of Men-nefer 13/1037 | ||
| CF | > | ||
| CF | > LOOK | ||
| CF | | ||
| CF | The Ruins of Men-nefer | ||
| CF | This is quite a set! Against the southern studio wall of the studio | ||
| CF | are the fronts of a row of crumbling ruins. They are all covered in | ||
| CF | statues and carvings of monsters and ancient gods - really impressive | ||
| CF | work by the set designer. They loom over you, the faces of the | ||
| CF | statues, they seem to leer at you, giving a terrible air of horrifying | ||
| CF | menace to the whole set! | ||
| CF | | ||
| CF | Opposite the ruins, to the north, you can see some buildings. Dunes | ||
| CF | rise up from the ground to the northwest and northeast are some | ||
| CF | distant tents. | ||
| CF | | ||
| CF | Right in the centre of the row of ruins is an entranceway to a dark | ||
| CF | passage, leading south. You can see a little way in. There seem to be | ||
| CF | holes in the floor and narrow slots in the wall. Part way down, | ||
| CF | slumped against one wall, is an evilly grinning skeleton! Further | ||
| CF | along, and you can see a pile of bones near one of the wall slots. | ||
| CF | | ||
| CF | An empty cage lies open on the floor. | ||
| CF | | ||
| CF | A writhing mass of snakes slither all over the set. | ||
| CF | | ||
| CF | The slumped body of the poor security guard lies a little way down the | ||
| CF | passage. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] Archaeological Dig Site 13/1038 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Archaeological Dig Site | ||
| CF | The dark entrance to the Mummy's tombs leads down a ladder through a | ||
| CF | hole in the ground in-between the exposed ancient buildings. But | ||
| CF | they're not actually buildings. They're just the front walls of | ||
| CF | buildings held up with wooden scaffolding at the back. | ||
| CF | | ||
| CF | Here, right in the middle of the Studio, you can see all across the | ||
| CF | huge set. To the north is the looming Sphinx, to the west, rolling | ||
| CF | sand dunes. On the east side of the building are the tops of some | ||
| CF | colorful tents and to the south of you, what seem like ruins. | ||
| CF | | ||
| CF | An empty cage lies open on the floor. | ||
| CF | | ||
| CF | A mob of horrific cockroaches scutter in and out of the scenery. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] The Shrine of the Sphinx 13/1039 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | The Shrine of the Sphinx | ||
| CF | They've only bothered to actually build the front legs of the Sphinx. | ||
| CF | For longer shots, you assume they use the matte backdrop of the whole | ||
| CF | thing painted onto the Studio wall to the set's left. The Sphinx's | ||
| CF | legs extend out from the Studio walls and between them is the Mummy's | ||
| CF | shrine, carved from greyish sandy painted construction foam. | ||
| CF | | ||
| CF | To the west, there is an opening in the Studio wall. Southwest, | ||
| CF | towards the other side of the Studio, you can see distant sand dunes. | ||
| CF | The set opens out to the south to reveal some sort of building and | ||
| CF | beyond it, a group of ruins. To the southeast, you can see the tops of | Knight_Otu asks, "So Wilma may survive as well?" | |
| CF | a group of tents. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "w" | ||
| CF ] Studio Menagerie 13/1040 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Studio Menagerie | ||
| CF | This small dingy room is filled with mostly empty cages for the | ||
| CF | animals the Studio uses in its movies. It smells quite bad, to be | ||
| CF | honest. A door lies open to the west and, opposite it, a relatively | ||
| CF | brightly lit space in the wall opens up to the east. | ||
| CF | | ||
| CF | On one side of the room, a large cage contains a huge crocodile. | ||
| CF | | ||
| CF | You can also see a cage of spiders here. | ||
| CF | | ||
| CF | > | DavidW says (to Knight), "alas, no. Wilma always has to die to catch the werewolf." | |
| Knight_Otu says, "Aw." | ||
| Roger has arrived. | DavidW says, "The alternate death for the guard is to get the villagers to hang him for being a witch." | |
| Krumar says, "that sounds worse." | ||
| Knight_Otu says, "Oh dear. Why did I delude myself into being optimistic." | ||
| DavidW says, "But we missed our chance to do that because we didn't ask Derek, love, about the witch business in his dialog tree." | ||
| DavidW says (to ClubFloyd), "w" | ||
| CF ] Studio Lot South 13/1041 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | Studio Lot South | ||
| CF | Here, the lot is surrounded on three sides by Studios, looming out of | ||
| CF | the night like ancient guardians. The lot continues to the north into | ||
| CF | shadow. To the east side is the door to Studio 3, to the west, Studio | ||
| CF | 4 and to the south the door to Studio 5 where you have spent so much | ||
| CF | time over the last two weeks. A sign over each door proclaims the | ||
| CF | movie that is being made there. | ||
| CF | | ||
| CF | A ravening Werewolf paces the lot restlessly. | ||
| CF | | ||
| CF | Nefer-Kare's ancient servants skulk in a dusty group around their | ||
| CF | leader. | ||
| CF | | ||
| CF | The huge mummified form of Nefer-Kare stands menacingly near the | ||
| CF | centre of the lot, wrapped in dirty bandages. | ||
| CF | | ||
| CF | A horde of shambling zombies, led by a slightly less decomposed | ||
| CF | Security Guard, stumble around. | ||
| CF | | ||
| CF | Vampire thralls stand in a surly group, shooting suspicious glances at | ||
| CF | you. | ||
| CF | | ||
| CF | Over by the studio walls, the Count stands listlessly, staring off | ||
| CF | into the sky. | ||
| CF | | ||
| CF | The Countess paces impatiently around the lot. | ||
| CF | | ||
| CF | A dead cultist lies sprawled on the ground, his face frozen in a | ||
| CF | horrifying rictus. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] Studio Waiting Room 13/1042 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | Studio Waiting Room | ||
| CF | The dim lights barely illuminate the scattering of uncomfortable | ||
| CF | chairs where actors are supposed to spend their time between takes. A | ||
| CF | door to the north leads outside and dark doorways lead to the east and | ||
| CF | west deeper into the studio. | ||
| CF | | ||
| CF | The kitchen counter along one wall, stained with coffee mug rings, | ||
| CF | holds the accumulated detritus of a hundred extras' various drink | ||
| CF | making ingredients. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] Studio Lot South 13/1043 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | Studio Lot South | ||
| CF | Here, the lot is surrounded on three sides by Studios, looming out of | ||
| CF | the night like ancient guardians. The lot continues to the north into | ||
| CF | shadow. To the east side is the door to Studio 3, to the west, Studio | ||
| CF | 4 and to the south the door to Studio 5 where you have spent so much | ||
| CF | time over the last two weeks. A sign over each door proclaims the | ||
| CF | movie that is being made there. | ||
| CF | | ||
| CF | A ravening Werewolf paces the lot restlessly. | ||
| CF | | ||
| CF | Nefer-Kare's ancient servants skulk in a dusty group around their | ||
| CF | leader. | ||
| CF | | ||
| CF | The huge mummified form of Nefer-Kare stands menacingly near the | ||
| CF | centre of the lot, wrapped in dirty bandages. | ||
| CF | | ||
| CF | A horde of shambling zombies, led by a slightly less decomposed | ||
| CF | Security Guard, stumble around. | ||
| CF | | ||
| CF | Vampire thralls stand in a surly group, shooting suspicious glances at | ||
| CF | you. | ||
| CF | | ||
| CF | Over by the studio walls, the Count stands listlessly, staring off | ||
| CF | into the sky. | ||
| CF | | ||
| CF | The Countess paces impatiently around the lot. | ||
| CF | | ||
| CF | A dead cultist lies sprawled on the ground, his face frozen in a | ||
| CF | horrifying rictus. | ||
| CF | | ||
| CF | The Count looks as if he might speak, then seems to think better of | ||
| CF | it. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] Studio Lot North 13/1044 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Studio Lot North | ||
| CF | The northern end of the huge lot, oppressively surrounded by the | ||
| CF | looming, darkened studio buildings, is overlooked to the north by the | ||
| CF | ugly and squat offices, their windows watching over the lot like great | ||
| CF | eyes. Who knows what lurks behind them. To the west, the door to | ||
| CF | Studio 1 is open. To the east, the open Studio 2 door. On each door, a | ||
| CF | sign. The lot continues to the south into shadow. | ||
| CF | | ||
| CF | The glass doors into the offices to the north have been replaced by | ||
| CF | gigantic doors that seem to be made entirely from human bones. The | ||
| CF | doorframe is made from hideous grinning human skulls! | ||
| CF | | ||
| CF | Sharp wooden spikes stick out from the ground around the door at all | ||
| CF | angles. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] Guard's Break Room 13/1045 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | Guard's Break Room | ||
| CF | Someone has carved out a comfortable nook in this little space in | ||
| CF | between the door and the studio proper. There's a small table next to | ||
| CF | a comfy chair in one corner and on the table is a lit lamp, creating a | ||
| CF | welcoming pool of light in the gloom. A dingy gap in the wall to the | ||
| CF | east leads deeper into the studio and the door out to the lot, to the | ||
| CF | west, lies open. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] Alleway, Rue des Verrièrs 13/1046 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | Alleway, Rue des Verrièrs | ||
| CF | A set designer has gone to great lengths to re-imagine a narrow | ||
| CF | alleyway running between rows of townhouses in somewhere like New | ||
| CF | Orleans. The facades of the houses, propped up by beams at the back, | ||
| CF | are painted in dusky oranges, reds and creams to resemble stucco | ||
| CF | rendering. Arches, separated by ornate columns, cover the frontages, | ||
| CF | each with its own darkened window. Elaborate iron balconies, created | ||
| CF | from plywood, stretch in between each arch, complete with hanging | ||
| CF | plastic plants and vines. Here, in the semi-darkness, the false | ||
| CF | buildings feel oppressive. Like they are hiding secrets! | ||
| CF | | ||
| CF | Gloomy openings in the set walls lead south and east deeper into the | ||
| CF | studio. To the west, a brighter gap opens into the guard's break room. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] Deep in the Bayou 13/1047 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | Deep in the Bayou | ||
| CF | Surrounded by the trunks of enormous trees, the Bayou has been emptied | ||
| CF | for the night. It's just a rubber lined dip in the floor now, with a | ||
| CF | few sad plastic plants lying in the bottom of it. Openings in the set | ||
| CF | lead south and east into the gloom. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] Voodoo Temple 13/1048 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | Voodoo Temple | ||
| CF | All the masks lining the walls of the set seem to regard you with | ||
| CF | narrowed, suspicious eyes. There are dozens of them in all shapes and | ||
| CF | sizes. In between and around them hang colourful drapes, their | ||
| CF | attractive patterns at odds with the skulls on the floor and | ||
| CF | statuettes of frightening figures in little alcoves. Unlit candles | ||
| CF | cover almost every surface and everything is draped in a patina of | ||
| CF | nylon cobwebs. Doorways in the set walls lead into the gloom to the | ||
| CF | north and south. | ||
| CF | | ||
| CF | Dominating one wall is a large ornately carved wooden throne. | ||
| CF | | ||
| CF | In front of the throne is a small black table. | ||
| CF | | ||
| CF | A small compartment in the table is open. | ||
| CF | | ||
| CF | Scattered across the table are small fragments of bone. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] The Cemetery of St. Louise de Marillac 13/1049 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | The Cemetery of St. Louise de Marillac | ||
| CF | What a set this is! Mallet Studios must have actually spent some real | ||
| CF | money on this. The large space, bounded by walls painted with distant | ||
| CF | scenery, is row after row of forbidding tombs, ornamented gravestones | ||
| CF | and imposing hooded statues. Vines and tropical looking plastic plants | ||
| CF | wind over everything, giving a real atmosphere of age and shadowy | ||
| CF | menace. Openings in the set walls lead north and west deeper into the | ||
| CF | studio. | ||
| CF | | ||
| CF | To one side of the set is a row of freshly filled in graves! | ||
| CF | | ||
| CF | > | DavidW says, "I don't remember where we left the wheelbarrow." | |
| DavidW says (to ClubFloyd), "i" | ||
| CF ] The Cemetery of St. Louise de Marillac 13/1050 | ||
| CF | > | ||
| CF | > I | ||
| CF | | ||
| CF | You are carrying an antique blunderbuss loaded with a handful of small | ||
| CF | silver coins, a music box, a coil of cord, a jaunty hat, a leather | ||
| CF | whip, a reel of strong cotton, a bone needle, a wicked little voodoo | ||
| CF | doll, a strawberry milk bottle, an evil book of black magic, a small | ||
| CF | brass key, a tea caddy and a stained crimson robe. You are wearing the | ||
| CF | Bracelet of Nefer-Kare, Buster's Stetson, a crucifix, a gold | ||
| CF | pocketwatch and a grey suit. | ||
| CF | | ||
| CF | You are pushing a wheelbarrow along. It contains a sacred voodoo | ||
| CF | stone. | ||
| CF | | ||
| CF | > | DavidW says, "oh duh." | |
| DavidW says (to ClubFloyd), "n" | ||
| CF ] Voodoo Temple 13/1051 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Voodoo Temple | ||
| CF | All the masks lining the walls of the set seem to regard you with | ||
| CF | narrowed, suspicious eyes. There are dozens of them in all shapes and | ||
| CF | sizes. In between and around them hang colourful drapes, their | ||
| CF | attractive patterns at odds with the skulls on the floor and | ||
| CF | statuettes of frightening figures in little alcoves. Unlit candles | ||
| CF | cover almost every surface and everything is draped in a patina of | ||
| CF | nylon cobwebs. Doorways in the set walls lead into the gloom to the | ||
| CF | north and south. | ||
| CF | | ||
| CF | Dominating one wall is a large ornately carved wooden throne. | ||
| CF | | ||
| CF | In front of the throne is a small black table. | ||
| CF | | ||
| CF | A small compartment in the table is open. | ||
| CF | | ||
| CF | Scattered across the table are small fragments of bone. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] Deep in the Bayou 13/1052 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Deep in the Bayou | ||
| CF | Surrounded by the trunks of enormous trees, the Bayou has been emptied | ||
| CF | for the night. It's just a rubber lined dip in the floor now, with a | ||
| CF | few sad plastic plants lying in the bottom of it. Openings in the set | ||
| CF | lead south and east into the gloom. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "w" | ||
| CF ] Alleway, Rue des Verrièrs 13/1053 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Alleway, Rue des Verrièrs | ||
| CF | A set designer has gone to great lengths to re-imagine a narrow | ||
| CF | alleyway running between rows of townhouses in somewhere like New | ||
| CF | Orleans. The facades of the houses, propped up by beams at the back, | ||
| CF | are painted in dusky oranges, reds and creams to resemble stucco | ||
| CF | rendering. Arches, separated by ornate columns, cover the frontages, | ||
| CF | each with its own darkened window. Elaborate iron balconies, created | ||
| CF | from plywood, stretch in between each arch, complete with hanging | ||
| CF | plastic plants and vines. Here, in the semi-darkness, the false | ||
| CF | buildings feel oppressive. Like they are hiding secrets! | ||
| CF | | ||
| CF | Gloomy openings in the set walls lead south and east deeper into the | ||
| CF | studio. To the west, a brighter gap opens into the guard's break room. | ||
| CF | | ||
| CF | > | ||
| MoyTravis has arrived. | ||
| DavidW says (to ClubFloyd), "w" | ||
| CF ] Guard's Break Room 13/1054 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Guard's Break Room | ||
| CF | Someone has carved out a comfortable nook in this little space in | ||
| CF | between the door and the studio proper. There's a small table next to | ||
| CF | a comfy chair in one corner and on the table is a lit lamp, creating a | ||
| CF | welcoming pool of light in the gloom. A dingy gap in the wall to the | ||
| CF | east leads deeper into the studio and the door out to the lot, to the | ||
| CF | west, lies open. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] Guard's Break Room 13/1055 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | You can't go that way. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "w" | ||
| CF ] Studio Lot North 13/1056 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Studio Lot North | ||
| CF | The northern end of the huge lot, oppressively surrounded by the | ||
| CF | looming, darkened studio buildings, is overlooked to the north by the | ||
| CF | ugly and squat offices, their windows watching over the lot like great | ||
| CF | eyes. Who knows what lurks behind them. To the west, the door to | ||
| CF | Studio 1 is open. To the east, the open Studio 2 door. On each door, a | ||
| CF | sign. The lot continues to the south into shadow. | ||
| CF | | ||
| CF | The glass doors into the offices to the north have been replaced by | ||
| CF | gigantic doors that seem to be made entirely from human bones. The | ||
| CF | doorframe is made from hideous grinning human skulls! | ||
| CF | | ||
| CF | Sharp wooden spikes stick out from the ground around the door at all | ||
| CF | angles. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] Studio Lot South 13/1057 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | Studio Lot South | ||
| CF | Here, the lot is surrounded on three sides by Studios, looming out of | ||
| CF | the night like ancient guardians. The lot continues to the north into | ||
| CF | shadow. To the east side is the door to Studio 3, to the west, Studio | ||
| CF | 4 and to the south the door to Studio 5 where you have spent so much | ||
| CF | time over the last two weeks. A sign over each door proclaims the | ||
| CF | movie that is being made there. | ||
| CF | | ||
| CF | A ravening Werewolf paces the lot restlessly. | ||
| CF | | ||
| CF | Nefer-Kare's ancient servants skulk in a dusty group around their | ||
| CF | leader. | ||
| CF | | ||
| CF | The huge mummified form of Nefer-Kare stands menacingly near the | ||
| CF | centre of the lot, wrapped in dirty bandages. | ||
| CF | | ||
| CF | A horde of shambling zombies, led by a slightly less decomposed | ||
| CF | Security Guard, stumble around. | ||
| CF | | ||
| CF | Vampire thralls stand in a surly group, shooting suspicious glances at | ||
| CF | you. | ||
| CF | | ||
| CF | Over by the studio walls, the Count stands listlessly, staring off | ||
| CF | into the sky. | ||
| CF | | ||
| CF | The Countess paces impatiently around the lot. | ||
| CF | | ||
| CF | A dead cultist lies sprawled on the ground, his face frozen in a | ||
| CF | horrifying rictus. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] Studio Waiting Room 13/1058 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | Studio Waiting Room | ||
| CF | The dim lights barely illuminate the scattering of uncomfortable | ||
| CF | chairs where actors are supposed to spend their time between takes. A | ||
| CF | door to the north leads outside and dark doorways lead to the east and | ||
| CF | west deeper into the studio. | ||
| CF | | ||
| CF | The kitchen counter along one wall, stained with coffee mug rings, | ||
| CF | holds the accumulated detritus of a hundred extras' various drink | ||
| CF | making ingredients. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] Studio Store 13/1059 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | Studio Store | ||
| CF | Props from a hundred bad movies loom out of the dim light in piles on | ||
| CF | the floor and stacked on metal shelving. Wide hangers hold arrays of | ||
| CF | multi-colored clothing. There may be a storage methodology at work | ||
| CF | here, but you can't see it. To your eyes, it just looks like random | ||
| CF | piles of junk made from cloth and plywood. Dimly lit doorways in the | ||
| CF | west and south walls lead into shadow. | ||
| CF | | ||
| CF | A rolled up rug is next to an open trapdoor, leading down into a | ||
| CF | brightly lit room. | ||
| CF | | ||
| CF | A sewing machine sits on a workbench in front of the clothes hangers. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "d" | ||
| CF ] Studio Crypt 13/1060 | ||
| CF | > | ||
| CF | > D | ||
| CF | | ||
| CF | Studio Crypt | ||
| CF | The square windowless room, grimly lit by a bright light from the | ||
| CF | naked lightbulb on the ceiling, is surrounded on three sides by a | ||
| CF | large cage made from iron bars that run from ceiling to floor. A | ||
| CF | barred door into the cage is open. One one side, next to a | ||
| CF | lightswitch, a rickety wooden ramp leads up to a hole in the ceiling. | ||
| CF | The walls are made from grey stone and drip with moisture. The whole | ||
| CF | room seems to give off a damp earthy smell of decay! | ||
| CF | | ||
| CF | In the centre of the room is a large white box that looks like a | ||
| CF | kitchen refrigerator. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "open fridge" | ||
| CF ] Studio Crypt 13/1061 | ||
| CF | > | ||
| CF | > OPEN FRIDGE | ||
| CF | | ||
| CF | The fridge is already open. | ||
| CF | | ||
| CF | > | DavidW says, "Forgive me, but this will be gross." | |
| DavidW says (to ClubFloyd), "take legs" | ||
| CF ] Studio Crypt 13/1062 | ||
| CF | > | ||
| CF | > TAKE LEGS | ||
| CF | | ||
| CF | The remains are far too bulky to carry around. But fortunately, you | ||
| CF | have a wheelbarrow. Shuddering with horror, you grasp at Melissa's | ||
| CF | poor ankles. The two legs come away from the rest of the remains and | ||
| CF | plop into the wheelbarrow. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take arms" | ||
| CF ] Studio Crypt 13/1063 | ||
| CF | > | ||
| CF | > TAKE ARMS | ||
| CF | | ||
| CF | Beanie's skeleton is too bulky to carry about. Luckily, you have a | ||
| CF | wheelbarrow with you! Feeling ill, you grasp the relatively unscathed | ||
| CF | arms of the skeleton and pull. With a terrible sucking sound, Beanie's | ||
| CF | arms come away from the skeleton and drop horribly into the | ||
| CF | wheelbarrow! | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "u" | ||
| CF ] Studio Store 13/1064 | ||
| CF | > | ||
| CF | > U | ||
| CF | | ||
| CF | | ||
| CF | Studio Store | ||
| CF | Props from a hundred bad movies loom out of the dim light in piles on | ||
| CF | the floor and stacked on metal shelving. Wide hangers hold arrays of | ||
| CF | multi-colored clothing. There may be a storage methodology at work | ||
| CF | here, but you can't see it. To your eyes, it just looks like random | ||
| CF | piles of junk made from cloth and plywood. Dimly lit doorways in the | ||
| CF | west and south walls lead into shadow. | ||
| CF | | ||
| CF | A rolled up rug is next to an open trapdoor, leading down into a | ||
| CF | brightly lit room. | ||
| CF | | ||
| CF | A sewing machine sits on a workbench in front of the clothes hangers. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "w" | ||
| CF ] Studio Waiting Room 13/1065 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Studio Waiting Room | ||
| CF | The dim lights barely illuminate the scattering of uncomfortable | ||
| CF | chairs where actors are supposed to spend their time between takes. A | ||
| CF | door to the north leads outside and dark doorways lead to the east and | ||
| CF | west deeper into the studio. | ||
| CF | | ||
| CF | The kitchen counter along one wall, stained with coffee mug rings, | ||
| CF | holds the accumulated detritus of a hundred extras' various drink | ||
| CF | making ingredients. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] Studio Lot South 13/1066 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | Studio Lot South | ||
| CF | Here, the lot is surrounded on three sides by Studios, looming out of | ||
| CF | the night like ancient guardians. The lot continues to the north into | ||
| CF | shadow. To the east side is the door to Studio 3, to the west, Studio | ||
| CF | 4 and to the south the door to Studio 5 where you have spent so much | ||
| CF | time over the last two weeks. A sign over each door proclaims the | ||
| CF | movie that is being made there. | ||
| CF | | ||
| CF | A ravening Werewolf paces the lot restlessly. | ||
| CF | | ||
| CF | Nefer-Kare's ancient servants skulk in a dusty group around their | ||
| CF | leader. | ||
| CF | | ||
| CF | The huge mummified form of Nefer-Kare stands menacingly near the | ||
| CF | centre of the lot, wrapped in dirty bandages. | ||
| CF | | ||
| CF | A horde of shambling zombies, led by a slightly less decomposed | ||
| CF | Security Guard, stumble around. | ||
| CF | | ||
| CF | Vampire thralls stand in a surly group, shooting suspicious glances at | ||
| CF | you. | ||
| CF | | ||
| CF | Over by the studio walls, the Count stands listlessly, staring off | ||
| CF | into the sky. | ||
| CF | | ||
| CF | The Countess paces impatiently around the lot. | ||
| CF | | ||
| CF | A dead cultist lies sprawled on the ground, his face frozen in a | ||
| CF | horrifying rictus. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "w" | ||
| CF ] Studio Workshop 13/1067 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Studio Workshop | ||
| CF | This must be where they build the sets! The walls and most of the | ||
| CF | floor is covered in offcuts of plywood. Large rectangular pieces of | ||
| CF | the foam they use to carve all sorts of things out of like boulders | ||
| CF | and statues lie in piles in between wooden trestles. Pots of paint, | ||
| CF | dripped and smeared with a hundred different colours, are roughly | ||
| CF | stacked in the corners. Forbidding doorways lead into shadow to the | ||
| CF | west and south and the door out of the Studio, to the east, lies open. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] The Laboratory of Dr Von Hummels 13/1068 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | The Laboratory of Dr Von Hummels | ||
| CF | The centre of the room is dominated by an ominous metallic slab atop | ||
| CF | an iron plinth. On a large wooden table next to it, tubes, pipes, | ||
| CF | flasks and beakers bubble and hiss with strange looking liquids that | ||
| CF | make the room reek with their stinging chemical smell. Around the | ||
| CF | walls are prop bookcases filled with painted book spines. Doorways | ||
| CF | gape to the north and west into shadowed darkness and a gap in the | ||
| CF | fake walls leads south. | ||
| CF | | ||
| CF | Attached to one end of the slab is a metal helmet, to the other, a | ||
| CF | smooth brass handle. | ||
| CF | | ||
| CF | In the centre of the slab is a limbless human torso. Sewn onto its | ||
| CF | neck with haphazard stitches is Harry Higginbotham's decapitated head! | ||
| CF | | ||
| CF | > | Jacqueline says, "I know we play slower together than one person does alone, and that comp games can be longer than two hours, but I am still chuckling about how this was a comp game and we've been playing it for a few weeks." | |
| DavidW says (to ClubFloyd), "put arms on slab" | ||
| CF ] The Laboratory of Dr Von Hummels 13/1069 | ||
| CF | > | ||
| CF | > PUT ARMS ON SLAB | ||
| CF | | ||
| CF | You pull Beanie's arms onto the slab and arrange them on either side | ||
| CF | of the torso. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "put legs on slab" | ||
| CF ] The Laboratory of Dr Von Hummels 13/1070 | ||
| CF | > | ||
| CF | > PUT LEGS ON SLAB | ||
| CF | | ||
| CF | You pull Melissa's legs onto the slab and arrange them just below the | ||
| CF | torso. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "sew arms to torso" | ||
| CF ] The Laboratory of Dr Von Hummels 13/1071 | ||
| CF | > | ||
| CF | > SEW ARMS TO TORSO | ||
| CF | | ||
| CF | The needle leaps in your hand as if some terrible black magic is | ||
| CF | controlling it! You roughly stitch Beanie's arms onto the torso's | ||
| CF | shoulders until they are firmly attached. You can't help but feel | ||
| CF | horrified at what you're doing - surely this is the worst of the | ||
| CF | terrors you will face! | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "sew legs to torso" | ||
| CF ] The Laboratory of Dr Von Hummels 13/1072 | ||
| CF | > | ||
| CF | > SEW LEGS TO TORSO | ||
| CF | | ||
| CF | You begin to sew Melissa's legs onto the lower half of the torso. The | ||
| CF | needle seems to drag at your hands with a terrible eagerness. as it | ||
| CF | undertakes the grisly task. When you are done, Melissa's legs are | ||
| CF | firmly attached to the torso. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x cord" | ||
| CF ] The Laboratory of Dr Von Hummels 13/1073 | ||
| CF | > | ||
| CF | > X CORD | ||
| CF | | ||
| CF | It looks like electric cabling. On both ends of the long piece of cord | ||
| CF | is some sort of metal clip. You imagine that you could attach the cord | ||
| CF | to something. If you could find something to attach it to. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "connect cord to ring" | ||
| CF ] The Laboratory of Dr Von Hummels 13/1073 | ||
| CF | > | ||
| CF | > CONNECT CORD TO RING | ||
| CF | | ||
| CF | That's not a verb I recognise. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "attach cord to ring" | ||
| CF ] The Laboratory of Dr Von Hummels 13/1074 | ||
| CF | > | ||
| CF | > ATTACH CORD TO RING | ||
| CF | | ||
| CF | You clip one end of the cord onto the metal ring. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "w" | ||
| CF ] Glade in the Forest 13/1075 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | The cord trails behind you, the coils getting smaller in your hands. | ||
| CF | | ||
| CF | Glade in the Forest | ||
| CF | Behind some plywood trees, the rest of the forest is just painted onto | ||
| CF | the walls. The floor is covered in unconvincing plastic grass, and | ||
| CF | across the length of the set stretches the riverbed, which is | ||
| CF | currently just a channel lined with blue rubber sheeting. You suppose | ||
| CF | they put water in there when they're ready to film. Shadowy doorways | ||
| CF | lead north and south, and a gap between the forest-painted set boards | ||
| CF | opens to the east. | ||
| CF | | ||
| CF | An electric cord stretches back through the doorway to the east. You | ||
| CF | are carrying the rest of the coil. | ||
| CF | | ||
| CF | Next to the river is a conveniently placed mossy log. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] The Castle Rooftop 13/1076 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | The cord trails behind you, the coils getting smaller in your hands. | ||
| CF | | ||
| CF | The Castle Rooftop | ||
| CF | Ah, the roof of Dr Von Hummel's Castle. The set consists of a small | ||
| CF | catwalk around a tiled dome. The narrow walkway is surrounded by | ||
| CF | crenelated battlements and the set designers have really gone over the | ||
| CF | top with the gargoyles! There are dragons, imps, devils and things you | ||
| CF | don't even know the name of. They all have one thing in common - they | ||
| CF | seem to stare directly at you with their empty evil eyes! Or you could | ||
| CF | be just imagining it. Spaces in the set walls lead into dimly lit | ||
| CF | areas of the studio to the north and east. | ||
| CF | | ||
| CF | On top of the dome is a huge metal spike that stretches almost all the | ||
| CF | way to the studio ceiling. | ||
| CF | | ||
| CF | An electric cord stretches back through the doorway to the north. You | ||
| CF | are carrying the rest of the coil. | ||
| CF | | ||
| CF | A smooth brass handle pokes out of the set wall. | ||
| CF | | ||
| CF | Behind one of the battlements, set into the floor, is a large iron | ||
| CF | wheel. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "attach cord to ring" | ||
| CF ] The Castle Rooftop 13/1077 | ||
| CF | > | ||
| CF | > ATTACH CORD TO RING | ||
| CF | | ||
| CF | You clip the end of the cord onto the metal ring. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] Glade in the Forest 13/1078 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Glade in the Forest | ||
| CF | Behind some plywood trees, the rest of the forest is just painted onto | ||
| CF | the walls. The floor is covered in unconvincing plastic grass, and | ||
| CF | across the length of the set stretches the riverbed, which is | ||
| CF | currently just a channel lined with blue rubber sheeting. You suppose | ||
| CF | they put water in there when they're ready to film. Shadowy doorways | ||
| CF | lead north and south, and a gap between the forest-painted set boards | ||
| CF | opens to the east. | ||
| CF | | ||
| CF | An electric cord stretches across the room, running through the south | ||
| CF | and east doorways. | ||
| CF | | ||
| CF | Next to the river is a conveniently placed mossy log. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] The Laboratory of Dr Von Hummels 13/1079 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | The Laboratory of Dr Von Hummels | ||
| CF | The centre of the room is dominated by an ominous metallic slab atop | ||
| CF | an iron plinth. On a large wooden table next to it, tubes, pipes, | ||
| CF | flasks and beakers bubble and hiss with strange looking liquids that | ||
| CF | make the room reek with their stinging chemical smell. Around the | ||
| CF | walls are prop bookcases filled with painted book spines. Doorways | ||
| CF | gape to the north and west into shadowed darkness and a gap in the | ||
| CF | fake walls leads south. | ||
| CF | | ||
| CF | Attached to one end of the slab is a metal helmet, to the other, a | ||
| CF | smooth brass handle. | ||
| CF | | ||
| CF | Connected to a metal ring on the slab, an electric cord stretches out | ||
| CF | of the room to the west. | ||
| CF | | ||
| CF | In the centre of the slab is a human torso. Beanie's amputated arms | ||
| CF | are crudely sewn onto the torso's shoulders. Roughly stitched to its | ||
| CF | pelvis are Melissa's dismembered white legs. Sewn onto its neck with | ||
| CF | haphazard stitches is Harry Higginbotham's decapitated head! | ||
| CF | | ||
| CF | > | DavidW asks, "Everyone ready?" | |
| Knight_Otu says, "Barely." | ||
| Krumar exclaims, "Ready!" | ||
| Jacqueline says, "Yup" | ||
| DavidW says (to ClubFloyd), "pull handle" | ||
| CF ] The Laboratory of Dr Von Hummels 13/1080 | ||
| CF | > | ||
| CF | > PULL HANDLE | ||
| CF | | ||
| CF | (the brass handle) | ||
| CF | You pull on the handle. Nothing obvious happens. | ||
| CF | | ||
| CF | > | Jacqueline says, "heh" | |
| Krumar says, "Exciting" | ||
| DavidW says, "oops. I forgot to charge up by turning the wheel." | ||
| DavidW says (to ClubFloyd), "w" | ||
| CF ] Glade in the Forest 13/1081 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Glade in the Forest | ||
| CF | Behind some plywood trees, the rest of the forest is just painted onto | ||
| CF | the walls. The floor is covered in unconvincing plastic grass, and | ||
| CF | across the length of the set stretches the riverbed, which is | ||
| CF | currently just a channel lined with blue rubber sheeting. You suppose | ||
| CF | they put water in there when they're ready to film. Shadowy doorways | ||
| CF | lead north and south, and a gap between the forest-painted set boards | ||
| CF | opens to the east. | ||
| CF | | ||
| CF | An electric cord stretches across the room, running through the south | ||
| CF | and east doorways. | Jacqueline exclaims, "Still ready!" | |
| CF | | ||
| CF | Next to the river is a conveniently placed mossy log. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] The Castle Rooftop 13/1082 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | The Castle Rooftop | ||
| CF | Ah, the roof of Dr Von Hummel's Castle. The set consists of a small | ||
| CF | catwalk around a tiled dome. The narrow walkway is surrounded by | ||
| CF | crenelated battlements and the set designers have really gone over the | ||
| CF | top with the gargoyles! There are dragons, imps, devils and things you | ||
| CF | don't even know the name of. They all have one thing in common - they | ||
| CF | seem to stare directly at you with their empty evil eyes! Or you could | ||
| CF | be just imagining it. Spaces in the set walls lead into dimly lit | ||
| CF | areas of the studio to the north and east. | ||
| CF | | ||
| CF | On top of the dome is a huge metal spike that stretches almost all the | ||
| CF | way to the studio ceiling. | ||
| CF | | ||
| CF | Attached to a metal ring on the domed roof is one end of a long cord | ||
| CF | which stretches through the doorway to the north. | ||
| CF | | ||
| CF | A smooth brass handle pokes out of the set wall. | ||
| CF | | ||
| CF | Behind one of the battlements, set into the floor, is a large iron | ||
| CF | wheel. | ||
| CF | | ||
| CF | > | DavidW says, "I'm still new at this science stuff." | |
| Knight_Otu exclaims, "For science!" | ||
| DavidW says (to ClubFloyd), "turn wheel" | ||
| CF ] The Castle Rooftop 13/1083 | ||
| CF | > | ||
| CF | > TURN WHEEL | ||
| CF | | ||
| CF | (the large iron wheel) | ||
| CF | You turn the wheel. It's easy at first but gradually gets harder and | ||
| CF | harder until you can't turn it anymore. | ||
| CF | | ||
| CF | For some reason, the hairs on the back of your neck begin to rise and | ||
| CF | your skin prickles. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] Glade in the Forest 13/1084 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Glade in the Forest | ||
| CF | Behind some plywood trees, the rest of the forest is just painted onto | ||
| CF | the walls. The floor is covered in unconvincing plastic grass, and | ||
| CF | across the length of the set stretches the riverbed, which is | ||
| CF | currently just a channel lined with blue rubber sheeting. You suppose | ||
| CF | they put water in there when they're ready to film. Shadowy doorways | ||
| CF | lead north and south, and a gap between the forest-painted set boards | ||
| CF | opens to the east. | ||
| CF | | ||
| CF | An electric cord stretches across the room, running through the south | ||
| CF | and east doorways. | ||
| CF | | ||
| CF | Next to the river is a conveniently placed mossy log. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] The Laboratory of Dr Von Hummels 13/1085 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | The Laboratory of Dr Von Hummels | ||
| CF | The centre of the room is dominated by an ominous metallic slab atop | ||
| CF | an iron plinth. On a large wooden table next to it, tubes, pipes, | ||
| CF | flasks and beakers bubble and hiss with strange looking liquids that | ||
| CF | make the room reek with their stinging chemical smell. Around the | ||
| CF | walls are prop bookcases filled with painted book spines. Doorways | ||
| CF | gape to the north and west into shadowed darkness and a gap in the | ||
| CF | fake walls leads south. | ||
| CF | | ||
| CF | Attached to one end of the slab is a metal helmet, to the other, a | ||
| CF | smooth brass handle. | ||
| CF | | ||
| CF | Connected to a metal ring on the slab, an electric cord stretches out | ||
| CF | of the room to the west. | ||
| CF | | ||
| CF | In the centre of the slab is a human torso. Beanie's amputated arms | ||
| CF | are crudely sewn onto the torso's shoulders. Roughly stitched to its | ||
| CF | pelvis are Melissa's dismembered white legs. Sewn onto its neck with | ||
| CF | haphazard stitches is Harry Higginbotham's decapitated head! | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "pull handle" | ||
| CF ] The Laboratory of Dr Von Hummels 13/1086 | ||
| CF | > | ||
| CF | > PULL HANDLE | ||
| CF | | ||
| CF | (the brass handle) | ||
| CF | You pull the handle and suddenly the large slab in the centre of the | ||
| CF | room begins to crackle and spit out sparks of pure electricity! The | ||
| CF | torso on the slab is lit up with crawling blue veins of force. All of | ||
| CF | the torso's limbs twitch and jerk horribly as the terrible power | ||
| CF | courses through them. And then, suddenly, Harry's eyes flick open! You | ||
| CF | back away as the monster on the slab slowly sits up. Out if its mouth | ||
| CF | comes a great groaning sound and it slowly pulls its legs over the | ||
| CF | side of the slab and stands up. It is huge! It towers over you. | ||
| CF | | ||
| CF | "Must...kill..." it snarls, its voice a deep bass rumble and it | ||
| CF | extends its muscled arms and takes a faltering step towards you. | ||
| CF | | ||
| CF | You are in a perilous situation! | ||
| CF | | ||
| CF | > | Jacqueline asks, "Um. Do we have a talisman for this?" | |
| DavidW says, "Yes we do!" | ||
| DavidW says (to ClubFloyd), "play music box" | ||
| CF ] The Laboratory of Dr Von Hummels 14/1087 | ||
| CF | > | ||
| CF | > PLAY MUSIC BOX | ||
| CF | | ||
| CF | The music box begins to play a tinny, but pleasant little tinkly tune. | ||
| CF | You almost recognize it, but not quite. | ||
| CF | | ||
| CF | The Monster hears the tinny little tune and seems entranced! It stop | ||
| CF | in its tracks and gives what seems to be a smile. "Music!" it says, | ||
| CF | "Nice...music!" | ||
| CF | | ||
| CF | You have survived a perilous situation! | ||
| CF | | ||
| CF | > | Jacqueline says, "oh RIGHT" | |
| Roger says, "We should have had a giant beehive wig to put on" | ||
| MoyTravis says, "Nice." | ||
| DavidW says (to ClubFloyd), "talk to monster" | ||
| CF ] The Laboratory of Dr Von Hummels 14/1088 | ||
| CF | > | ||
| CF | > TALK TO MONSTER | ||
| CF | | ||
| CF | "So," you begin, "how are you, Harry?" | ||
| CF | | ||
| CF | There is a moment's pause as the Monster seems to digest this. "Well," | ||
| CF | it says, "I've been better. No thanks to you." | ||
| CF | | ||
| CF | It seems to be able to speak! Maybe it's the music. It's difficult to | ||
| CF | know what to say, really. Harry certainly doesn't look too pleased. | ||
| CF | | ||
| CF | (1) - "What happened to you? | ||
| CF | | ||
| CF | You say > | ||
| DavidW says (to ClubFloyd), "1" | ||
| CF ] The Laboratory of Dr Von Hummels 14/1088 | ||
| CF | You say > | ||
| CF | > 1 | ||
| CF | | ||
| CF | "What happened to you?" you ask. That might be a good place to start. | ||
| CF | "I found your head." | ||
| CF | | ||
| CF | Harry snorts. "Pah," he says, "I was supposed to find the sacrifice | ||
| CF | for the Ritual, and then you ran off. We looked for you, but then | ||
| CF | midnight approached and Arnie decided that he couldn't keep Astaroth | ||
| CF | waiting. The whole bunch of them unanimously voted me to be the | ||
| CF | Sacrifice just because you couldn't do what you were told. Me, with | ||
| CF | twenty Mallet Studios films under my belt! All of them coming in under | ||
| CF | budget! The ungrateful swine. So they had me on the altar as quick as | ||
| CF | you like." | ||
| CF | | ||
| CF | The Monster sighs heavily. "In fact," it continues, "given that this | ||
| CF | is all your fault, when this music finishes, I'm going to crush you | ||
| CF | like a bug." | ||
| CF | | ||
| CF | Oh dear. | ||
| CF | | ||
| CF | (1) - "Well, at least you're sort of alive again." | ||
| CF | (2) - "What exactly is the cult up to?" | ||
| CF | | ||
| CF | You say > | DavidW says, "Let me know when to continue" | |
| Jacqueline says, "I'm caught up" | ||
| Krumar says, "I'm good." | ||
| Knight_Otu says, "Ditto." | ||
| DavidW says (to ClubFloyd), "1" | ||
| CF ] The Laboratory of Dr Von Hummels 14/1088 | ||
| CF | You say > | ||
| CF | > 1 | ||
| CF | | ||
| CF | "Well, look on the bright side," you say, "at least you're alive | ||
| CF | again." | ||
| CF | | ||
| CF | "What!" says Harry, incredulously. "You call this alive? I've not got | ||
| CF | matching anything. I look like I've been cobbled together. And what's | ||
| CF | with the tiny feet? I can barely stand up. And I never had a tattoo | ||
| CF | before. " | ||
| CF | | ||
| CF | (1) - "What exactly is the cult up to?" | ||
| CF | | ||
| CF | You say > | ||
| DavidW says (to ClubFloyd), "1" | ||
| CF ] The Laboratory of Dr Von Hummels 14/1088 | ||
| CF | You say > | ||
| CF | > 1 | ||
| CF | | ||
| CF | "So what, exactly, is the Cult up to?" you ask. | ||
| CF | | ||
| CF | "Wouldn't we all like to know," replies Harry. "Arnie's been banging | ||
| CF | on about summoning Astaroth for ages. Keeps talking about riches and | ||
| CF | power beyond our wildest imaginings. I can't see it myself, but you've | ||
| CF | got to play along in this game. The boss wants something? He gets it. | ||
| CF | The boss wants you to do something? You do it. The boss wants you to | ||
| CF | dress up in crimson robes, do some chanting and summon Demons? Well, | ||
| CF | you get the picture." | ||
| CF | | ||
| CF | He pauses and thinks for a moment. "Come to think of it, I only got my | ||
| CF | first directing gig after I put on the robes." | ||
| CF | | ||
| CF | (1) - "Aren't you worried about summoning a Demon?" | ||
| CF | (2) - "Maybe we should stop him." | ||
| CF | (3) - "I know what Mallet has been doing to actors." | ||
| CF | (4) - "I know about the undead." | ||
| CF | | ||
| CF | You say > | DavidW says, "We have a red robe, by the way, from the crazed cultist." | |
| Jacqueline says, "I'm good with any of these choices." | ||
| DavidW says (to ClubFloyd), "1" | ||
| CF ] The Laboratory of Dr Von Hummels 14/1088 | ||
| CF | You say > | ||
| CF | > 1 | ||
| CF | | ||
| CF | "Aren't you worried that the Cult is going to summon a Demon?" you | ||
| CF | ask. | ||
| CF | | ||
| CF | The Monster just looks at you, his brows raised. "Seriously?" he says, | ||
| CF | sarcastically, "You're asking me this now? After I've had my head cut | ||
| CF | off?" He sighs once more. "I wasn't," he continues, "but now maybe I'm | ||
| CF | thinking I should have thought it through. You can't trust anybody in | ||
| CF | this business. Arnie least of all." | ||
| CF | | ||
| CF | (1) - "Maybe we should stop him." | ||
| CF | (2) - "I know what Mallet has been doing to actors." | ||
| CF | (3) - "I know about the undead." | ||
| CF | | ||
| CF | You say > | Jacqueline says, "I am also amused that he is complaining about his tiny feet." | |
| DavidW says (to ClubFloyd), "1" | ||
| CF ] The Laboratory of Dr Von Hummels 14/1088 | ||
| CF | You say > | ||
| CF | > 1 | ||
| CF | | ||
| CF | "Maybe we should stop Arnie and his Cult forever," you say. | ||
| CF | | ||
| CF | "Hah," replies Harry, "and how do you intend to do that, eh? Once | ||
| CF | Astaroth and all his minions of hell are here, it's gonna take an army | ||
| CF | to stop them." | ||
| CF | | ||
| CF | (1) - "Well, it's funny you should say that." | ||
| CF | | ||
| CF | You say > | Krumar says, "I was wondering about him having small feet and arms." | |
| DavidW says (to ClubFloyd), "1" | ||
| CF ] The Laboratory of Dr Von Hummels 14/1088 | ||
| CF | You say > | ||
| CF | > 1 | ||
| CF | | ||
| CF | "Well, there might be a way of stopping him," you say. "I'm gathering | ||
| CF | an undead army." | ||
| CF | | ||
| CF | Harry looks at you incredulously. "What?" he says, "you're letting the | ||
| CF | undead out of their cages? That's madness." Then he stops, his brow | ||
| CF | furrows and he looks down at his own somewhat undead body. "Although," | ||
| CF | he continues, "given my current state of being, maybe I shouldn't | ||
| CF | protest too much." | ||
| CF | | ||
| CF | (1) - "We need you to be part of the army!" | ||
| CF | | ||
| CF | You say > | ||
| DavidW says (to ClubFloyd), "1" | ||
| CF ] The Laboratory of Dr Von Hummels 14/1088 | ||
| CF | You say > | ||
| CF | > 1 | ||
| CF | | ||
| CF | "We need you," you say. "With your strength, and the rest of the | ||
| CF | undead, we can defeat Arnie's evil!" | ||
| CF | | ||
| CF | Harry goes silent for a long while, appearing to be pondering. "Well, | ||
| CF | I suppose I would like a bit of revenge," he says. "Quite honestly, | ||
| CF | given what's happened to me, I couldn't care less about what Astaroth | ||
| CF | and his minions are going to do, but I would like a chance to shove | ||
| CF | Arnie's head up his ass. Tell you what, I'm in. I'll put crushing you | ||
| CF | like a grape on hold until after we show Astaroth who he's dealing | ||
| CF | with." | ||
| CF | | ||
| CF | It's all you can do to stop yourself from punching their air with | ||
| CF | delight. You have the Monster! | ||
| CF | | ||
| CF | (1) - "The army is meeting in the Studio Lot." | ||
| CF | | ||
| CF | You say > | Jacqueline says, "yay another recruit" | |
| DavidW says (to ClubFloyd), "1" | ||
| CF ] The Laboratory of Dr Von Hummels 14/1088 | ||
| CF | You say > | ||
| CF | > 1 | ||
| CF | | ||
| CF | "The rest of the army is in the Studio Lot," you say. "When I release | ||
| CF | all the undead, we're going to march on Astaroth's forces." | ||
| CF | | ||
| CF | "I'll be there," says Harry. "I'll try not to kill you, but I'm not | ||
| CF | sure I'll be able to stop myself. I am a Monster, after all. Hope | ||
| CF | you've got something to protect yourself with." | ||
| CF | | ||
| CF | The Monster turns away from you and shambles out of the Laboratory. | ||
| CF | | ||
| CF | You have grown your Undead Army! | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "score" | ||
| CF ] The Laboratory of Dr Von Hummels 14/1088 | ||
| CF | > | ||
| CF | > SCORE | ||
| CF | | ||
| CF | You're still in one piece. That's a good start. | ||
| CF | | ||
| CF | You are building an undead army! So far, it consists of, the mummified | ||
| CF | Pharaoh Nefer-Kare and his shuffling ancient servants, a monster | ||
| CF | manufactured from body parts and brought to terrible life, a horde of | ||
| CF | shambling zombies led by an understandably annoyed Security Guard, a | ||
| CF | fearsome ravening werewolf, the Count, the Countess and their | ||
| CF | bloodthirsty vampire thralls. | ||
| CF | | ||
| CF | You have survived fourteen perilous situations! | ||
| CF | | ||
| CF | - You avoided the murderous attentions of the Cult of Astaroth! | ||
| CF | - You managed to escape from the Cult's Lair! | ||
| CF | - You killed a crazed Cultist with a wooden stake! | ||
| CF | - You chopped a relatively blameless security guard into little | ||
| CF | pieces with a huge axe! | ||
| CF | - You protected yourself from vampires with a simple golden | ||
| CF | crucifix! | ||
| CF | - You managed to sort out a bunch of squabbling ghosts! | ||
| CF | - A horde of shambling zombies stopped attacking you because you | ||
| CF | were holding a voodoo doll of power! | ||
| CF | - You inadvertently led a horde of zombies to a poor Security | ||
| CF | Guard and they bit and infected her! | ||
| CF | - You terrified a nice security guard so much with horrible | ||
| CF | creatures that he ran into a trapped passageway and got speared to | ||
| CF | death! | ||
| CF | - You tamed Nefer-Kare and his mummified servants with the ancient | ||
| CF | magic of his own bracelet! | ||
| CF | - You cremated a young security guard in a huge oven! | ||
| CF | - You pushed a decent hard-working security guard into a deep pit | ||
| CF | for some reason. | ||
| CF | - You loaded an ancient Blunderbuss with a handful of silver | ||
| CF | pocket-change and bluffed a Werewolf! | ||
| CF | - You soothed the savage heart of a terrible Monster with some | ||
| CF | sweet music! | ||
| CF | | ||
| CF | > | Knight_Otu says, "We caught them all! By which I mean, freed them." | |
| Jacqueline says, "heh" | ||
| MoyTravis says, "hooray" | ||
| DavidW says, "Yes. I don't know what happens after this point." | ||
| Roger says, "so we're building an undead army and somehow we're the good guys" | ||
| DavidW says, "We know that the north bone gate is locked and I have no idea where a key might be, but I'm hoping the Countess will suggest something." | ||
| Knight_Otu says, "It's more of a worldly evil vs otherworldy evil story, I think." | ||
| DavidW says (to Roger), "Yes, that's correct and it worries me. A bill might come due." | ||
| Jacqueline says, "Oh. You mean we not only have to assemble the army but also lead it? *eye roll*" | ||
| DavidW asks, "And what happens to the undead if we win?" | ||
| Jacqueline asks, "We sing Kumbaya?" | ||
| Jacqueline asks, "Hold hands?" | ||
| Jacqueline asks, "Try not to bite one another?" | ||
| Jacqueline says, "I'm honestly not sure." | ||
| MoyTravis asks, "We attempt to take over the world?" | ||
| DavidW says, "oh, um, I skipped over an optional bit with the electricity in this studio." | ||
| DavidW says, "We can connect the roof ring to the evil machinery control panel ring and makes the gears turn there, but nothing else happens." | ||
| Krumar says, "I say we keep progressing." | ||
| DavidW says, "yeah" | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] Studio Workshop 14/1089 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Studio Workshop | ||
| CF | This must be where they build the sets! The walls and most of the | ||
| CF | floor is covered in offcuts of plywood. Large rectangular pieces of | ||
| CF | the foam they use to carve all sorts of things out of like boulders | ||
| CF | and statues lie in piles in between wooden trestles. Pots of paint, | ||
| CF | dripped and smeared with a hundred different colours, are roughly | ||
| CF | stacked in the corners. Forbidding doorways lead into shadow to the | ||
| CF | west and south and the door out of the Studio, to the east, lies open. | ||
| CF | | ||
| CF | The music box continues to plink out its song. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] Studio Lot South 14/1090 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | Studio Lot South | ||
| CF | Here, the lot is surrounded on three sides by Studios, looming out of | ||
| CF | the night like ancient guardians. The lot continues to the north into | ||
| CF | shadow. To the east side is the door to Studio 3, to the west, Studio | ||
| CF | 4 and to the south the door to Studio 5 where you have spent so much | ||
| CF | time over the last two weeks. A sign over each door proclaims the | ||
| CF | movie that is being made there. | ||
| CF | | ||
| CF | The Monster shambles and lurches around the Studio Lot. | ||
| CF | | ||
| CF | A ravening Werewolf paces the lot restlessly. | ||
| CF | | ||
| CF | Nefer-Kare's ancient servants skulk in a dusty group around their | ||
| CF | leader. | ||
| CF | | ||
| CF | The huge mummified form of Nefer-Kare stands menacingly near the | ||
| CF | centre of the lot, wrapped in dirty bandages. | ||
| CF | | ||
| CF | A horde of shambling zombies, led by a slightly less decomposed | ||
| CF | Security Guard, stumble around. | ||
| CF | | ||
| CF | Vampire thralls stand in a surly group, shooting suspicious glances at | ||
| CF | you. | ||
| CF | | ||
| CF | Over by the studio walls, the Count stands listlessly, staring off | ||
| CF | into the sky. | ||
| CF | | ||
| CF | The Countess paces impatiently around the lot. | ||
| CF | | ||
| CF | A dead cultist lies sprawled on the ground, his face frozen in a | ||
| CF | horrifying rictus. | ||
| CF | | ||
| CF | The Countess gives you a big thumbs up. "That's awesome," she says, | ||
| CF | pointing at the Monster. "I nearly laughed myself to death when that | ||
| CF | thing wandered in with Harry's head on its shoulders. Couldn't have | ||
| CF | happened to a nicer guy." She grins viciously. "That's what you get | ||
| CF | for chumming up with people like Arnie Mallet and thinking they give | ||
| CF | two figs about you." | ||
| CF | | ||
| CF | She looks over at the army. "I think that's everyone," she says. "It's | ||
| CF | nearly time to go to battle. One more thing, though. You should | ||
| CF | reconnoiter first and get us some info about the enemy. They've | ||
| CF | finally opened the bone gates." She looks you up and down. "If you | ||
| CF | found a disguise so you looked like a cultist, you might be able to | ||
| CF | sneak in." | ||
| CF | | ||
| CF | She grins. "Don't worry. If they catch you, we'll still fight the good | ||
| CF | fight." | ||
| CF | | ||
| CF | The Countess shoots you a troubled glance. "It's getting late." | ||
| CF | | ||
| CF | The little music box is still playing a tinkly little tune. The | ||
| CF | monster seems entranced by the music. | ||
| CF | | ||
| CF | > | MoyTravis says, "Oh, the gates just open. Cool. Nifty." | |
| DavidW says, "And now we need to put on the robe." | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | Studio Lot North | ||
| CF | The northern end of the huge lot, oppressively surrounded by the | ||
| CF | looming, darkened studio buildings, is overlooked to the north by the | ||
| CF | ugly and squat offices, their windows watching over the lot like great | ||
| CF | eyes. Who knows what lurks behind them. To the west, the door to | ||
| CF | Studio 1 is open. To the east, the open Studio 2 door. On each door, a | ||
| CF | sign. The lot continues to the south into shadow. | ||
| CF | | ||
| CF | The glass doors into the offices to the north have been replaced by | ||
| CF | gigantic doors that seem to be made entirely from human bones. The | ||
| CF | doorframe is made from hideous grinning human skulls! | ||
| CF | | ||
| CF | Sharp wooden spikes stick out from the ground around the door at all | ||
| CF | angles. | ||
| CF | | ||
| CF | On either side of the open bone doors stands a red-robed Cultist! | ||
| CF | | ||
| CF | The two guards look you up and down and then look at each other. "You | ||
| CF | were supposed to be the Sacrifice," one of them says. "We had to | ||
| CF | sacrifice Harry instead. I think Arnie's going to want to have a word | ||
| CF | with you." They grab your arms and frogmarch you through the bone | ||
| CF | doors and into horror of Hell! | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | ...Press any key........ | Knight_Otu says, "Nice of the enemy to just let us in. Surely not a trap." | |
| DavidW says, "oops. I didn't know they'd be outside here!" | ||
| MoyTravis says, "Well let's see the death scene." | ||
| DavidW pushes the green 'space' button. | ||
| CF ] The Cathedral of Bone 14/1091 | ||
| CF | As you are led through the doors, it's like you are walking into a | ||
| CF | furnace. The heat blasts your face, and the smell of sulphur almost | ||
| CF | makes you gag. The doors open up into an enormous room. The decor of | ||
| CF | the Studio offices has gone. No more light green walls and glass | ||
| CF | doors. This is a Cathedral. A Cathedral made from bone! | ||
| CF | | ||
| CF | The Cathedral of Bone | ||
| CF | The Cathedral ceiling, made from the gigantic bones of forgotten | ||
| CF | creatures, soars high above your head. In the centre of the huge sept, | ||
| CF | on a raised dais, is the throne of Hell. The Cathedral seems to be | ||
| CF | alive! The faces and limbs of humans, devils and other terrible | ||
| CF | creatures writhe and gibber from the walls where they are trapped for | ||
| CF | eternity. Fires in deep pits light the room with a flickering orange | ||
| CF | glow and fill the air with an evil, oily smoke that burns your lungs. | ||
| CF | | ||
| CF | On the huge throne sits a great demon who must surely be Astaroth. His | ||
| CF | clawed hands hold a great flaming whip! | ||
| CF | | ||
| CF | Other demons are gathered around the dais. Demons with leathery skin | ||
| CF | and sharp teeth. Demons with wings and scales! So many! You recoil in | ||
| CF | terror. Even the Cultists holding your arms seem afraid. | ||
| CF | | ||
| CF | You are led around the room to where the rest of the Cultists are | ||
| CF | gathered in a nervous-looking group. One of them turns. It's Arnie | ||
| CF | Mallet! Dr Horror himself! | ||
| CF | | ||
| CF | "Look who we found creeping about outside," says one of the Cultists | ||
| CF | holding your arms. Arnie glances at you. "So?" he says, shortly. "What | ||
| CF | you bringing him to me for? We don't need another sacrifice." | ||
| CF | | ||
| CF | The Cultist flinches. "We just thought, you know," he says, "that | ||
| CF | you'd want to..." he trails off. | ||
| CF | | ||
| CF | Arnie sighs and looks directly at you. You couldn't say for sure, but | ||
| CF | he looks nervous. He is sweating, and his eyes dart about, first | ||
| CF | settling on you, then glancing away at the demons. Then again, this is | ||
| CF | the first time you've ever met him, and he might always be like this. | ||
| CF | You doubt it, though. "So," he says, "We had to sacrifice Harry | ||
| CF | because of you. Still, can't blame you, really. I wouldn't want to | ||
| CF | hang around and be sacrificed either. And Harry's no great loss. | ||
| CF | Directors like him are ten a penny." | ||
| CF | | ||
| CF | (1) - "You're not going to kill me?" | ||
| CF | | ||
| CF | You say > | Jacqueline says, "huh" | |
| Jacqueline says, "Not a death scene... yet." | ||
| DavidW asks, "has everyone read all that?" | ||
| MoyTravis says, "Yarp." | ||
| Knight_Otu says, "Yeah." | ||
| DavidW says (to ClubFloyd), "1" | ||
| CF ] The Cathedral of Bone 14/1091 | ||
| CF | You say > | ||
| CF | > 1 | ||
| CF | | ||
| CF | "So you're not going to have me killed, then?" you say, as bravely as | ||
| CF | you can. | ||
| CF | | ||
| CF | Arnie looks genuinely surprised. "No," he says, "we're going to need | ||
| CF | all the souls we can get over the next few years. Why would I kill | ||
| CF | you?" | ||
| CF | | ||
| CF | (1) - "I know about what you've been doing to cut costs!" | ||
| CF | (2) - "I know you've been keeping the undead imprisoned!" | ||
| CF | (3) - "I know about the Cult and what they're up to!" | ||
| CF | (4) - "What you're doing's not right!" | ||
| CF | | ||
| CF | You say > | MoyTravis says, "#1 clearly" | |
| DavidW says (to ClubFloyd), "1" | ||
| CF ] The Cathedral of Bone 14/1091 | ||
| CF | You say > | ||
| CF | > 1 | ||
| CF | | ||
| CF | "I know everything," you say "I know about how you're cutting costs by | ||
| CF | killing actors." | ||
| CF | | ||
| CF | "Oh, you do, do you?" he replies. "Well, good for you. Killing actors | ||
| CF | am I? What are you complaining about? You think you'd be in the movies | ||
| CF | if the herd hadn't thinned out a bit?" | ||
| CF | | ||
| CF | (1) - "I know you've been keeping the undead imprisoned!" | ||
| CF | (2) - "I know about the Cult and what they're up to!" | ||
| CF | (3) - "Well, it's not right!" | ||
| CF | | ||
| CF | You say > | Jacqueline says, "oof" | |
| DavidW says (to ClubFloyd), "1" | ||
| CF ] The Cathedral of Bone 14/1091 | ||
| CF | You say > | ||
| CF | > 1 | ||
| CF | | ||
| CF | You pluck up your courage. "I know about how you're keeping the undead | ||
| CF | locked up in the Studios," you say. | ||
| CF | | ||
| CF | "You've been talking to her, haven't you," says Arnie. "Well, | ||
| CF | you shouldn't believe everything you hear. Of course I am. What, you | ||
| CF | want them out there in the world, do you?" | ||
| CF | | ||
| CF | (1) - "I know about what you've been doing to cut costs!" | ||
| CF | (2) - "I know about the Cult and what they're up to!" | ||
| CF | (3) - "Well, it's not right!" | ||
| CF | | ||
| CF | You say > | ||
| DavidW says (to ClubFloyd), "2" | ||
| CF ] The Cathedral of Bone 14/1091 | ||
| CF | You say > | ||
| CF | > 2 | ||
| CF | | ||
| CF | I know all about what your Cult are up to," you say. "I watched the | ||
| CF | ritual." | ||
| CF | | ||
| CF | "Oh, you think you do, do you? replies Arnie, narrowing his eyes. "So | ||
| CF | we've summoned Astaroth and all his infernal demons, we sacrificed a | ||
| CF | few actors, and suddenly we're the bad guys." | ||
| CF | | ||
| CF | (1) - "I know about what you've been doing to cut costs!" | ||
| CF | (2) - "I know you've been keeping the undead imprisoned!" | ||
| CF | (3) - "Well it's not right!" | ||
| CF | | ||
| CF | You say > | Jacqueline says, "It's not right." | |
| DavidW says (to ClubFloyd), "3" | ||
| CF ] The Cathedral of Bone 14/1091 | ||
| CF | You say > | ||
| CF | > 3 | ||
| CF | | ||
| CF | "Well it's not right," you say, heatedly. There is a roar from behind | ||
| CF | you as Astaroth stirs on his throne. For a moment you were so angry, | ||
| CF | you'd forgotten than you are surrounded by a demonic horde! | ||
| CF | | ||
| CF | Arnie blanches when he hears Astaroth and starts to sweat a bit more | ||
| CF | profusely. "What's not right?" he snaps at you, nervously. | ||
| CF | "Sacrificing a few actors? Keeping the undead locked up? Feeding a few | ||
| CF | extras to the undead to cut costs? It's suddenly not right is it? It | ||
| CF | was ok last week. Everyone knew about it and they all thought it was | ||
| CF | alright. And now, suddenly it isn't according to you." | ||
| CF | | ||
| CF | (1) - "I didn't know!" | ||
| CF | | ||
| CF | You say > | ||
| DavidW says (to ClubFloyd), "1" | ||
| CF ] The Cathedral of Bone 14/1091 | ||
| CF | You say > | ||
| CF | > 1 | ||
| CF | | ||
| CF | "I didn't know," you shout, surprising yourself with your bravery. | ||
| CF | | ||
| CF | Arnie just looks at you incredulously. "Bullshit," he replies. "Yes, | ||
| CF | you did. You might have pretended to yourself that you didn't to make | ||
| CF | yourself feel better, but there's no way you can be in this business | ||
| CF | and not have known. What - you believed all the crap about actors | ||
| CF | suddenly going to visit their sick mother, or away to play a role | ||
| CF | overseas? You knew, and now that something might affect you | ||
| CF | directly, you're suddenly telling me how terrible it all is? Yeah, we | ||
| CF | do terrible things. Because we can. Because it's ok as long | ||
| CF | people can see the movies they like and actors like you get paid the | ||
| CF | big bucks. No one says squat if it's profiting them." | ||
| CF | | ||
| CF | No. This isn't right. You didn't know. But, there is an awful | ||
| CF | wriggling worm of doubt in the back of your mind. | ||
| CF | | ||
| CF | (1) - "Well, you're planning to rule the world, now!" | ||
| CF | | ||
| CF | You say > | Jacqueline says, "hahahaha" | |
| MoyTravis says, "Well, in our defense, Arnie, we're very stupid." | ||
| Jacqueline says, "We super are." | ||
| MoyTravis exclaims, "You fool! You've underestimated our denseness!" | ||
| Knight_Otu says, "It's true, sadly." | ||
| DavidW says (to ClubFloyd), "1" | ||
| CF ] The Cathedral of Bone 14/1091 | ||
| CF | You say > | ||
| CF | > 1 | ||
| CF | | ||
| CF | "Well, I have to stop you," you shout, "I heard you say you were | ||
| CF | planning to rule this world and the next." | ||
| CF | | ||
| CF | "Yeah, of film-making," says Arnie, "The world of the box | ||
| CF | office. What the hell did you think I meant. We're gonna hit box | ||
| CF | office gold. Astaroth wants to be a star! He's sick to death of an | ||
| CF | eternity in hell and all the politics down there. He thinks it's a | ||
| CF | good career move, acting. Let's be honest, we've taken the whole | ||
| CF | undead thing as far as it'll go. I mean, the Return of the Return of | ||
| CF | the Revenge of the Child of the Vampire? Public are tired of it. It's | ||
| CF | a whole new series of movies. The Creature from Hell or The Demonic | ||
| CF | Hordes. And just think of the cost savings. Astaroth, well, he just | ||
| CF | wants paying in souls. And those are easy to come by in this business. | ||
| CF | Everyone'll sign that contract. And he says they'll let us use Hell | ||
| CF | for on-location shooting! For free! No more expensive sets." | ||
| CF | | ||
| CF | (1) - "I'm going to stop you!" | ||
| CF | | ||
| CF | You say > | Jacqueline says, "gosh" | |
| MoyTravis says, "Very curious if we get yoinked anyways if we put the robe on." | ||
| DavidW asks, "Makes Michael Bay look good, doesn't he?" | ||
| Jacqueline says, "heh" | ||
| Knight_Otu says, "I suspect we would be yoinked." | ||
| DavidW says (to Moy), "yeah, I'm thinking that too now." | ||
| DavidW says (to ClubFloyd), "1" | ||
| CF ] The Cathedral of Bone 14/1091 | ||
| CF | You say > | ||
| CF | > 1 | ||
| CF | | ||
| CF | "Well, I'm still going to stop you," you yell, "I've raised an undead | ||
| CF | army and we're coming for you." Ouch. Your anger is getting the better | ||
| CF | of you. Maybe it wasn't such a good idea to tell Arnie your plans. | ||
| CF | | ||
| CF | Arnie looks surprised for a moment and then thoughtful. He rubs his | ||
| CF | chin with his hand and looks around him at the swirling, terrible | ||
| CF | demons. "An undead army?" he says, slowly. "You've freed the undead, | ||
| CF | then." He thinks for a moment more and then seems to come to a | ||
| CF | decision. "Good," he says. "That's good news. I wasn't expecting so | ||
| CF | many demons. Astaroth has brought quite a horde with him. We certainly | ||
| CF | don't need this many. It might be difficult to keep them under ... | ||
| CF | control. I was going to deal with the undead one by one, but, to be | ||
| CF | honest, having a battle with an army of the undead might make this | ||
| CF | demon problem a bit more manageable." | ||
| CF | | ||
| CF | Well, you were not expecting that. | ||
| CF | | ||
| CF | Arnie looks at you directly, and you think there is what might be the | ||
| CF | beginnings of a grudging respect on his face. "You're going to lead | ||
| CF | the undead army into battle with us," he orders. "Astaroth will crush | ||
| CF | you, but I think, on the whole, I'd prefer a few less demons in the | ||
| CF | Studio." | ||
| CF | | ||
| CF | (1) - "Well, OK then. I suppose. But we will defeat you!" | ||
| CF | | ||
| CF | You say > | MoyTravis says, "That's my guess, but I wonder." | |
| DavidW says (to ClubFloyd), "1" | ||
| CF ] The Cathedral of Bone 14/1091 | ||
| CF | You say > | ||
| CF | > 1 | ||
| CF | | ||
| CF | "Well, that's alright then," you reply, somewhat taken-aback by | ||
| CF | Arnie's attitude. "But my army will defeat you and Astaroth!" | ||
| CF | | ||
| CF | "Hmmm," says Arnie. "It's a possibility." He glances once more at the | ||
| CF | huge form of Astaroth and seems to be wrestling with terrible | ||
| CF | indecision. "No," he says eventually. "My mind's made up. Off you go. | ||
| CF | You lead your army to us and we'll defeat you and then nothing will | ||
| CF | stop us!" | ||
| CF | | ||
| CF | He turns to the two Cultists who are still holding onto your arms. "Go | ||
| CF | on," he says, "let the undead army have their leader." | ||
| CF | | ||
| CF | He turns away. | ||
| CF | | ||
| CF | (1) - "I'll be back!" | ||
| CF | | ||
| CF | You say > | Knight_Otu asks, "We're going to be offered a Klingon promotion after this by Hammer, aren't we?" | |
| DavidW says (to ClubFloyd), "1" | ||
| CF ] Studio Lot North 14/1091 | ||
| CF | You say > | ||
| CF | > 1 | ||
| CF | | ||
| CF | "I'll be back," you shout, but Arnie ignores you. He walks away, | ||
| CF | shaking his head. | ||
| CF | | ||
| CF | The cultists march you out of the great Cathedral and into the | ||
| CF | welcoming cool night air of the studio lot. | ||
| CF | | ||
| CF | Studio Lot North | ||
| CF | The northern end of the huge lot, oppressively surrounded by the | ||
| CF | looming, darkened studio buildings, is overlooked to the north by the | ||
| CF | ugly and squat offices, their windows watching over the lot like great | ||
| CF | eyes. Who knows what lurks behind them. To the west, the door to | ||
| CF | Studio 1 is open. To the east, the open Studio 2 door. On each door, a | ||
| CF | sign. The lot continues to the south into shadow. | ||
| CF | | ||
| CF | The glass doors into the offices to the north have been replaced by | ||
| CF | gigantic doors that seem to be made entirely from human bones. The | ||
| CF | doorframe is made from hideous grinning human skulls! | ||
| CF | | ||
| CF | Sharp wooden spikes stick out from the ground around the door at all | ||
| CF | angles. | ||
| CF | | ||
| CF | "I wouldn't come back here if I was you," says one of the Cultists, as | ||
| CF | they turn and march back into the building. "Things are going to get | ||
| CF | real." | ||
| CF | | ||
| CF | > | MoyTravis asks, "A what now?" | |
| DavidW says (to ClubFloyd), "s" | ||
| CF ] Studio Lot North 14/1092 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | You hear a shout from behind you. "Stop!" You turn, and it's Arnie | ||
| CF | Mallet running after you, his face red. He catches you up and puts one | ||
| CF | hand on your shoulder. "Hang on," he says, a little out of breath. | ||
| CF | "I've changed my mind." | ||
| CF | | ||
| CF | That doesn't sound right. You'd always heard that Arnie, once he makes | ||
| CF | up his mind, never changes it. Maybe actually coming face to face with | ||
| CF | a demon has shaken him up a bit. | ||
| CF | | ||
| CF | "Look," he continues. "There's a win win here. It's pretty impressive | ||
| CF | what you've done with the undead. Forming them up into an army. We | ||
| CF | need you. Why don't you come and join my army instead. We'll sort out | ||
| CF | the undead and then we'll make movies. There's gonna be plenty of | ||
| CF | great roles to go around." | ||
| CF | | ||
| CF | Well, that's an unexpected offer! You are genuinely stunned! "Wait," | ||
| CF | yells a voice behind you. You turn and see the Countess striding up | ||
| CF | the lot, her face like thunder. | ||
| CF | | ||
| CF | "Don't you dare, Arnie Mallet," she yells. "That's mine. Hands off." | ||
| CF | | ||
| CF | The little music box is still playing a tinkly little tune. | ||
| CF | | ||
| CF | > | Knight_Otu says, ""You killed my old director, want to be the new director" type of deal." | |
| MoyTravis says, "Ah." | ||
| DavidW says, "hm. Regular prompt. I suppose the choice is north or south or talk more with one of them." | ||
| MoyTravis asks, "save?" | ||
| Jacqueline says, "He's going to film this battle and if he survives it will probably do well at the box office." | ||
| DavidW says, "weird that the game is offering a choice like this." | ||
| Knight_Otu says (to ClubFloyd), "SAVE" | ||
| Knight_Otu says (to ClubFloyd), "cf13" | ||
| CF | > | ||
| CF | > SAVE | ||
| CF | %% Enter a save filename to write: | ||
| CF ] Studio Lot North 14/1092 | ||
| CF | > SAVEOk. | ||
| CF | | ||
| CF | > | Krumar says, "Man that was a lot of reading." | |
| DavidW says, "I think we should stick with the undead army." | ||
| Krumar says, "I want to stick with the undead army." | ||
| MoyTravis says, "Sure. We can always try the other one if we change our minds." | ||
| Knight_Otu says, "Sure." | ||
| Krumar says, "It's funny, we've killed so many poeple we are not much different from him." | ||
| DavidW asks, "So, just continue south?" | ||
| Knight_Otu asks, "I think so?" | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] Studio Lot North 14/1093 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | There's no way you're doing anything until you see how this turns out! | ||
| CF | | ||
| CF | The music box finishes its tune and the tinny music stops. | ||
| CF | | ||
| CF | "Oh," says Arnie, looking none too pleased. "Hello, Charlotte." | ||
| CF | | ||
| CF | "That's Countess to you, Arch-vector," snarls the Countess. | ||
| CF | "You're that desperate are you? You're so scared of those things | ||
| CF | you've summoned that you need this idiot," and here she points at you, | ||
| CF | "to lead your army because you've got no idea what you're doing. You | ||
| CF | think you can control them? Think again. You're screwed, Arnie Mallet, | ||
| CF | now get the hell out of here and go back to your army, because we're | ||
| CF | coming for you." | ||
| CF | | ||
| CF | "Oh, yeah," replies Arnie. "You're the one who needs to think again. | ||
| CF | There's no way your grab-bag of undead losers is going to defeat | ||
| CF | Astaroth. We're gonna make movies together. You should be thanking me. | ||
| CF | Where were you when I found you? Holed up in that draughty old castle | ||
| CF | with that useless husband of yours, surrounded by villagers waving | ||
| CF | pitchforks. Now you're a super star. What are you going to do when | ||
| CF | this poor idiot," and here he points at you, "realises that you just | ||
| CF | want to get out of here to continue to wage your war against | ||
| CF | humanity." | ||
| CF | | ||
| CF | You can't help but feel this is all getting a bit personal. It's | ||
| CF | difficult not to get offended. | ||
| CF | | ||
| CF | > | MoyTravis says, "Oh it's a cutscene." | |
| MoyTravis says, "Try dancing." | ||
| DavidW says (to ClubFloyd), "dance" | ||
| CF ] Studio Lot North 14/1093 | ||
| CF | > | ||
| CF | > DANCE | ||
| CF | | ||
| CF | That's not a verb I recognise. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "act" | ||
| CF ] Studio Lot North 14/1093 | ||
| CF | > | ||
| CF | > ACT | ||
| CF | | ||
| CF | That's not a verb I recognise. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "sing" | ||
| CF ] Studio Lot North 14/1094 | ||
| CF | > | ||
| CF | > SING | ||
| CF | | ||
| CF | There's no way you're doing anything until you see how this turns out! | ||
| CF | | ||
| CF | "Thanking you?" yells the Countess, her voice rising by at least three | ||
| CF | octaves. "You imprison me in a cage for years, and I'm supposed to | ||
| CF | thank you? You're lucky I don't rip your throat out right now." | ||
| CF | | ||
| CF | "Yeah, yeah, well try it!" yells Arnie right back. "You know you | ||
| CF | can't. Now get back down there, and get that ridiculous army of yours | ||
| CF | together and Astaroth will crush you like bugs." | ||
| CF | | ||
| CF | "Oh don't you worry about that Arnold," replies the Countess. | ||
| CF | "I will. And It's gonna be you that's looking at an eternity in hell | ||
| CF | by the end of tonight, whichever way this ends." | ||
| CF | | ||
| CF | > | Knight_Otu says, "We are a bad actor." | |
| MoyTravis says, "We really are." | ||
| DavidW says, "wow, she's mad. She used his government name." | ||
| DavidW says (to ClubFloyd), "z" | ||
| CF ] Studio Lot North 14/1095 | ||
| CF | > | ||
| CF | > Z | ||
| CF | | ||
| CF | There's no way you're doing anything until you see how this turns out! | ||
| CF | | ||
| CF | "Come on," says Arnie to you, "don't listen to her. She's just using | ||
| CF | you to get out of here so she can lead the undead into war against the | ||
| CF | whole of humanity. Join us. Let's make movies." | ||
| CF | | ||
| CF | "Hah," responds the Countess, turning to you. "Don't listen to him. | ||
| CF | He's lying. He won't be able to control those demons. Come and join us | ||
| CF | and help us defeat Mallet and his evil forever!" | ||
| CF | | ||
| CF | With that, both of them turn on their heels and stamp away. Arnie into | ||
| CF | the Cathedral, the Countess down the lot. | ||
| CF | | ||
| CF | Oh no! Here's a terrible choice. Do you go south and join the undead | ||
| CF | army and risk them running wild in the human world, or do you go north | ||
| CF | and join Arnie's army despite all the evil he does? | ||
| CF | | ||
| CF | well? > | Roger says, "I dunno" | |
| MoyTravis says, "Capitalization error? Also I didn't know you could put the text before the prompt like that." | ||
| MoyTravis says, "Unless that's Floyd doing that." | ||
| DavidW says, "You can change the prompt whenever you like." | ||
| Jacqueline says, "Yeah" | ||
| Roger says, "yeah most languages support it" | ||
| MoyTravis says, "Huh." | ||
| Jacqueline says, "What do you, the detective, want to do next? >" | ||
| DavidW says, "exactly" | ||
| Jacqueline says, "Anyway, I say stick with the original plan. Screw Arnie." | ||
| Knight_Otu says, ">SOLVE THE CASE." | ||
| Krumar says, "I agree." | ||
| Jacqueline says, "He has never been trustworthy." | ||
| Krumar says, "Yep, he's only talking like that because he needs us." | ||
| DavidW says (to ClubFloyd), "SAVE" | ||
| DavidW says (to ClubFloyd), "cf14" | ||
| CF | well? > | ||
| CF | > SAVE | ||
| CF | %% Enter a save filename to write: | ||
| CF ] Studio Lot North 14/1095 | ||
| CF | > SAVEOk. | ||
| CF | | ||
| CF | well? > | Knight_Otu asks, "Have the undead, though?" | |
| MoyTravis says, "I'm unclear, at this point, why the countess OR Arnie need us." | ||
| MoyTravis says, "We've basically useless." | ||
| Jacqueline says, "Well, we just did a thing." | ||
| MoyTravis says, "In terms, of, like. Army-leading." | ||
| Jacqueline says, "We fumbled a bit, but we got there." | ||
| MoyTravis says, "We're pretty good at puzzle-solving." | ||
| Krumar says, "I wouldn't call us useless, we've done a lot of killing on our own here." | ||
| MoyTravis says, "Yeah, we're kind of a doofus-savant." | ||
| Jacqueline says (to Krumar), "Truth" | ||
| Knight_Otu says, "We're the easily-targeted flagbearer." | ||
| DavidW says, "Perhaps the choice is illusionary and we become a third force that defeats both." | ||
| MoyTravis says, "Us, as we ascend to the Ruler of the World atop a throne of skulls: "Gosh, I wonder how all these skulls got here. Anwyays..."" | ||
| DavidW says, "I think we should still go south." | ||
| Jacqueline asks (of DW), "That would be interesting... but with what army?" | ||
| DavidW says (to Jacqueline), "well, we have a voodoo stone, a book of magic spells, a crocodile, ..." | ||
| Knight_Otu asks, "The Naivety army?" | ||
| DavidW says, "Maybe the ghosts can do something. I dunno." | ||
| Krumar asks, "By ghosts do you mean the ones from the Witch Doctor scene?" | ||
| Krumar says, "I thought they were all gone now." | ||
| MoyTravis asks, "Anyways, we goin'?" | ||
| Jacqueline says (to KO), "hee" | ||
| DavidW says (to Krumar), "maybe yes. Maybe the voodoo sorceress can call them back. I don't know." | ||
| Jacqueline says, "Yeah, I'm still on Team Undead." | ||
| Roger says, "I'll vote Team Undead" | ||
| Krumar says, "haha, bring the wheelbarrow to battle with us." | ||
| DavidW says, "Maybe we can summon angels later. We won't know our options until we choose a side and advance the plot." | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF | well? > | ||
| CF | > S | ||
| CF | | ||
| CF | You take a deep breath and walk down the lot toward your undead army, | ||
| CF | turning your back on Arnie Mallet. "Good choice," says the Countess, | ||
| CF | as you enter the undead-infested southern end of the lot. "It was the | ||
| CF | right decision. Now, come on, we've got a war to win." | ||
| CF | | ||
| CF | You flex your shoulders and can't help but feel that no matter what | ||
| CF | happens, this isn't going to end well. Your army form up into ranks | ||
| CF | and you march north into the huge, smoke-filled furnace of the | ||
| CF | Cathedral of Bone! The demons line up in front of the throne, howling | ||
| CF | and eager to kill! The undead face them, ready for battle! | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | ...Press any key........ | ||
| DavidW pushes the green 'space' button. | ||
| CF ] The Cathedral of Bone 14/1096 | ||
| CF | | ||
| CF | The Cathedral of Bone | ||
| CF | The Cathedral ceiling, made from the gigantic bones of forgotten | ||
| CF | creatures, soars high above your head. In the centre of the huge sept, | ||
| CF | on a raised dais, is the throne of Hell. The Cathedral seems to be | ||
| CF | alive! The faces and limbs of humans, devils and other terrible | ||
| CF | creatures writhe and gibber from the walls where they are trapped for | ||
| CF | eternity. Fires in deep pits light the room with a flickering orange | ||
| CF | glow and fill the air with an evil, oily smoke that burns your lungs. | ||
| CF | | ||
| CF | Your army of the undead yearn for battle! | ||
| CF | | ||
| CF | The Countess, the Count and their vampire thralls look hungrily at the | ||
| CF | demonic army. A horde of zombies, led by a determined Security Guard, | ||
| CF | shuffle mindlessly. A monster made from body parts growls and rages. | ||
| CF | The hulking Mummy Nefer-Kare and his malevolent servants line up for | ||
| CF | battle. A fearsome werewolf snarls at the opposing army showing | ||
| CF | vicious white fangs. | ||
| CF | | ||
| CF | The terrible demonic army await your forces! | ||
| CF | | ||
| CF | Astaroth sits brooding on the throne of Hell. Beelzebub and his choir | ||
| CF | of demented Angels swoop and soar in the vaulted ceiling. A coven of | ||
| CF | lesser demons and archfiends surround the dais. A small group of | ||
| CF | red-robed Cultists, led by Arnie Mallet, huddle uncertainly in the | ||
| CF | corner. Belphegor, in all his malevolent glory, is tended by a flock | ||
| CF | of ravening Succubi. | ||
| CF | | ||
| CF | The Countess puts one hand on your shoulder. "This is it," she says. | ||
| CF | "This is where you really earn your keep. We're the undead. Good at | ||
| CF | some things. Not so much at others. Like organizing ourselves with a | ||
| CF | sensible plan, for example. We need you to be our general and tell us | ||
| CF | who to fight. Otherwise we'll just be all over the place." | ||
| CF | | ||
| CF | "Everyone's got different strengths and weaknesses," she continues. | ||
| CF | "You can see them better than we can. Take a good look at everyone | ||
| CF | (Examine Astaroth, for example), and work out who will do | ||
| CF | well against their opponent. Then, when you think you know, tell one | ||
| CF | of us to attack one of them." | ||
| CF | | ||
| CF | (You can order one of the undead to attack by telling them who: | ||
| CF | Zombies, attack demons, for example) | ||
| CF | | ||
| CF | "You can check out our army if you lose track of who's attacking who | ||
| CF | (Examine, or X ARMY) and when everyone's got an opponent, | ||
| CF | just tell us to go into battle!" | ||
| CF | | ||
| CF | (To order your army into battle, just type BATTLE) | ||
| CF | | ||
| CF | "Be warned, though," says the Countess. "We're undead. Once you give | ||
| CF | us an opponent, there's no going back. We'll fight till one of us is | ||
| CF | dead. You can't change your mind." | ||
| CF | | ||
| CF | | ||
| CF | > | Roger says, "well I wasn't expecting this" | |
| MoyTravis says, "Gosh now we have a battle minigame." | ||
| MoyTravis says, "This is a quite high-effort game, I'm impressed." | ||
| DavidW says, "hm. I need to take notes of who all is here." | ||
| Knight_Otu says, "Well, well, well." | ||
| Krumar says, "This is really awesome." | ||
| DavidW says (to ClubFloyd), "x army" | ||
| CF ] The Cathedral of Bone 14/1097 | ||
| CF | > | ||
| CF | > X ARMY | ||
| CF | | ||
| CF | You have not yet ordered any of your army to attack. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x arnie" | ||
| CF ] The Cathedral of Bone 14/1098 | ||
| CF | > | ||
| CF | > X ARNIE | ||
| CF | | ||
| CF | The cultists look a little worried, to be honest. As if they're having | ||
| CF | second thoughts. They are really agile and quite weak. They are also | ||
| CF | quite slow. The amount of damage they dish out is very low and their | ||
| CF | main weapon, the power of their black magic hexes is not very | ||
| CF | powerful. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x succubi" | ||
| CF ] The Cathedral of Bone 14/1099 | ||
| CF | > | ||
| CF | > X SUCCUBI | ||
| CF | | ||
| CF | Belphegor, in all his malevolent glory, is tended by a flock of | ||
| CF | ravening Succubi. The troup don't have much of a special weapon - a | ||
| CF | sort of song that lures their opponents in. It is not powerful at all. | ||
| CF | To make up for it, they are very strong, really agile and pretty | ||
| CF | quick. The amount of damage Belphegor and the succubi deals to their | ||
| CF | opponent is very high. | ||
| CF | | ||
| CF | > | Knight_Otu says, "Don't send frankie against Bel, I guess." | |
| Jacqueline says, "I feel like she should have said, 'We are undead; we'll fight until one of is actually permanently for real dead.'" | ||
| DavidW says (to ClubFloyd), "x angels" | ||
| CF ] The Cathedral of Bone 14/1100 | ||
| CF | > | ||
| CF | > X ANGELS | ||
| CF | | ||
| CF | Beelzebub and his choir of demented Angels swoop and soar in the | ||
| CF | vaulted ceiling. They are agile enough, very fast and quite weak. | ||
| CF | Their unique ability, a swooping attack with the sharp pinions of | ||
| CF | their black wings, is not bad. They deal a reasonable level of damage | ||
| CF | to their foes. | ||
| CF | | ||
| CF | > | Jacqueline asks, "Is this a A->B only situation, or will our winners get to be sent back into battle?" | |
| Roger says, "no way to know" | ||
| DavidW says (to ClubFloyd), "x demons" | ||
| CF ] The Cathedral of Bone 14/1101 | ||
| CF | > | ||
| CF | > X DEMONS | ||
| CF | | ||
| CF | A coven of lesser demons and archfiends surround the dais near the | ||
| CF | throne. The amount of damage they deal to their opponent is quite low. | ||
| CF | The demons are reasonably strong. They have a natural ability to emit | ||
| CF | noxious clouds of gasses, which means their abilities are not very | ||
| CF | powerful. They are also agile enough and of average speed. | ||
| CF | | ||
| CF | > | Krumar says, "I'm treating this like one of theose tests wherey ou have two rows and you have to match one to one." | |
| Knight_Otu asks, "Zombies vs demons? Zombies have no sense of smell, right?" | ||
| DavidW says (to ClubFloyd), "x zombies" | ||
| CF ] The Cathedral of Bone 14/1102 | ||
| CF | > | ||
| CF | > X ZOMBIES | ||
| CF | | ||
| CF | The zombies shuffle mindlessly around a plucky Security Guard. Their | ||
| CF | special ability, a sort or relentless gradual grinding down of their | ||
| CF | opponent, is not bad. They are very strong and a bit clumsy. They do a | ||
| CF | very low amount of damage. Obviously, they are also very slow. | ||
| CF | | ||
| CF | > | Krumar asks, "Can we look at our armiesfor the ame?" | |
| Knight_Otu says, "(Just theorizing.)" | ||
| Krumar says, "Looks liek it." | ||
| DavidW says (to ClubFloyd), "x werewolf" | ||
| CF ] The Cathedral of Bone 14/1103 | ||
| CF | > | ||
| CF | > X WEREWOLF | ||
| CF | | ||
| CF | The fearsome werewolf snarls at the opposition. She is pretty quick | ||
| CF | and really agile, but quite weak, and her special attack, a furious | ||
| CF | berserk rage, is not powerful at all. She deals a quite low amount of | ||
| CF | damage to her foes. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x monster" | ||
| CF ] The Cathedral of Bone 14/1104 | ||
| CF | > | ||
| CF | > X MONSTER | ||
| CF | | ||
| CF | The monster made from assorted body parts is extremely strong and his | ||
| CF | special attack, using his monstrous strength to squeeze the life out | ||
| CF | of his opponents is extremely powerful. Unfortunately, he is also very | ||
| CF | slow and a bit clumsy. The amount of damage he deals to his opponent | ||
| CF | is very high. | ||
| CF | | ||
| CF | > | Jacqueline says, "I did not see this coming." | |
| DavidW says (to ClubFloyd), "x vampires" | ||
| CF ] The Cathedral of Bone 14/1105 | ||
| CF | > | ||
| CF | > X VAMPIRES | ||
| CF | | ||
| CF | The Countess, the Count and their vampire thralls look hungrily at the | ||
| CF | demonic army. They are reasonably strong, really agile and of average | ||
| CF | speed. They have a range of abilities like turning into bats or smoke, | ||
| CF | or becoming invisible which they can use to disconcerting and | ||
| CF | devastating effect, making their attacks really quite powerful. The | ||
| CF | amount of harm they inflict is extremely high. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x me" | ||
| CF ] The Cathedral of Bone 14/1106 | ||
| CF | > | ||
| CF | > X ME | ||
| CF | | ||
| CF | After a long day on the set, your stage makeup, thickly applied, is | ||
| CF | all over the place. Your ill-fitting clothes from wardrobe chafe and | ||
| CF | itch in unexpected places, and, to be quite honest, you could do with | ||
| CF | a good lie down and a cup of tea. | ||
| CF | | ||
| CF | > | Knight_Otu says, "We's no army." | |
| Krumar says, "Not sounding too good for us." | ||
| DavidW says (to ClubFloyd), "x mummies" | ||
| CF ] The Cathedral of Bone 14/1107 | ||
| CF | > | ||
| CF | > X MUMMIES | ||
| CF | | ||
| CF | The hulking Mummy Nefer-Kare and his malevolent servants line up for | ||
| CF | battle. They are very strong and they use this strength to deliver a | ||
| CF | devastating unstoppable crushing attack which is extremely powerful. | ||
| CF | They are also quite slow and very clumsy. They dish out a reasonable | ||
| CF | amount of damage. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "look" | ||
| CF ] The Cathedral of Bone 14/1108 | ||
| CF | > | ||
| CF | > LOOK | ||
| CF | | ||
| CF | The Cathedral of Bone | ||
| CF | The Cathedral ceiling, made from the gigantic bones of forgotten | ||
| CF | creatures, soars high above your head. In the centre of the huge sept, | ||
| CF | on a raised dais, is the throne of Hell. The Cathedral seems to be | ||
| CF | alive! The faces and limbs of humans, devils and other terrible | ||
| CF | creatures writhe and gibber from the walls where they are trapped for | ||
| CF | eternity. Fires in deep pits light the room with a flickering orange | ||
| CF | glow and fill the air with an evil, oily smoke that burns your lungs. | ||
| CF | | ||
| CF | Your army of the undead yearn for battle! | ||
| CF | | ||
| CF | The Countess, the Count and their vampire thralls look hungrily at the | ||
| CF | demonic army. A horde of zombies, led by a determined Security Guard, | ||
| CF | shuffle mindlessly. A monster made from body parts growls and rages. | ||
| CF | The hulking Mummy Nefer-Kare and his malevolent servants line up for | ||
| CF | battle. A fearsome werewolf snarls at the opposing army showing | ||
| CF | vicious white fangs. | ||
| CF | | ||
| CF | The terrible demonic army await your forces! | ||
| CF | | ||
| CF | Astaroth sits brooding on the throne of Hell. Beelzebub and his choir | ||
| CF | of demented Angels swoop and soar in the vaulted ceiling. A coven of | ||
| CF | lesser demons and archfiends surround the dais. A small group of | ||
| CF | red-robed Cultists, led by Arnie Mallet, huddle uncertainly in the | ||
| CF | corner. Belphegor, in all his malevolent glory, is tended by a flock | ||
| CF | of ravening Succubi. | ||
| CF | | ||
| CF | > | Krumar says, "I only counted 4 armies on the demon side" | |
| Krumar says, "x astaroth" | ||
| DavidW says (to ClubFloyd), "x astaroth" | ||
| CF ] The Cathedral of Bone 14/1109 | ||
| CF | > | ||
| CF | > X ASTAROTH | ||
| CF | | ||
| CF | Astaroth sits brooding on the throne of Hell. He is quite slow and | ||
| CF | extremely strong. Astaroth is agile enough and his special ability, a | ||
| CF | flaming whip which contains all the fires of hell is really quite | ||
| CF | powerful. The amount of damage he deals to his opponent is extremely | ||
| CF | high. | ||
| CF | | ||
| CF | > | Knight_Otu says, "I think astaroth is an army of himself, yes." | |
| Knight_Otu asks, "So there are five attributes? Speed, strength, agility, special, and damage?" | ||
| DavidW says, "yes, that sounds right" | ||
| Krumar says, "I feel like the zombies could take down the cultists." | ||
| Krumar says, "I don't see them taking anyone else down." | ||
| DavidW says, "I was thinking the werewolf vs the cultists." | ||
| DavidW says, "The werewolf seems to be our weakest force." | ||
| Krumar says, "She probably can handle some people without much problem." | ||
| DavidW asks, "Perhaps the zombies vs the demons?" | ||
| Jacqueline asks, "Is it about numbers?" | ||
| Krumar says, "Zombies, stronger than demons but not as agile." | ||
| Knight_Otu says, "I guess the fighters should have an advantage in three attributes over their foes, but I'm not sure that works out." | ||
| DavidW says, "I'm guessing Monster vs angels." | ||
| DavidW says, "That leaves mummies vs Belphegor and the succubi, and the vampires against Asteroth himself." | ||
| DavidW says, "I'm not certain of my picks, but it's a plan." | ||
| Jacqueline gives a thumbs up. | ||
| DavidW says, "okay, we'll try it." | ||
| Knight_Otu says, "We can save beforehand if we want to, but it sounds plausible." | ||
| DavidW says (to ClubFloyd), "SAVE" | ||
| DavidW says (to ClubFloyd), "cf15" | ||
| CF | > | ||
| CF | > SAVE | ||
| CF | %% Enter a save filename to write: | ||
| CF ] The Cathedral of Bone 14/1109 | ||
| CF | > SAVEOk. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "vampires, attack Asteroth" | ||
| CF ] The Cathedral of Bone 14/1110 | ||
| CF | > | ||
| CF | > VAMPIRES, ATTACK ASTEROTH | ||
| CF | | ||
| CF | There's no time for that! You need to give orders to your army! | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "vampires, attack astaroth" | ||
| CF ] The Cathedral of Bone 14/1111 | ||
| CF | > | ||
| CF | > VAMPIRES, ATTACK ASTAROTH | ||
| CF | | ||
| CF | You order the vampires to attack Astaroth! "Good," snarls the | ||
| CF | Countess. "About time." | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "werewolf, attack arnie" | ||
| CF ] The Cathedral of Bone 14/1112 | ||
| CF | > | ||
| CF | > WEREWOLF, ATTACK ARNIE | ||
| CF | | ||
| CF | You order the werewolf to attack the red-robed cultists! The Werewolf | ||
| CF | snarls viciously, obviously ready to go. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "mummies, attack succubi" | ||
| CF ] The Cathedral of Bone 14/1113 | ||
| CF | > | ||
| CF | > MUMMIES, ATTACK SUCCUBI | ||
| CF | | ||
| CF | You order the mummies to attack Belphegor and his succubi! Nefer-Kare | ||
| CF | raises his arms and declaims "To battle!" | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "monster, attack beelzebub" | ||
| CF ] The Cathedral of Bone 14/1114 | ||
| CF | > | ||
| CF | > MONSTER, ATTACK BEELZEBUB | ||
| CF | | ||
| CF | You order the Monster to attack Beelzebub and his choir of demented | ||
| CF | Angels! Harry gives a ghastly smile. "I'll stomp them, good," he says. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "zombies, attack demons" | ||
| CF ] The Cathedral of Bone 14/1115 | ||
| CF | > | ||
| CF | > ZOMBIES, ATTACK DEMONS | ||
| CF | | ||
| CF | You order the zombies to attack the lesser demons and archfiends! The | ||
| CF | zombies moan and raise their arms ready for battle! | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "battle" | ||
| CF | > | ||
| CF | > BATTLE | ||
| CF | | ||
| CF | "To battle," you cry, and your army roars in anticipation! As one, | ||
| CF | they charge the enemy, and the enemy army, in response, screams their | ||
| CF | own defiance at your forces and breaks into a chaotic charge of their | ||
| CF | own. This is it! This is where the fate of this world (and, | ||
| CF | incidentally, your own) will be decided! | ||
| CF | | ||
| CF | The army of the undead and the demonic army of Astaroth clash! | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | ...Press any key........ | Jacqueline says, "This is reminding me of a game I loved when I was a kid: Archon." | |
| Jacqueline | [LINK] | ||
| DavidW pushes the green 'space' button. | ||
| CF ] | ||
| CF | The vampires go into glorious battle with Astaroth! | ||
| CF | | ||
| CF | The vampires flicker between forms faster than you can see. They | ||
| CF | attack Astaroth as bats or as great red-eyed rats, They turn to smoke | ||
| CF | and coil around his form. Astaroth responds by cracking his great | ||
| CF | flaming whip at them, searing them with heat from the very depths of | ||
| CF | hell! | ||
| CF | | ||
| CF | It is a draw! Both groups of combatants fall, mortally wounded! | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | ...Press any key........ | ||
| DavidW pushes the green 'space' button. | ||
| CF ] | ||
| CF | The werewolf goes into dreadful battle with the red-robed cultists! | ||
| CF | | ||
| CF | The cultists cast great hexes of green light at the wolf, which burns | ||
| CF | her fur wherever it touches. The werewolf is quick, though. She races | ||
| CF | into the group of cultists, biting and snapping at their fragile skin. | ||
| CF | | ||
| CF | Hurray! The werewolf wins the fight! The red-robed cultists fall in | ||
| CF | dreadful battle. | ||
| CF | | ||
| CF | After the fight, the werewolf is wounded! She's lost some strength. | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | ...Press any key........ | Jacqueline says, "Oh, maybe that's what happens - the best goal is that both armies fall, and the world ends up being safe." | |
| DavidW pushes the green 'space' button. | ||
| CF ] | ||
| CF | The Mummies go into horrifying battle with Belphegor and his succubi! | ||
| CF | | ||
| CF | Belphegor blows his terrible horn and the sound reverberates around | ||
| CF | the Cathedral, allowing the flock of succubi to descend on the mummies | ||
| CF | and sing their evil songs. Which the mummies completely ignore. They | ||
| CF | advance on Belphegor, ready to crush, brutally swatting the succubi | ||
| CF | into crumpled heaps when they come too close. | ||
| CF | | ||
| CF | Oh no! Belphegor and his succubi win the fight! The Mummies fall in | ||
| CF | dreadful battle. | ||
| CF | | ||
| CF | After the fight, Belphegor and his succubi are wounded! They've lost | ||
| CF | some speed and special ability power. | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | ...Press any key........ | DavidW says, "I'm sensing a round two." | |
| DavidW pushes the green 'space' button. | ||
| CF ] | ||
| CF | The Monster goes into dreadful battle with Beelzebub and his choir of | ||
| CF | demented Angels! | ||
| CF | | ||
| CF | The angels swoop down from the ceiling at the Monster, wailing in | ||
| CF | unison, their great black wings swept back. Beelzebub uses his | ||
| CF | terrible strength, swinging his black sword to great effect. The | ||
| CF | Monster takes great damage, but he swats angels out of the air like so | ||
| CF | many flies and grapples with Beelzebub fiercely. | ||
| CF | | ||
| CF | Hurray! The Monster wins the fight! Beelzebub and his choir of | ||
| CF | demented Angels fall in glorious battle. | ||
| CF | | ||
| CF | After the fight, the Monster is wounded! He's lost some strength, | ||
| CF | special ability power and speed. | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | ...Press any key........ | Knight_Otu says, "Yeah." | |
| Jacqueline says, "Yeah" | ||
| DavidW pushes the green 'space' button. | ||
| CF ] | ||
| CF | The zombies go into dreadful battle with the lesser demons and | ||
| CF | archfiends! | ||
| CF | | ||
| CF | The demons and zombies are evenly matched in number! The demons | ||
| CF | clamber up the walls and drop down on the zombies from above, using | ||
| CF | their sharp claws to terrible effect. The zombies ignore their wounds | ||
| CF | and continue to advance, ripping at the demons with their teeth. | ||
| CF | | ||
| CF | Oh no! The lesser demons and archfiends win the fight! The zombies | ||
| CF | fall in glorious battle. | ||
| CF | | ||
| CF | After the fight, the lesser demons and archfiends are wounded! They've | ||
| CF | lost some agility. | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | ...Press any key........ | DavidW says, "Two wins, two loses, and a draw." | |
| DavidW pushes the green 'space' button. | ||
| CF ] | ||
| CF | | ||
| CF | | ||
| CF | The armies withdraw. Both sides have suffered losses. The corpses of | ||
| CF | the losing creatures pile up in terrible stacks of both undead and | ||
| CF | demons! All the remaining combatants have injuries and look the worse | ||
| CF | for wear. But there can only be one victor in this war between undead | ||
| CF | and demon! You must order the survivors back into battle and finish | ||
| CF | your foes once and for all! | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | ...Press any key........ | ||
| DavidW pushes the green 'space' button. | ||
| CF ] The Cathedral of Bone 14/1116 | ||
| CF | | ||
| CF | The Cathedral of Bone | ||
| CF | The Cathedral ceiling, made from the gigantic bones of forgotten | ||
| CF | creatures, soars high above your head. In the centre of the huge sept, | ||
| CF | on a raised dais, is the throne of Hell. The Cathedral seems to be | ||
| CF | alive! The faces and limbs of humans, devils and other terrible | ||
| CF | creatures writhe and gibber from the walls where they are trapped for | ||
| CF | eternity. Fires in deep pits light the room with a flickering orange | ||
| CF | glow and fill the air with an evil, oily smoke that burns your lungs. | ||
| CF | | ||
| CF | Your army of the undead yearn for battle! | ||
| CF | | ||
| CF | A monster made from body parts growls and rages. A fearsome werewolf | ||
| CF | snarls at the opposing army showing vicious white fangs. | ||
| CF | | ||
| CF | The terrible demonic army await your forces! | ||
| CF | | ||
| CF | A coven of lesser demons and archfiends surround the dais. Belphegor, | ||
| CF | in all his malevolent glory, is tended by a flock of ravening Succubi. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x succubi" | ||
| CF ] The Cathedral of Bone 14/1117 | ||
| CF | > | ||
| CF | > X SUCCUBI | ||
| CF | | ||
| CF | Belphegor, in all his malevolent glory, is tended by a flock of | ||
| CF | ravening Succubi. The troup don't have much of a special weapon - a | ||
| CF | sort of song that lures their opponents in. It is not powerful at all. | ||
| CF | To make up for it, they are very strong, really agile and quite slow. | ||
| CF | The amount of damage Belphegor and the succubi deals to their opponent | ||
| CF | is very high. | ||
| CF | | ||
| CF | > | Krumar says, "I wonder if there is a path were you could win all battles, lose all battles, tie on all battles and have ending like that." | |
| DavidW says, "perhaps" | ||
| DavidW says (to ClubFloyd), "x demons" | ||
| CF ] The Cathedral of Bone 14/1118 | ||
| CF | > | ||
| CF | > X DEMONS | ||
| CF | | ||
| CF | A coven of lesser demons and archfiends surround the dais near the | ||
| CF | throne. The amount of damage they deal to their opponent is quite low. | ||
| CF | The demons are reasonably strong. They have a natural ability to emit | ||
| CF | noxious clouds of gasses, which means their abilities are not very | ||
| CF | powerful. They are also a bit clumsy and of average speed. | ||
| CF | | ||
| CF | > | Krumar says, "May be do Werewolf vs. demonds" | |
| Krumar asks, "Monster vs. Succubi?" | ||
| DavidW says (to ClubFloyd), "werewolf, attack demons" | ||
| CF ] The Cathedral of Bone 14/1119 | ||
| CF | > | ||
| CF | > WEREWOLF, ATTACK DEMONS | ||
| CF | | ||
| CF | You order the werewolf to attack the lesser demons and archfiends! The | ||
| CF | Werewolf snarls viciously, obviously ready to go. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "monster, attack succubi" | ||
| CF ] The Cathedral of Bone 14/1120 | ||
| CF | > | ||
| CF | > MONSTER, ATTACK SUCCUBI | ||
| CF | | ||
| CF | You order the Monster to attack Belphegor and his succubi! Harry gives | ||
| CF | a ghastly smile. "I'll stomp them, good," he says. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "battle" | ||
| CF | > | ||
| CF | > BATTLE | ||
| CF | | ||
| CF | "To battle," you cry, and your army roars in anticipation! As one, | ||
| CF | they charge the enemy, and the enemy army, in response, screams their | ||
| CF | own defiance at your forces and breaks into a chaotic charge of their | ||
| CF | own. This is it! This is where the fate of this world (and, | ||
| CF | incidentally, your own) will be decided! | ||
| CF | | ||
| CF | The army of the undead and the demonic army of Astaroth clash! | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | ...Press any key........ | ||
| DavidW pushes the green 'space' button. | ||
| CF ] | ||
| CF | The werewolf goes into dreadful battle with the lesser demons and | ||
| CF | archfiends! | ||
| CF | | ||
| CF | The werewolf advances on the demons, moving quicker than you can | ||
| CF | follow, snapping her strong jaws and biting at them with white fangs. | ||
| CF | The demons respond by raking at her fur with their sharp claws and | ||
| CF | skittering along the ceiling to fall down on her from above. | ||
| CF | | ||
| CF | It is a draw! Both groups of combatants fall, mortally wounded! | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | ...Press any key........ | ||
| DavidW pushes the green 'space' button. | ||
| CF ] | ||
| CF | The Monster goes into horrifying battle with Belphegor and his | ||
| CF | succubi! | ||
| CF | | ||
| CF | The Monster takes great damage from the claws of the Succubi, but he | ||
| CF | swats them out of the air like so many flies and grapples with | ||
| CF | Belphegor fiercely. The succubi sing their evil songs, which seem to | ||
| CF | affect the Monster! But he shakes his head as if to clear it and | ||
| CF | continues to fight. | ||
| CF | | ||
| CF | It is a draw! Both groups of combatants fall, mortally wounded! | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | ...Press any key........ | ||
| DavidW pushes the green 'space' button. | ||
| CF ] | ||
| CF | The battle is over! Everyone is dead! Undead and demon lie strewn | ||
| CF | across the floor in untidy piles. You gaze over the carnage. Well. Now | ||
| CF | what? Is that it? Could this be the end of both these threats to | ||
| CF | humanity? The Cathedral begins to fade, the throne disappearing back | ||
| CF | to wherever it came from. Hell, you suppose. Gradually, the walls | ||
| CF | become, once again, the light green of the studio offices. The doors | ||
| CF | slowly turn back into glass. | ||
| CF | | ||
| CF | It's nearly dawn. Through the windows, a gentle light is beginning to | ||
| CF | shine. Can it really have been that long since all this terror and | ||
| CF | death began? As you walk away from the piled up corpses, you can't | ||
| CF | help but think of all the terrible things you had to do to stop the | ||
| CF | Cult's evil. Can you live with yourself? | ||
| CF | | ||
| CF | What's going to become of Mallet Studios? | ||
| CF | | ||
| CF | What are you going to do now? | ||
| CF | | ||
| CF | Has this evil ended forever? | ||
| CF | | ||
| CF | You step cautiously over the carnage. Surely there's a way out of | ||
| CF | these studios. Surely there a life out there waiting for you to live | ||
| CF | that doesn't involve such horror! | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | ...Press any key........ | ||
| DavidW pushes the green 'space' button. | ||
| CF ] | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | Dr. Horror's House of Terror | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | Starring | ||
| CF | | ||
| CF | | ||
| CF | You, the Player as Unnamed Protagonist | ||
| CF | | ||
| CF | | ||
| CF | Charlotte Day as The Countess | ||
| CF | | ||
| CF | | ||
| CF | Harry Higginbotham as Himself | ||
| CF | | ||
| CF | | ||
| CF | Arnie Mallet as Himself | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | ...Press any key........ | ||
| DavidW pushes the green 'space' button. | ||
| CF ] | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | Also featuring | ||
| CF | | ||
| CF | | ||
| CF | Blake Lively - A vampire | ||
| CF | | ||
| CF | Gemma Bellerton - Elise, the Voodoo Priestess | ||
| CF | | ||
| CF | Melissa Clumb - A pair of white legs | ||
| CF | | ||
| CF | Beanie Havel - Some dismembered arms | ||
| CF | | ||
| CF | Chloe - A security guard | ||
| CF | | ||
| CF | Jim McBean - a crazed cultist | ||
| CF | | ||
| CF | Derek Paisley - a medieval villager | ||
| CF | | ||
| CF | Billy Ambler - Corpse #1 | ||
| CF | | ||
| CF | | ||
| CF | and introducing | ||
| CF | | ||
| CF | | ||
| CF | Wilma the Sheep | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | ...Press any key........ | DavidW says, "Movie credits" | |
| Knight_Otu exclaims, "WIIILMAAA!" | ||
| Roger says, "woo well done everyone" | ||
| DavidW pushes the green 'space' button. | ||
| CF ] | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | Tested for the screen by | ||
| CF | | ||
| CF | | ||
| CF | Christopher Merriner, Mandy, ChrisP and Jay | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | Additional testing by | ||
| CF | | ||
| CF | | ||
| CF | Mathbrush, Mike Russo, Mike Spivey and Rovarsson | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | ...Press any key........ | Jacqueline says (to KO), "I feel you on the Wilma thing, for real." | |
| DavidW says, "yay testers!" | ||
| DavidW says (to ClubFloyd), "push space" | ||
| CF ] | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | | Jacqueline says, "Credits is fun." | |
| CF | | ||
| CF | | ||
| CF | Written and Directed by | ||
| CF | | ||
| CF | | ||
| CF | Ade McT | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | ...Press any key........ | Krumar says, "That was really cool." | |
| DavidW asks, "Will there be a post-credits scene?" | ||
| DavidW says (to ClubFloyd), "push space" | ||
| CF ] | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | Six Months Later.... | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | ...Press any key........ | Krumar says, "Yep" | |
| DavidW pushes the green 'space' button. | ||
| CF ] Your Tiny Apartment 14/1121 | ||
| CF | Phew. That was a long day! You open your front door with relief. It's | ||
| CF | time to sit down, rest for a while and watch some TV. Your feet are | ||
| CF | killing you. You rip off your apron and drape it over the back of the | ||
| CF | kitchen chair. Difficult customers today. Sometimes you think it's | ||
| CF | pure madness just how complicated making a simple cup of coffee is | ||
| CF | getting. What is wrong with people? Coffee, white or black. Decaf or | ||
| CF | low fat milk. It should be that simple. Customers coming in and | ||
| CF | ordering low fat double soy expresso macche latte with an extra shot | ||
| CF | of something or other. You swear they're only doing it so other people | ||
| CF | think they have good taste. | ||
| CF | | ||
| CF | Your Tiny Apartment | ||
| CF | Basically, just a tiny kitchen area and a tiny living area, your flat | ||
| CF | came pre-populated with a smelly old sofa, a kitchen chair and a | ||
| CF | pull-down bed. A small TV sits on the floor in the corner. | ||
| CF | | ||
| CF | You sigh and throw your tired body onto the sofa. Never mind. Some TV | ||
| CF | will cheer you up. You grab the remote from the floor thinking once | ||
| CF | again that you really ought to get a table. If you ever have any spare | ||
| CF | cash, that is. | ||
| CF | | ||
| CF | > | Knight_Otu says, "Some of the studios were too campy for their own good, I feel." | |
| DavidW says (to ClubFloyd), "i" | ||
| CF ] Your Tiny Apartment 14/1122 | ||
| CF | > | ||
| CF | > I | ||
| CF | | ||
| CF | You're too tired. All you want to do now is turn on the TV and relax | ||
| CF | for an hour. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "turn on tv" | ||
| CF ] Your Tiny Apartment 14/1123 | ||
| CF | > | ||
| CF | > TURN ON TV | ||
| CF | | ||
| CF | You press the power button on the remote. The TV flickers to reluctant | ||
| CF | life. Not much on really, but it doesn't matter. You're content to | ||
| CF | just sit here and let it flow over you. An old Mallet Studios horror | ||
| CF | film is on later. You might watch that. You might even see someone you | ||
| CF | used to know. | ||
| CF | | ||
| CF | In your pocket, your phone begins to ring. You take it out and look at | ||
| CF | the screen. Hmmm.... Unknown number. Who could be ringing you at this | ||
| CF | hour? you really should answer it, you suppose. | ||
| CF | | ||
| CF | > | Knight_Otu says, "Others were great. Overall, pretty good, I feel." | |
| DavidW says (to ClubFloyd), "answer phone" | ||
| CF | > | ||
| CF | > ANSWER PHONE | ||
| CF | | ||
| CF | You sigh and put the phone to your ear. "Hello?" you say. | ||
| CF | | ||
| CF | "Darling," replies a shrieking voice. A voice you know very well. "How | ||
| CF | are you! It's been for ever since we spoke!" | ||
| CF | | ||
| CF | It's your agent, Daphne! Well, it's been a while since you heard from | ||
| CF | her! | ||
| CF | | ||
| CF | "Now, don't hang up, darling," continues Daphne, "I know I should have | ||
| CF | called, but since Mallet went bust, there's simply been nothing in the | ||
| CF | pipeline. But, exciting news! I just got a call today from Heinrich | ||
| CF | Werner! You know him, darling, of course you do. He's the head honcho | ||
| CF | at Bavaria Studios in Germany of all places! Are you still there, | ||
| CF | dear?" | ||
| CF | | ||
| CF | "Well, I'm not really.." you begin. | ||
| CF | | ||
| CF | Daphne doesn't let you finish. "So they're beginning a line of horror | ||
| CF | movies," she burbles, "Low budget of course. And they called me and | ||
| CF | asked me if I knew anyone, and I thought of you straight away. In | ||
| CF | fact, there's a film The Evil of The Crypt of the Walking Dead about | ||
| CF | to start shooting right now. I told them you were interested of | ||
| CF | course...." | ||
| CF | | ||
| CF | She continues to speak, but your mind is elsewhere. A way back in! But | ||
| CF | should you take it? | ||
| CF | | ||
| CF | Daphne has finished speaking and is waiting on the other end of the | ||
| CF | line expectantly. | ||
| CF | | ||
| CF | "Well," you say, "I.........." | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | ...Press any key........ | ||
| DavidW pushes the green 'space' button. | ||
| CF ] Your Tiny Apartment 14/1123 | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | ***The End. Thank you for Watching*** | ||
| CF | | ||
| CF | | ||
| CF | You built an undead army! It consisted of, the mummified Pharaoh | ||
| CF | Nefer-Kare and his shuffling ancient servants, a monster manufactured | ||
| CF | from body parts and brought to terrible life, a horde of shambling | ||
| CF | zombies led by an understandably annoyed Security Guard, a fearsome | ||
| CF | ravening werewolf, the Count, the Countess and their bloodthirsty | ||
| CF | vampire thralls. | ||
| CF | | ||
| CF | You led the undead army you built into battle against Astaroth and his | ||
| CF | demonic hordes. It was a draw. Everyone killed each other. | ||
| CF | | ||
| CF | You managed to survive fourteen perilous situations! | ||
| CF | | ||
| CF | - You avoided the murderous attentions of the Cult of Astaroth! | ||
| CF | - You managed to escape from the Cult's Lair! | ||
| CF | - You killed a crazed Cultist with a wooden stake! | ||
| CF | - You chopped a relatively blameless security guard into little | ||
| CF | pieces with a huge axe! | ||
| CF | - You protected yourself from vampires with a simple golden | ||
| CF | crucifix! | ||
| CF | - You managed to sort out a bunch of squabbling ghosts! | ||
| CF | - A horde of shambling zombies stopped attacking you because you | ||
| CF | were holding a voodoo doll of power! | ||
| CF | - You inadvertently led a horde of zombies to a poor Security | ||
| CF | Guard and they bit and infected her! | ||
| CF | - You terrified a nice security guard so much with horrible | ||
| CF | creatures that he ran into a trapped passageway and got speared to | ||
| CF | death! | ||
| CF | - You tamed Nefer-Kare and his mummified servants with the ancient | ||
| CF | magic of his own bracelet! | ||
| CF | - You cremated a young security guard in a huge oven! | ||
| CF | - You pushed a decent hard-working security guard into a deep pit | ||
| CF | for some reason. | ||
| CF | - You loaded an ancient Blunderbuss with a handful of silver | ||
| CF | pocket-change and bluffed a Werewolf! | ||
| CF | - You soothed the savage heart of a terrible Monster with some | ||
| CF | sweet music! | ||
| CF | | ||
| CF | | ||
| CF | Would you like to RESTART, RESTORE a saved game, QUIT or UNDO the last | ||
| CF | command? | ||
| CF | > | Krumar says, "That was fanastic." | |
| Jacqueline says, "That was a lot. But yes." | ||
| DavidW says, "And we somehow survived." | ||
| Knight_Otu says, "I feel the final fight ought to count as a perilous situation, but no big deal." | ||
| Roger says, "Not my usual cup of tea, but yeah that was fun, especially in CF" | ||
| DavidW says, "It was a nice, meaty, sort of game." | ||
| Jacqueline says (to KO), "True. It was perilous." | ||
| Jacqueline says, "DavidW Yes, and sometimes you sew the meat together." | ||
| Krumar says, "I guess you could also control the demon army." | ||
| Roger asks, "was this in a comp, and if so how did it place?" | ||
| Knight_Otu says, "And it would round up the "points" to 15." | ||
| DavidW asks, "It was in the IF Comp, I think?" | ||
| Jacqueline says, "It came in second last year, Roger." | ||
| Jacqueline says, "As in, this past IFComp" | ||
| DavidW says, "People are probably already working on games for the next comp." | ||
| Roger says, "ah, very good" | ||
| Jacqueline says, "Some have probably been working on the 2022 comp for a while now, yeah." | ||
| DavidW says, "heh." | ||
| DavidW asks, "I can see the titles now: The Skeleton Prince. The Big Bagel Bluff. Who Mourns for Quislet?" | ||
| DavidW says, "The House That Looks Like Another House Returns: The Sequel." | ||
| DavidW says, "Running With Scissors: A Skip Johnston Mystery" | ||
| DavidW says, "A Novel Endeavour." | ||
| DavidW says, "Mrs Wobbles and Grandma Bethlinda Share a Lunch." | ||
| DavidW says, "lots and lots and lots of games" | ||
| DavidW says, "I wonder what happens if one side or the other wins. Losing endings, I suppose." | ||
| Krumar asks, "Did you make those up or did you just findthem?" | ||
| DavidW says, "I made them up, of course." | ||
| Krumar says, "I was wondering about what would happen if we won the battles." | ||
| DavidW says, "I think having either side win would be a problem." | ||
| DavidW says, "Whoever is left would just kill the player-character, I think." | ||
| Krumar says, "It would be very different than going to work at a coffee shop." | ||
| DavidW says, "We never used the crocodile." | ||
| Krumar says, "I was thinking about that too." | ||
| Krumar says, "Or solve the skeleton puzzle." | ||
| DavidW says, "It must've been for an alternate solution for getting rid of the guard, but I'm not sure... oh wait." | ||
| DavidW says, "If we used the rats, spiders, etc to herd him into the menagerie room, THEN we could open the croc cage, I bet." | ||
| Krumar says, "Seems like that would back us up even further on getting to the skeleton though." | ||
| DavidW says, "No, because we never ever needed to get to the skeleton." | ||
| DavidW says, "I now belive that passage is always deadly and there's no way in there that's safe." | ||
| DavidW says, "There may be two ways to get rid of all the guards but Chloe." | ||
| Krumar says, "I just thought it was possible because it seemed like we defeated the spike trap and now just needed to defeat the saw blade trap." | ||
| DavidW says, "nah." | ||
| Krumar says, "It might just be there to tell us that the passage is dangerous." | ||
| DavidW says, "oh, I just noticed that we finished a bit early. I guess that's okay." | ||
| Krumar says, "Is there any chance this is spoofing off of "Dr. Terror's house of Horrors", just did a little googling on the game and gotthat right off the bat." | ||
| DavidW says, "I don't know. The genre has a lot of similar silly titles like that." | ||
| DavidW says, "It's horror-camp, more or less." | ||
| DavidW says, "anyway, Thanks everyone. This was a good game. Hopefully we can find a good game for next week." | ||
