Borgupine/floyd huggingface dataset:
> You take the apple
Startled by the apple's take to flight, the Biscuit brothers draw their guns and start shooting every which way. Although Frank takes a bullet in the leg and James one in the arm, the majority of bullets seem to have zeroed right in on you.
> You examine the trapdoor
Very solid, and whitewashed, to match the experiment room ceiling.
Predictably, the Phil's eyes water.
> You read the latin with the lens
(in the contraption)
You discover nothing of interest in the contraption.
> You ask Dad about the pad
"Never heard of it. Sorry."
Click.
> You look at the bed
A simple mattress on four wooden legs: the same as all the others.
> Discipline agatha
Enough for today: there are regulations about excessive corporal punishment. Besides, if you thrash every child continually, they'll grow leathery and insensate.
> You ask Matteo about God
"He is gone, you know." He looks at you intently. "And with him, his protection."
> You go to the north-west
You walk carefully along the ledge, but you suddenly hit a loose spot. You try to maintain your footing, but the rock crumbles under you, and you go sliding down the mountainside. You finally stop falling, and you find yourself on a rocky hillside you've seen before.
You're on a gently sloping, rocky hillside at the base of a tall mountain. The granite surface of the hillside hosts no vegetation. Looming high above to the east is the steep cone of a volcano; clouds of dark smoke rise steadily above the cone. You can climb into the mountains to the east, and you can also go north, back to the road.
> Link pin to window
Bending your will, you form the link between the jeweled pin and the window.
Marie sits down against the wall, with a disgusted expression.
> You cross the bridge
The sun has been shattered. You enter its hollow interior.
The walls shimmer with scales smoldering orange. Fiery tongues rush upward toward great vents smashed in the ceiling. Liquid gold has pooled into puddles alight with flames whose tendrils beckon like seductive hands.
Through a fracture above, the bridge spans the surrounding acid, and a fissure cracked into the floor opens toward a sphincter visible below.
You are unbearably hot.
> You check your inventory
You are carrying:
a fedora (being worn)
a set of ordinary clothes (being worn)
a trenchcoat (being worn and open)
a cigar lighter
a lock pick
a dossier (open)
the first incident
the second incident
the third incident
the fourth incident
the fifth incident
a holster (being worn)
a revolver
> You get pole
t7/52quishy-Makin
They're hardly portable.
The ceiling inches closer to you.
> You get the veil
You pick up the veil and wring it out. On examining it, you realise that the fine lacework spells out a word: Ignorance. Curiouser and curiouser. Um. More curious.
> You examine the vacuum
It's got a bag about the size of a basketball. You probably won't be using it to clean dust.
The mini-vacuum is currently switched off.
> You examine model
Originally a salon for the receiving of guests; but in recent years the Count has become increasingly interested in his own projects, and has taken over the entire room for the storage of books. Bookshelves line the walls, reaching above your head, leaving exits only east and south.
A clockwork model of the universe stands in one corner, the planets rotating in their orbits.
On one wall is an enormous portrait of the Count's father, from the hand of Hyacinthe Rigaud.
The surface of the model Saturn catches the sunlight.
Fitted out with tiny planets on arms, and the major moons of the planets, revolving around a center. There is no sun, however; there is only a sort of holder designed to contain something spherical.
Most of the planets are ordinary balls of solid metal, except for Jupiter. They are in motion.
Oddly, the contraption also seems to be linked, and quite unsubtly, to something in the foyer, to the south. You can feel the pull of it.
The surface of the model Saturn catches the sunlight.
> You look under the desk
As you concentrate, an ache pulses powerfully through your temples. You feel the need to pay closer attention to the small brass key, the ridged key, and the typewriter key.
>Which do you mean, the inexpensive desk or the standing desk?
> You examine the clown
You pull the book from the shelf and peruse it. The dust jacket of this pulp classic is adorned with a picture of a screaming skull. With a red nose.
But there is no time for reading, so you replace it on the shelf.
> Sex chick
The chicken is too nervous. You need to make it calm down before you can do an accurate sexing.
> You go east
Sugarlawn's kitchen features a large butcher block and a brick oven. The exit is west, back to the breezeway.
A small embroidery sampler is lying on the butcher block.
"As with many antebellum Southern homes, the kitchen here at Sugarlawn was in a detached building," says Terri. "You didn't want a large source of heat and odors too close to the main house, especially during a sweltering Louisiana summer."
> Go outside
West is the wall of the kitchen. Most of the space along the wall is planted with herbs -- bay, parsley, stalks of mint -- left of the open doorway. To its right is only a drainage ditch, catching the outflow of a pipe that comes through the wall.
In one corner of the plot is the well, drilled many deep feet; in another is the antique sundial.
> You wait
Time passes.
The flames crackle.
> You look at the box
The metal paperbox has a door, with a foggy glass window through which you can still see some of the newspapers inside. There is a large handle that would be used to open the box and beside the handle is a coin slot and a faded sign that reads "25 cents." One of the legs of the rusted paperbox has broken away and has left the newspaper box leaning at an angle. A rusty bar of metal, which appears to be the remains of the leg, lies on the sidewalk.
In the newspaper box are some yellowed newspapers.
> You look at the body
Who knows how large this fellow was in life. His body's swollen like a sponge. His skin's slick and gelatinous. His face has puffed enough to lose what features constitute a face. Leave him alone, my dear. You've more enticing things to eat than corpses left to rot down here.
> You look at right
A glass Pyrex beaker, maximum capacity 500ml, with something scrawled on the side in grease pencil. There's a glass probe fused to the bottom.
In the right beaker is about 500mL of dark blue liquid.
> Look around
This is a far cry from the grandeur of the sanctuary. The walls are covered in some kind of dark wood panels, but they're shabby and windowless, and the floor is bare concrete. A huge wooden chest and a closet full of robes take up one wall. You can head back out to the altar to the south.
A stack of hymnals is crammed into one corner.
Some more ectoplasm is smeared on the floor.
> You look at the crow
It looks like every other crow you've ever seen.
> You go to the west
Wisdom's stored here, the richest this world knows: how to cook well. Lox bookcases abound with shelves exceptionally stocked. You'll find more than one page worth your perusal if you're after instruction in how to prepare, say, four more courses for a feast.
Westward's passage to the solar, eastward lies the bower, and southward you'll walk out onto a balcony.
> You examine the tree
The most beautiful tree you've ever seen shines when you look at it,
forcing you to squint. Shining, silver sap drips slowly from the tree
in rivulets, ready for collection.
> You put the block on the speechwriter
I give the block intent to the speechwriter, taking the write intent
in exchange. It now vaguely intends to recklessly block.
The speechwriter looks anxiously at the contraption, but it doesn't feed anything into it.
> Exits
You can go out to the backyard or up to the Great Room.
> You check your inventory
You are wearing your natron jacket, your clothes, and an animus pendant (containing the spirit of your father). On your person are a battered keyring, an endoscope, Doctor Cavala's signum, today's copy of the Libri Liberi, a note with Zoiro's address, yesterday's
copy of the Libri Liberi, your practitioner's badge, your
scalpel, your purse, and an antiseptic cloth.
> You look at the tower
The stubby round tower sticks up at the southwestern corner of the keep, abutting the stable block. A single window high up in the tower overlooks the courtyard.
> Assail HORSEMAN
Sa-ho! You give the HEADLESS HORSEMAN a sampling of your TWO-HANDED SWORD, but good! You scored 19 points of damage!
His wicked CUTLASS OF FIRE burns thy flesh! You have suffered 47
hits of damage!
GUNWAR applies his healing arts, restoring 46 Hit Points.
> You put Blanc in the contraption
(first taking the delicate contraption)
It is both too large and too delicate to remove.
(taking the bottle of Sauvignon Blanc)
(putting the table knife into the sack to make room)
Taken.
You put some Sauvignon Blanc in the delicate contraption, exhausting the supply in the blue bottle. There is still some room remaining in the delicate contraption. The Sauvignon Blanc mixes with what was already there.
> You think
You run over the things various people have decided you ought to do: give the jacket receipt to Liam
acquire vaccine from the research facility (HC's orders)
wear white jacket (Valenti's idea)
find a working float unit
summon Liam and show him the gift box
meet with Ambassador Aylene to present your gift
> You lie on the bed
You lie down awkwardly on the bed. It's not very comfortable.
> You go south
This spacious library is lit by an arched window in the east wall. The collection must have once been extensive, but now the bookshelves lining the walls are empty. A desk stands near the window, and the south wall is dominated by a large fireplace. A doorway leads west, and a wooden door to the north is open.
> You go north
A wide expanse of uneven pavestones lies open to the sky, bordered on all sides by the leaning, steep-roofed architecture that looms over everything in this city. The municipal courthouse stands at the south end of the square, next to the mouth of a dark, narrow alley to the southwest. Avenues to the west and east lead back into the cramped and ingrown streets, while to the north lies Whateley Bridge.
In the center of the square, rising from a circular lawn of unhealthy-looking grass and weeds, stands a strange, stone obelisk. It seems to be a monument of some sort, although you can see no plaque or marker anywhere near it.
> You examine the skeleton
Its skull rotates to stare at you. It is not living, but neither is it dead.
> Sing
You make a little noise, to cheer yourself. Then stop again, when you remember that it is a song he taught you.
> You dig the sand
That's just scenery.
> Go up
You start to leave, but the harness instantly jerks you to a stop.
> You put the gun in the bag
You put the pistol in the black bag.
> You take the red worm
As you wish.
The beetle hisses at the worms. The yellow worm shows its head and hisses back.
> You eat it
You decide that you're hungry enough to confront the mystery of the sandwich head-on and take a bite. Surprisingly, it's tasty, and you make short work of the rest of it.
> You examine the metal door
*** Run-time problem P11: Although the metal door is allowed to have the property "description", no value was ever given, so it can't now be used.
It is open.
> You look at what you're carrying with you
I have clean pants (being worn), clean socks (being worn), clean underwear (being worn), a clean shirt (being worn), a pair of shoes (being worn), a coat (being worn), a wristwatch (being worn), a wallet, and keys. The coat pocket seems to contain a book of famous quotations.
> You examine her
A tall, graceful, middle-aged woman, dressed in black, who is still breathing faintly.
You can't see any such thing.
> Inventory
In my bag of holding, I have:
a fish
a vellum page
a faery coin
some farming tools
a fishing rod
a bottle of clear fluid
a torn page
a spell book
a magic wand
the mind of a foolish wizard
> You go southwest
You stand at a point of decision on a road which makes a wide fork to the northeast and southeast, circling the base of the Lonely Mountain, which looms high overhead to the east. A very long and winding road starts here and stretches out of sight to the west through low, smoky hills.
> Regard wraith
A SCIENTIST wouldst describe the WRAITH as a semi-corporeal arc construction of sapient hostile quasi-matter manifesting on a voltaic impulse wavelength. Thou, however, wouldst not.
The VOLTAIC WRAITH lashes out with a bolt of DEADLY PHASIC ELECTRO-HATE! You have suffered 23 hits of damage!
> You ask about Boom
"Tell me about Jonathan Boom, Mr. Wyatt." you ask.
"He's an asset to the park, sir. He's been at my side for a long time now. I trust him with my life."
You see a couple of teenaged hooligans loitering around the carnival. They see you and quickly move on.
Wilberforce Wyatt goes north.
> Sweep dust
You're a mail clerk, not a janitor!
Bang! The library door slams shut. You hear a faint "click" as
somebody locks it from the outside.
The candle flares brightly, and then fizzles out.
(It's 12:00 am. Better hurry! You've only got 6 hours before the moon sets!)
You can hear the tramp of marching boots outside.
> Go south
The porch has two fly-speckled windows, and the benches under them are covered with all kinds of stuff. You never remember having seen them empty, so that someone could actually sit down when putting on or taking off their shoes. The front hall is to the north.
There are huge muddy and wet bootprints on the porch floor!
Gogol trots after you.
You heard the hiss and the crackle of an untuned radio in the living room.
> You put the paper under the lights
The lights are already on.
I didn't understand that sentence.
> You check what you're carrying
You are carrying:
a shackle
some discarded embroidery materials
a helmet (being worn)
> You look
The single room inside the building is open to the sky and mostly full of rubble. In the one corner that remains reasonably accessible, the southwest corner, a triangular light fitting remains near what would once have been the ceiling. The doorless exit lies to the north.
An old metal crate sits by the wall, next to the trapdoor in the corner.
A battered cabinet lies half-buried under the rubble in the northeast corner of the room.
You see a tomato, a carrot, a lettuce, an apple, and a fluffy pink towel here.
Obvious exits: North, Down
> You look at the desk
It's a very large desk, perhaps six feet wide by three feet deep, made from dark wood and done in Danish Modern style. One half of the desk is occupied by a computer, and most of the rest of the desk is covered with papers. The desk has a drawer, which is closed. On the desk you see a bag of Cheese-Doodles and an empty can of ToxiCola.
The programmer makes a few notes on some scratch paper.
> You give you the the containment unit
Anton gives the containment unit to you.
Anton is leaning against the chimney, trying to look cool.
> Look around
Well, if you've ever wondered what was going on, you seem to have
found the place where whatever it is that is going on happens. Lots of machines are scattered around the room, some making endearing bleeping noises. Most of these are safely sealed behind glass. A small padded chair sits in the center of the room, facing a large viewscreen.
You see a hang-glider here. Sitting on the comfy chair you see a handwritten note.
> You look at the cards
The cards are used in a game called 'Magic:The Gathering.' It's sort of like poker for nerds, except that the cards have special powers and so forth. I've never really gotten into it. Anyway, this is a small box containing wrapped packs of cards. There are about fifty or so in a box.
"It's all great here, man," says Trott to Barnaby. "Yourself?" he asks.
"Bitchin'" says Gibs in reply.
> Go up
Finally.
You stand at the top of the staircase. There are no more stairs to climb. The door leads out to the seventh floor.
And off to the side, through a huge window, you can see the tower.
> You look at the cape
Your fine silk cape is the unofficial symbol of your position as Inquisitor. You take great pride in the accessory.
> Go south
You have moved into a dark place.
It is pitch black. You are likely to be eaten by a grue.
A strange little man in a long cloak appears suddenly in the room. He is wearing a high pointed hat embroidered with astrological signs. He has a long, stringy, and unkempt beard.
The Wizard draws forth his wand and waves it in your direction. It begins to glow with a faint blue glow.
The Wizard, almost inaudibly, whispers a word beginning with "F," and then disappears, chuckling nastily.
> You look at the doors
The twin doors lead to the pavilion's rest rooms. Both doors are closed.
> You consult the computer about Separation
Your search turns up the following articles:
Aleheart Colony: You've read the article before, but you refresh yourself on the major topics: how the Aleheart corporation grew large and powerful; how its forays into genetic experimentation came into conflict with many Earth laws; how Aleheart launched its own colony in order to have a place completely under its own jurisdiction. The rumors of human experimentation that trickled back to Earth made it difficult for Aleheart to continue operating at home at all, so instead the last employees were given a choice between layoff and emigration. Sometime after Aleheart Colony was established, it lost all contact with Earth, in the so-called Separation. The colony was picked up again only two years ago, orbiting a star in the wrong place, and so much changed that at first contact Earth-command thought it had heard from humanoid aliens.
Separation: The separation of Earth and Aleheart Colony occurred for reasons as yet undetermined. Contact was re-established when Aleheart sent a message to Earth requesting a meeting.
First contact: First contact between Earth and Aleheart Colony after separation was the result of an Aleheart ship coming within cautious hailing distance of Earth. It remained in the solar system for several days before approaching directly. The crew then sent a message in rather simple English and Chinese, requesting the right to meet "to get to know one another with an eye toward better friendship".
Your search turns up the following entries from Valenti's personal log:
seven months ago: If you ask me, the separation was the result of some kind of boneheaded physics experiment they did themselves. Who knows? Of course they wouldn't say, if so. But where do they get the floatpoints from anyway? Collective act of will so they'd never have to touch anything ever again?
three months ago: Weird sort of nobility about the separation story. Wish I could tell someone. God, god, god. I might ask for a human assistant or something. But of course what good would that do? Burdening a second person's conscience wouldn't really improve matters, and besides, he or she might not agree with me about what to do. No, I should avoid that.
> You press the red button
You press the red button and you hear a click.
> You go east
[first opening the lab door]
It seems to be locked.
> Go northeast
This is the castle's village. Formerly, peasants lived here, going to their farm plots each day. Merchants and artisans made it a center of cultural activity. But now it's deserted. Or almost: there is smoke rising from a particularly decrepit hovel to the south. A path travels through the village from southwest to northeast, heading towards the castle, and a less-used trail heads north up the mountain.
> You open the stove
Opening the oven reveals a piece of burnt toast.
> Go northwest
There is a tree here, decorated with ornaments and surrounded by piles of presents. There is also a table, about the same height as the stack of presents under the tree. The closet is to the southeast.
> You take the ring
That seems to be a part of Bernardo de Diaz.
> You cut the line
[What do you want to cut the line with?]
> You look up William in the records
(in the archives)
William Verlac: born June 22, 1954.
> Go east
There appear to be only woods in that direction, with no path among
the trees. The AT continues to the southwest, or you can visit the
fire tower by heading north.
> You examine door
This isn't a traditional door, with knob and hinges and such, but its outline in the wall makes its function plain. It is currently closed, and pink light seeps around its edges.
> You ask Luisa about the tears
"You're just a chatterbox, ain't you? Why don't you go away an' bother somebody else, eh?"
> You break it
You smash the box against the ground, bursting open its case. She watches bemused as you rip out its wires, and then stamp the remains of the thing underfoot.
"No! No!" she cries, "What have you done? You've ruined everything! You - you of all people - you have betrayed me!"
With a demented shriek, she runs off into the night, leaving you momentarily dazed and alone, until you collect yourself and hurry off after her.
The junction where the High Street crosses Mandlebury Road is generally reckoned to be the central point of the city. From here the High Street runs north up past your office and south towards Preston Bridge and the ring road, while Mandlebury Road runs east towards the police station and west towards the river. Most of the buildings on the junction are closed up, but the supermarket on the northeast corner is partly lit, and lights are blazing from Morgans Bank to the southwest.
The night is just turning to dawn and you hear the sound of distant birdsong. Soon the city will be bustling with life once more; the bomb disposal people are already at work and it should be safe for people to start returning this afternoon. You have saved the city.
You couldn't save her. You caught up with her just in time to see her throw herself into the river. You tried looking for her; you jumped in where you thought you'd seen her go under, and swam around for as long as you could, but you never found her, so eventually you gave up.
Perhaps it's better that way, for now at last she is at peace.
And you? You feel quite strange, as if you'd suddenly woken up on an alien world that was both like and unlike home. Your idol has been shattered: she was not what you thought; for all her brilliance and beauty, she was not worthy of the pedestal you put her on. But then, perhaps no human being should be worshipped. In any case, now she's gone you can at last move on. It's time to start living your life without her. You look around you and decide that from now on your life is probably best lived elsewhere - this city holds too many memories for you. But before you go you know there is one last task you must perform.
You must put some fresh flowers on Kate's grave.
> Go south
Slowly you crawl southwards along the length of the train...
Car 2, underside
From here, you can make out the complex speed regulators, air brakes, and other mechanisms you take for granted whenever you travel by rail. You can crawl south or north along the length of the car.
> You fold a into the d.
(slot a into tab d)
You see the passage back to the inner area shake. This worries you.
Perhaps the leaflet is more powerful than you thought.
> You examine the ceiling
The ceiling is a solid sheet of acoustical insulation. Light comes from glowing discs, deeply inset behind wire grilles. A band of scan-web runs along the ceiling in front of the doorway.
> You ask Emma about locket
"That thing was in the house when we moved in, and we've never been able to track down the owners. Well. I suppose we're duty-bound to hold on to it until its true owner shows up."
> You go to the north
A solemn room intended for family gatherings. A window on the
southwest wall overlooks the patio. There are exits to the northeast (the foyer), east (the dining room) and south (the kitchen).
You can see a piano (on which is a pile of sheet music) here.
You can't see very well without your glasses…
> You wear the suit
You put on the suit.