Borgupine/floyd huggingface dataset:
> You look at Pari
Pari is fairly tall for a 16-year-old, and thus she is one of the stronger girls here. Because you often talk to her at night through the hole in the wall, she is your closest friend.
Pari is carrying:
Pari's dress (being worn)
> You talk to Reuben
He's a scruffy old man in a creased jumpsuit and durable breathing mask.
"The chances of two civilisations evolving within even vaguely the same time frame are seriously remote. Aliens have usually either advanced beyond anything we can understand or died out completely. These guys, though, well... look at them. They've adapted to civilisation. They don't even think about it anymore."
> Go south
This is a non-descript part of a coal mine.
There is a clove of garlic here.
> You examine the serial number
The serial number stamped on the back of the mirror is "IOHop80Advx". As reflected in the mirror it reads "xvbA08qoHOI".
> You look around
Tall, slender bottles of ice-wine once resided here, delicate and sweet; and other fine vintages, waiting to be served with the cheese and fruit. All are gone now.
In the south wall, the stonework has crumbled a bit, revealing an opening through to the room beyond. You could get a glimpse through if you were careful not to cut off all the light in the process.
A closed yellow door leads southwest.
An open peacock door leads northwest.
A closed peacock door leads west.
A closed white door leads north; it looks oddly streaked.
> You go west
A long metallic hallway that seems to span the length of the vessel. Multiple openings into other rooms waft hints of their purpose, but most pressing is the unnatural movement to the southwest spurring this monstrosity away from your home.
The drifting auras of humans call from the to the northwest and to the northeast. The collection room is to the east, and one small unexplored room is to the west. The pounding room is to the southwest, and a closed hatch is to the southeast. A set of stairs leads up to the rest of the ship.
> You look at the script
Scene:
black salon, one quarter to twelve
fails to express any hour.
Stage directions:
inventory (i), examine (x), take, drop, talk to
future (f), past (p), clockwise (c),
counter-clockwise (cc)
wear, undress, wake up
kiss (when wearing motley)
> You examine the buildings
The collection of buildings spread out below is apparently the nearest approximation to a town anywhere on the planet, though on any other world it would hardly even rate as a hamlet.
> Close chest
You wipe your hands. Your job is done. All you have to do now is sit on your chair in your booth and listen, and when you deal
three cards out for a trick (which you most certainly will) then you'll hear Ivan's grandmother mumbling predictions in your head, just like she's mumbling now: "…eight of diamonds… nine of diamonds…
eight
of diamonds…"
> Yes
I was hoping you'd say that! Appendix
Thunder rumbles, far away.
The place is kind of a mess. There's not enough space on the desk, so
a bunch of documents are taped to the walls. The whiteboard easel is
an inherently awkward object and manages to take up a lot of space.
The rolling chair is shoved into a corner: There isn't really room to walk around in here while someone is sitting at the desk. Narrow passages lead northwest and southwest.
Rain taps steadily on the window.
> You look under the corpse
Nothing here, I'm afraid.
> You look at what you're carrying with you
You are carrying a croquet hoop, a wooden bucket, a burlap sack (which contains a sequined jacket, a flashlight, a gold locket, some faded photographs, an indecipherable map, a sketchbook, a pill bottle, the key to Cabin One, a little white pill, an old shovel, a poker, a small round threaded object, a stone bracelet, and a mystery by John Dickson Carr), some fire tongs, and a hand mirror. You're wearing your clothes.
> O.
You glance at the extra near line.
Den, Dew, Dns, Edu, End, Retro gm comp@445, A powerful hinty spying telescope@436, Fix holes in my clothes@434, Sun.
> You examine the river
It winds into town from up north somewhere, and it loiters around here for a while, and then it heads south toward destinations unknown. Probably somewhere warmer.
> You open the bottle
(the rootbeer bottle)
My connection with this vessel does not allow for detailed commands, Dr. Law. Please try one of the following:
fol - fold
cal - call
rai - raise
> You destroy Heart
Filled with disgust at what you're seeing, you have an idea: perhaps you can destroy the Heart before Stu can get hold of it. You put it on the floor and stomp on it as hard as you can. It's squished a little, but surely still edible, for certain values of "edible." So much for that. You pick it back up.
You stare, dumbstruck, as the last surviving members of the congregation quiver their last. Stu strides over their bodies triumphantly. Mission accomplished, I guess? You didn't expect him to take it all the way, but Stu has been waiting for this moment for quite a while. He's fired up and ready to roll. Glancing at you dismissively, he snatches the Heart and tears into it with his suddenly-sharp teeth. With the first bite, he begins to grow more massive. His jaw unhinges like a great serpent's, and he swallows the rest of the Heart in one gulp. Tentacles emerge from his torso, and he bursts through the ceiling with a primeval roar. It is glorious. Even though you lost the Heart to begin with, you did at least make an effort to retrieve it, and Stu is feeling magnanimous. You serve at his right tentacle for a brief while until the mood passes, and you are consumed.
> You drop the red cake in the pool
Most of the pool evaporates, revealing a (slightly damp but still valuable) package of rare candies. The red cake must be pretty strong stuff, since it remains intact!
A huge and terrible wizard appears before you, as large as the largest tree! He looks down on you as you would look upon a gnat!
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 link the bee to dancers
You valiantly try to link the two objects, but they seem as though they will never go together.
The bee briefly attempts a landing on the mead.
> You look at the forest through the telescope
You raise the brass telescope expertly to your eye, a dashing gesture
which never fails to make Amilia clap her hands with pleasure.
Somehow, though, Amilia also manages to nudge your arm so that you
can't get a clear look at the woods.
"Don't fret," says Amilia, "we're only stopping a moment, it's just a
silly old routine I suppose, I mean they can see we aren't smugglers
or anything..."
> You look at the vcr
A slim, sleek model with a slot for cassettes and the buttons REW, PLAY, FF, STOP and EJECT underneath.
The video recorder is currently switched on.
Static hisses from the television.
> Cut tissue
You slash through the tissue with the tooth.
> You read the letter
You cautiously pick up the letter.
Knowing that you are seriously breaching your employer's trust, you read the letter. It says:
Dear Sutherland,
I write with regard to my temporary financial embarrassment and the substantial loan which you have extended to me in recent years.
I now find myself in a position to repay you in full. If you would care to call on me at my residence in Cadogan Square on Friday next at 10:30am I shall have the money ready for your receipt.
I trust that you will now accept that your threats of bailiffs and bancruptcy were somewhat premature and I look forward to your full apology before I consider doing further business with your firm.
Yours sincerely,
> You learn the izyuk
Using your best study habits, you learn the izyuk spell.
You reach the crest, the highest point of the roller coaster! The park is laid out beneath you like a map; the lights of the midway, the booths of the arcade, the sparkling blue ribbon of water that must be the flume. In the distance is a wide crater. The sounds and smells of the park seem distant, and time feels suspended for a moment.
> You eat the roses
(first taking the dead roses)
(putting the fanciful book into the sack to make room)
They're plainly inedible.
> You go north
Places like this wretched ALLEYWAY make you yearn for the clean air and freedom of the open country. Buildings lean against one another, far above your head, and RATS scurry around the base of a large BARREL. To the north lay the bustling quayside. To the south, you could easily scramble over the city wall and up a brambly hill.
Light shines from a half-open doorway nearby, you could go IN if you wanted. The air from the doorway smells of subtle perfumes and spices.
GUNWAR totters along beside you.
> Look around
This room contains no other furnishings besides an alabaster statue of a cat in a sitting pose. Its eyes twinkle slightly. The walls, floor, and ceiling are covered in mathematical, astronomical, and astrological symbols and equations.
You can see a pile of dust here.
> You go to the southeast
You spend some time searching the room carefully. Under a piece of faded cloth you find a tiny ruby worth 3 crowns!
> You look at the disc
The disc is slightly smaller in diameter than the column and is made of a black metal with a matte finish. It has seven circular apertures in it, arranged in a regular heptagon. The apertures are about ten centimeters in diameter. Each has a small label etched into the metal below it. Going clockwise from the point closest to the column, the labels say "White", "Red", "Violet", "Blue", "Green", "Yellow", and "Black".
Looking closer, you see:
The first aperture (labeled White) contains a lens with
taupe-colored glass.
The second aperture (labeled Red) contains a lens with gunmetal-colored glass.
The third aperture (labeled Violet) contains a lens with
white-colored glass.
The fourth aperture (labeled Blue) contains a lens with
black-colored glass.
The fifth aperture (labeled Green) contains a lens with
slate-colored glass.
The sixth aperture (labeled Yellow) contains a lens with pewter-colored glass.
The seventh aperture (labeled Black) contains a lens with
iron-colored glass.
> You go to the northwest
You step into the brightly lit gray kitchen where you find Barb Mason and Sandy Quinlivan gathered around the kitchen island. All you need to do is grab the casserole dish you brought and get out of here. Barb, who sits at a stool in front of your dish, eating one of your rice crispy treats, turns to you.
"Amy, oh my god. I cannot tell you how good these rice crispie treats are. You know, I have been getting the weirdest cravings recently," she says, pointedly rubbing her swollen belly, "And these are to die for. Seriously. I am not letting you leave until I finish these off. They're that good."
"Well," you say, gritting your teeth, "I'm glad you like them."
Kitchen
The Fincher's kitchen is very modern, with gray marble counters, a beautiful stove, oven, and a rounded island. A sturdy refrigerator stands in the corner of the room next to a dishwasher, each modern appliance deeply contrasted by the old fashioned microwave hanging above the stove. There is a butter knife, a toaster, a bottle of cleaning fluid and a scrub brush on the kitchen counter. The living room is to the south east, and the den is immediately to the east.
Barb Clover sits at the kitchen island, slowly eating from the rice crispies in your casserole dish. Sandy, Frank's wife, sits at her side inconspicuously.
"God," Barb tells Sandy, "I am so sick of being pregnant. I just want it out of me already!"
> Land
Piercing starlight shines through broad skylights into multi-layered, over-sized streets that curve towards an inverted horizon. The air is thick with colourful holograms.
A hyperspace conduit provides ready access to Hub.
Decidedly non-humanoid cyborgs go about their strange business.
several new arrivals at once.
cluttered shop.
> You give the lotion to Honey
Honey lowers her magazine and turns her big round dark glasses in your direction. "Well, hello, there."
"Oh, you brought it! Thanks a bunch." Honey takes the tube of suntan cream from you, flips open the top, and squirts a glob into her palm. "I'm just goin' to relax here for a while longer before the picnic." She puts a light but lingering emphasis on the last word. "Why don't you run along and play or somethin'? But don't go too far!"
Honey stretches languidly.
> You jump to the xanadu
This planet's sparse green patches cluster around small seas. The only indication of habitation is the brightly lit space elevator protruding from the equator.
> You get on the stage
(getting off the bench)
You get onto the stage.
On the stage you can see The Sorting Hat.
> You stand
Reluctantly, you do so.
The master bedroom is a picture-postcard of rustic New England charm. Faded sketches of rural landscapes adorn the walls; a beautifully carved dressing mirror stands in one corner; an old-fashioned accordion radiator gurgles quietly beneath the window. The most striking feature, an enormous, antique, four-poster bed, must be the largest piece of furniture in the house. Doorways lead west and south.
Your clothes lie in an untidy pile on the floor.
Your trenchcoat is here.
Michael's pants are draped across the foot of the bed.
You can also see your umbrella, a keyring (on which are two keys (a key to the house and a key to the cellar)) and a lantern here.
> You leave
Sector 3: Forest
Trees, a house, and a church. A red pylon stretches up from the ground to the hub of the station. You can walk spinward or antispinward.
> Match
With a matchbook??!?
> You take the syringe
Taken.
Dr. John notices you during a pause between breaths. "Thanks," he says. "We have it under control." Breath. "You can go." Then his attention is focussed on the woman. "Pulse back, breathing again. 60 mg lidocaine." Two of the faceless doctors usher you, not unkindly, through the door. As you leave, the door closes behind you, snicking shut.
Two doors, a closed one on the north wall and one on the south,
flank this east-west hall. A sign hangs from the ceiling to the west.
> You pour the jar in the pistol
(first taking the glass jar)
You fill the pistol from the jar.
An irresistible surge of terror rises within you as the face of the pictogram twists and seems to force its way out of the wall. You try to shut your eyes to it, but your only option seems to be flight. You have little time to escape as the power of the evil has almost rooted you to the spot.
> You search toolbox
In the green metal toolbox are some tools.
> You take the paper
(the sheet of ruled paper)
You pick up the sheet of ruled paper.
You add the sheet of ruled paper to your existing collection of pages.
> Go north
Big Street, Center
Big Street is as big here as it is further to the south, although people have set up stalls in the middle, so it's more crowded. Mel's is to the east. We might be able to find something useful there. The financial district is farther north.
> Go upwards
You show your pass to the guard and go through.
Battersea
Battersea is a place of dreams. The station was built many years ago to encourage visits by tourists. Regular tours around the complex leave from the north. An access funnel, leading down is fished by a guard who is checking tickets, or would be if there were any to check but the ticket clerk hasn't sold any.
> You read tome
This is a black tome handwritten in Latin with what looks like dried blood. No doubt, whatever this book is, it is evil.
> You examine Bob
Old Bob has run this store for (if those old men are to be believed) 103 years. While you doubt that particular claim (for after all Willard Scott never wished him a happy birthday on the "Today" show) you sense there is truth to the claim that Bob is the best damn bait seller at Lake Highwater. You could ask this man anything and he'll have an answer.
"Kid," says Bob irritably, "you just going to stand there or are you going to buy something?
> You check what you're carrying
You are empty-handed.
The contest officials give you some deep-fried Mongolian ocelot.
The contest officials give him some mashed Uzbekistani sloth.
> Go north
This lumpy, patchy stretch of lawn is the most pleasant outdoor spot at Eternal Springs, though that isn't saying much. A rusted, sagging chaise longue is provided for the comfort of anyone who would like to bask in the scorching heat of the afternoon sun. (There's precious little shade here, other than the low oblong of obscurity wedged beneath the chaise.)
To the east, the lawn is bordered by a high hedge of a virulent and sickly green, whose foliage is laden with a bounty of pulpy red flowers. The arid stretch of dirt between the cabins stretches out to the south. The main house stands, crooked and bleak but stubbornly attempting a faded grandeur, to the west, a short, broad flight of board steps leading up to the long porch, which is roofed over but nonetheless gapes open on the afternoon. A tiny, weed-infested flower-bed crouches to the right of the steps.
A cracked and buckled concrete walk leads away through some tall bushes to the north, and another walk, whose slabs are tossed as if by some prehistoric geological upheaval, curves out of sight to the southwest around the corner of the house.
Honey Hartwell is reclining on the chaise longue, leafing through a magazine.
Honey licks her thumb and turns a page in the magazine.
> Clap acolyte
Just CLAP will suffice.
> You say no
There is a long pause; and then the man smiles... not at you. "And in spite of that, or anything -- I march too. Let's get back to that. The lab."
...glaring light --
[Hit any key.]
Outside Laboratory
The corridor from the east ends here, and a single door looms to the west. It's no larger than the doors you've seen elsewhere; but it somehow looks... heavy. Unyielding. Reinforcing struts cross the door's face, and the surface is sheathed with some black coating.
> Kremlin
You walk up the stairs to the Interior Decorated and continue walking...
"Tick... tick." I hear bomb ticking! Counter-Revolutionary spy! Hold on to our sable hats. My sturdy walls tremble with xenophobia of Western hegemony into Mother Country. Poor Marx is jolted and falls indignantly to the floor, revealing some kind of safe on the red wall where he had hung.
This room is painted entirely in bold, revolutionary red -- walls, floor, and ceiling -- surrounding you symbolically with the inescapability of the coming of the revolution.
There's a safe built into the wall where the picture once hung.
You can see a portrait of Karl Marx here.
The clock keeps ticking off the time.
> You ask Pop about the axe
Pop scratches his chin. "I'm afraid I wasn't told 'bout any axe. Maybe if you showed me."
Click.
> You examine Scrappelizer
The Scrappelizer was a fairly simple machine. You dumped pigs--or whatnot--into the hopper at the top, and with a hideous squealing noise, a mass of bloody pig--or whatnot--parts would emerge on the conveyor belt, to be carried to the vat, where heat, chemicals, and time would conspire to produce Scrapple.
> You examine the wall
The wall is twenty feet high, solid brick. Stepping back a bit and looking up, you note that a forest of vicious glass shards is embedded along the top.
> You get all hot Bread
delicious hot coppery loaf of wheat bread: Taken.
delicious hot loaf of wheat bread: Taken.
delicious hot loaf of wheat bread: Taken.
delicious hot loaf of wheat bread: Taken.
delicious hot loaf of wheat bread: Taken.
You move the empty pans from the oven to the work table.
"A loaf of bread, please!" requests the yellow robed citizen.
[6:11 pm:48|137446]  shmokey420 : Name?
Heat blasts from the open oven into the bakery.
Legolas31 attempts a mind-meld with the Baker of Shireton.
> You examine sweet
A flower with glossy black petals like a tailcoat and top hat, and a yellow pistil like a magic wand.
> You stand on the table
You climb up onto the table, bringing your head close to the level of the curtain rail.
You recognise Mrs Jenkins" voice outside the door, saying "There's nowhere for him to go. We've got him cornered."
> You examine the bookcase
The bookcase is six feet tall and heavily built. The shelves are crammed with books, which is somewhat surprising, because Beauregard Phelps doesn't look to you like the reading type.
There's an interesting-looking oversize book lying flat on one shelf.
> You open the north door
It's locked.
> You examine insect
A clear glass jar containing a hideous green insect. It's either dead or doing a very good job of playing dead and you have no desire to find out which. The number of legs and eyes appear to change every time you look at it.
It currently has four legs and four eyes.
> You read the journal
You'll have to take it off the plinth first.
> You ask Jessenia about Peter
Which do you mean, the djr-fake-peter, Peter or book items?
> Type nairdah
(typing "nairdah" on the fancy computer)
You type "nairdah". The computer responds "Password invalid." Maybe that receptionist back outside knows something? Maybe he's overheard a few things.
> You examine the groom
A rather rough young man, good with horses but not much of a conversationalist.
The Firebird preens her feathers.
Peasants parade in and out of the tavern.
> You press the button
There's a gas line in front of the button, which you brush aside to push and hold the button. The compartment near the escape pod swings open, so you keep holding the button.
> You go east
Dungeon (east cell)
Against one wall towers a pastry maiden with its cage ajar, and in that cage a skewered corpse has found its rest amongst toothpicks. Not the filling you'd want to bite into with most desserts.
Westward an open doorway leads to the dungeon.
> You go to the north
The thorny bramble bushes prevent your going in that direction.
> You jump
You breathe a moment; only one chance at this.
A step and a leap, and you clutch the rope. It's slicker than you expected; chilly and damp. Perhaps a bit of mold, you think abstractedly, as your hands slip, and catch, and slip again --
Ouch. You've fetched up against the knot at the bottom of the rope; and the claw is biting into your hand. Razor-edged on the inside. You hope you never run into one of these alive -- ow. You've slipped again, and now both your hands are clamped around the claw, and your full weight is on them.
You are dangling at the end of the rope, against a sheer stone wall. Directly below you are vicious stone blades, and the claw you hang from is slowly slicing into your palms, and it hurts...
> You take the palm
You stretch out your neck, biting and gnashing.
You grab the torn-up potted palm with your powerful beak.
> You tie the rope to boomerang
The rope's already tied to the black, memorial scroll.
> Go west
As you cross the railroad tracks, the air becomes warmer, more dingy, and slightly more difficult to breathe.
The road turns southwest here and runs squarely through the front entrance to the old paper mill. A gate of heavy iron bars blocks the only opening into this charred fortress, although an overgrown path leads around the wall to the south. To the north, a rutted lane threads its way past a row of dilapidated shacks.
A flurry of dead leaves goes skittering along the ground, swirling past you in the wind.
> You examine the tar
The tar is black and smelly. Its surface glistens with an oily sheen.
> You examine inhaler
You blink.
Nestled among the medical supplies, you spy an inhaler labeled
halitus catholiconis.
Distantly you hear Reden's ragged breathing.
> You get the furnishings
They're hardly portable.
> You look at the barrel
This is a barrel full of a crystal-clear acid. You can see clear through to the bottom, where there is a gold statuette.
> You consult the computer about the float
The computer beeps irritably: NO RESULTS FOUND. PLEASE REPHRASE AND TRY AGAIN.
> You examine the dancers
The dancers are antique, and peculiar. Their costume replicates an English mode of the sixteenth century: the lady wears a skirt of beaten copper, pierced in designs, and around the gentleman's neck is a ruff of folded silver, though with long neglect it has begun to darken. As for their skin, it is all carved ivory.
They both of them stand on a floor made up of cogs, to permit them to spin and dance around.