Intangible
by bzzz (2013)

Intangible is a short story with a few choices that deals with how different emotions affect our actions now or at a later time. Shouldn't take longer than 10 minutes to play.

action: %
response: How will you change the lives of those around you today?

Type help for background and instructions.

It's a chilly morning in January. The windows are frosty, and the sun has barely risen. Nevertheless, you wake up feeling lively this morning. But there's no time to waste diddling around; you have to get to work. Your daily ablutions are performed at maximum haste, and now ready to leave. The bathroom lies to the west and the front door lies to the south and leads to the parking lot.
action: About yourself
response: As good-looking as ever.
action: Inventory
response: You are carrying:
a Happiness
action: You eat the Happiness
response: That's plainly inedible.
action: You hug the Happiness
response: You can only do that to something animate.
action: You go south
response: (first opening Front Door)

There are cars of many different colors here. The cold breeze momentarily halts your march towards the car. Stepping out, you run into your neighbor. You've only talked once when you moved into the apartment complex. Her name is either Alice or Alicia; no one can know for sure other than her and her boyfriend. They usually keep to themselves, but sometimes you hear them arguing and screaming through the wall. Sometimes you see her running out of her home with tears running down her cheeks. Sometimes she wears a turtleneck, even on a warm, sunny day. Her expression today can only be described as sad.
To the east is the Business Center, where your workplace is and the north to get back into your apartment.
action: You ask Alice,  to inventory
response: Neighbor seem to be carrying a Sadness.
action: You give the Happiness to the neighbor
response: You give the Happiness to Neighbor.
action: You talk to Alice
response: She does not respond.
"Good morning! God, I feel like I can take on the whole world today. That's it! Today, I'm going to make changes to my life... for the better!" She continues to ramble on.
action: You ask Neighbor,  to check your inventory
response: Neighbor seem to be carrying a Happiness and a Sadness.
action: You take the sadness
response: Taken.
action: About yourself
response: As good-looking as ever.
action: You drop the sadness
response: Dropped.
action: You go east
response: The business center is a small cul-de-sac, just a few minutes away
from the central business district. You drove to your work place, only to find you were an hour early! Your clock must have been off. Though most days you would yawn and nap in the car for an hour, today feels different for some reason. Maybe happiness is just a state of mind. To the south is Downtown.
action: You check what you're carrying
response: You are carrying:
a Sadness
action: Go north
response: It's still early; are you sure you want to get to work?
action: You go south
response: Personally, you hate Downtown. Crowds of people, polluted air, and brutal capitalism aren't your cups of tea. What catches your eye on this particular day is an angry looking homeless man glaring at a fashionable socialite who screams at this man in disgust. To the north of here is the Business Center
action: You ask Socialite,  to check your inventory
response: Socialite seem to be carrying a Disgust.
action: You ask Homeless,  to check your inventory
response: Homeless man seem to be carrying an Anger.
action: You ask Robot,  to check what you're carrying
response: ROBOT, I

You seem to want to talk to someone, but I can't see whom.
action: You give the sadness to the Socialite
response: You give the Sadness to Socialite.
action: You get the disgust
response: Taken.
action: You talk to the Socialite
response: "The poor man. I hope he gets some help." Wait, what? Just a second ago, she was suggesting the man to kill himself. This one's an emotional rollercoaster.
action: You take the anger
response: Socialite picks up the Anger.
action: You talk to the Socialite
response: "The poor man. I hope he gets some help." Wait, what? Just a second ago, she was suggesting the man to kill himself. This one's an emotional rollercoaster.
Her swearing intensifies. Too vulgar to record. Pedestrians look in horror. Mothers clasp their children's ears. And babies all over the city begin crying.
action: You take disgust
response: Homeless man picks up the Disgust.
action: You talk to homeless
response: The man rolls into the fetal position, perhaps out of shame. It's probably best not to bother him.
action: You get the anger and disgust
response: Anger: Taken.
Disgust: Taken.
action: You throw the anger at the Socialite
response: You lack the nerve when it comes to the crucial moment.
action: You go north
response: To the south is Downtown and to the west is the Parking Lot;
otherwise get to work! The door is to the north.
action: Go west
response: There are rows of cars, each belonging to a different person. To the east is the Business Center, where your workplace is and the north to get back into your apartment.
You meet your neighbor.
action: You give the anger to neighbor
response: You give the Anger to Neighbor.
action: You talk to the neighbor
response: "Good morning! God, I feel like I can take on the whole world today. That's it! Today, I'm going to make changes to my life... for the better!" She continues to ramble on.
Her face changes from an empty expression into unfathomable rage. Perhaps this is not the best decision...
action: Y.
response: The day now officially begins. Tiresome hours working in a cubicle, conversing with your coworkers, and attending long and monotonous meetings leave you fatigued at the end of the day. Arriving at home after being overworked; you take the opportunity to watch the news and collect your thoughts. How have your decisions changed other people's lives?

Tonight was an unusually quiet night. Not a single bang on the wall
or brief stints of indiscernible shouts happened tonight. For the
first time since you moved in, you slept in relative peace. Tomorrow morning, there will be a note on the door. It'll say: "Thank you. - Alicia" She's never seen again.

A loud bang is heard through the walls. But it's not a sound that you're familiar with. Gunshot? A second one is heard. The entire neighborhood rings 911, but the deed was done: a murder-suicide with the gun in your neighbor's hands.

A pity. A pity and a half. Two pities. The young socialite scratched the number on her check. "Thank you very much for your extremely generous donation." an old lady says. She walks out feeling she truly made a difference in the world.

As for you? Like any other day, you wrap your emotions in a sheet and hide it in your closet. Then you lock it shut for tomorrow. You bide your time for the myriads of intangibles to burst out from the Pandora's Box in the corner of your bedroom.
action: You go to the west
response: Almost left the wallet in here! It's not unusual to be in a hurry in the morning, but the wallet usually doesn't follow to the bathroom either.

You see your wallet here.
action: You look at the wallet
response: A leather wallet your mother gave to you when you were seventeen. It holds fond memories, your license, and some change.
action: You get the wallet
response: Taken.
action: You look at the license
response: You find nothing of interest.

You can't see any such thing.
action: You check your inventory
response: You are carrying:
Wallet
a Happiness
action: You go east
response: and leads to the parking lot.
action: You go east
response: The business center is a small cul-de-sac, just a few minutes away
from the central business district. You drove to your work place, only to find you were an hour early! Your clock must have been off. Though most days you would yawn and nap in the car for an hour, today feels different for some reason. Maybe happiness is just a state of mind. To the south is Downtown.
action: You go south
response: Personally, you hate Downtown. Crowds of people, polluted air, and brutal capitalism aren't your cups of tea. What catches your eye on this particular day is an angry looking homeless man glaring at a fashionable socialite who screams at this man in disgust. To the north of here is the Business Center
action: You give Wallet to homeless
response: You drop some change into the can. "Bless ya sir." He thanks you for your charity.
action: Inventory
response: You are carrying:
a Sadness
Wallet
a Happiness
action: You give the Happiness to homeless
response: You give the Happiness to Homeless man.
action: You talk to homeless
response: The homeless man smiles. He hasn't smiled in a long time.
action: You give the disgust to neighbor
response: You give the Disgust to Neighbor.
action: You talk to Alicia
response: Instead of giving you a dirty look, she falls into a pensive mood. The possibilities going through her mind are endless.
action: Y.
response: The day now officially begins. Tiresome hours working in a cubicle, conversing with your coworkers, and attending long and monotonous meetings leave you fatigued at the end of the day. Arriving at home after being overworked; you take the opportunity to watch the news and collect your thoughts. How have your decisions changed other people's lives?

One last fight before she hits the road. Tears are heard through the walls, but today is different. It was his tears. After years of physical and emotional abuse, your (former) neighbor leaves for good. Disgusted of her old life, she chooses to live free of turtlenecks and bruises.

With a smile to feed his efforts and an idea to fuel success, the homeless man writes a memoir of his time on the streets on a public library computer. Selling cans to pay for the printing adds the extra sympathy points to make his story a best seller. His face is on
daytime talk shows now.

As for you? Like any other day, you wrap your emotions in a sheet and hide it in your closet. Then you lock it shut for tomorrow. You bide your time for the myriads of intangibles to burst out from the Pandora's Box in the corner of your bedroom.
action: %
response: Today is the day, hurrah, hurrah! Leap for pleasure with unbounded measure: kind master, generous master, merciful master piled faster
and faster graces and glories beyond all fabulous places in stories - today you away to a faraway nation, to the land of the quim delivery station.

Quim bag in hand, you bow, then stand, then scurry with feet furry out the door.
Droll Toll Troll

Oh, glorious, wondrous, rapturous land! The beauty is more than you can understand. Master told of sky - master does not lie - but little furry servant you, you could not know the wonder true. But now you see, you see in glee and praise master's mercy to let you free - not free to leave, silly fuzzy thing, but free to be outside in the wide under-sky, on the road from master's abode to who knows. Master
knows, and you he told: eastward lies the quim delivery station to which (to your elation) you are to move your fleet and furry feet and inject, input, insert every quim without qualm, lest master withold balm.

You are outside of master's hut, and, for now, gut. Above is the wide and clear purple sky, north and south out and past ken ruffle gently spears of grass. The one and single road in all existence begins (not ends; it's master's instance) at master's door westward and pursues
the horizon eastward.
action: You go to the east
response: First time farthest from master's hut, first time farthest from
master. Slowly, first, then faster and faster furry feet patter along the quiet road, hands to hold gently the load.

What's this? 'Road' wouldn't be a miss, but this rises steeply over a river - a bridge, plainly, from hither to thither, with you hither and the goal thither. Between these two places places himself a looming, long-limbed lobster - I mean Robster - I mean mobster - I mean momster - I mean monster. On his face is placed a frown twice upside-down,
and in his eye you espy a flicker that died. "To pass, cross, or otherwise my bridge transverse you must, without loss, provide a
smidge to me of that - in the whole universe - which is most
precious."

The droll toll troll stands in your way and demands his pay. Under
the bridge streams a stream.
action: You examine the quim
response: Quiet quims, buried in burlap. Do they exist when you cannot see
them? Do they not exist? Do they exist in some sort of superposition of existing and not existing? Similarly, do YOU exist when master isn't looking at you? Alas, if only master would tell you the answer.
action: About you
response: Furry, fuzzy, fizzy, fazzy, silly little thing.
action: You examine the bridge
response: Rising, rising, up and arched and falling, falling, down and ground, streaming water underneath, troll above the neath.
action: You examine troll
response: Mountainous monster, limber of limb above and lumbering below -
meaning waving five arms and walking slow. In eye and face he knows
no glow, so there grows a menacing show of teeth in a
twice-upside-down frown. His arms wave to alarm the far and harm the near.
action: You ask Troll about the toll
response: "To pass, cross, or otherwise transverse my bridge you must, without loss, provide a smidge to me of that which - in the whole universe - which is most precious."
action: You give quim to Troll
response: Never, never, never in all of ever would these limbs let loose of
these quims! Oh, precious quims, little quims, always, always quiet little quims, safe in the holding of this furry little thing.
action: Go west
response: You are outside of master's hut, and, for now, gut. Above is the wide and clear purple sky, north and south out and past ken ruffle gently spears of grass. The one and single road in all existence begins (not ends; it's master's instance) at master's door westward and pursues
the horizon eastward.
action: You go west
response: Unfinished! Incomplete! Undone! Partway! Master must not see you with the bag of quims! Master must know the whole project is done
else there's no fun. Run, run east with quims, return only when delivered, only then.
action: What is a the quim
response: Look, man, I don't know either. It's just a MacGuffin.
action: Wait
response: Time passes.
action: You go east
response: The droll toll troll stands in your way and demands his pay. Under
the bridge streams a stream.
action: Kiss Troll
response: You can't see any such thing.

In a flurry of fuzzy furry fur you the cover the monster - his leg, at least, the most of the beast you could reach, but in your embrace the troll's droll face brightened, his eyes enlightened.

"Ah - ah! Furry little thing, silly fuzzy little thing, this is fitting payment, I only lament I'm so late to relent of the cold dull resistance of distance. For this treasure, please pass at your pleasure."
action: Go east
response: You stroll by the toll troll.

Elation! The quim delivery station! A box atop a pole, inside the
box a hole, facing the westward side at just the height right for
fuzzy furry little things. Strange - the range of the road runs
longer than master told - master didn't say it didn't but master
didn't say it did, but the road goes ever on, through and among the throng red and waving east to meet with the horizon.
action: Go east
response: Master did not say to go along that way; master said - it's in your head - deliver quims, return without them. Return, said master; what disaster falls upon the one who rolls along beyond where the end belongs? Master's quims, you could not take them - unless you did,
but what then? Road, the road, eastward rolls the road, a stretch forever, past the end, with the quims... A whim, a whim.
action: You put the quims in the hole
response: In go quims, quims go in, quims in bag and bag in box and little furry thing is good furry thing, good and fuzzy and pleasing master.
action: You examine the hole
response: From the center of the road rises a rectangular prism of wood, fitted on the top a box, as tightly as it could. In the box, in it's side, resides a hole big enough for the whole bag of quims. In fact, the hole who once lacked of quims is now stuffed to the brim with them.
action: You look at bag
response: Quiet quims, buried in burlap. Do they exist when you cannot see
them? Do they not exist? Do they exist in some sort of superposition of existing and not existing? Similarly, do YOU exist when master isn't looking at you? Alas, if only master would tell you the answer.
action: You check what you're carrying
response: Empty hands, empty, fuzzy, tiny little hands.
action: Go west
response: Back running to master, faster and faster, over the bridge and down
the road to the old abode to hold pride in you eye for master to spy and offer - perhaps - praise of your worth,
action: You go to the north
response: Passwords
Troll Humor
Superweapon
Science!
action: Go north
response: > Passwords
Troll Humor
Superweapon
Science!
action: Go north
response: Passwords
> Troll Humor
Superweapon
Science!
What if you took various pieces of the troll - you know, as souvenirs?

Singing
Passwords
> Troll Humor
Superweapon
Science!
action: You go to the north
response: Passwords
Troll Humor
> Superweapon
Science!
The troll's eyes are actually "laser-sighted death ray emitters".

Singing
Passwords
Troll Humor
> Superweapon
Science!
action: Go north
response: Passwords
Troll Humor
Superweapon
> Science!
Trolls are stereotyped as being unintelligent, but our friend here actually has a degree in elementary particle physics.

Singing
Passwords
Troll Humor
Superweapon
> Science!
action: You go east
response: A lighthearted excursion in the style of the Ambiguous Adventures by N.C. Hunter Hayden

Oh, glorious, wondrous, rapturous land! The beauty is more than you can understand. Master told of sky - master does not lie - but little furry servant you, you could not know the wonder true. But now you see, you see in glee and praise master's mercy to let you free - not free to leave, silly fuzzy thing, but free to be outside in the wide under-sky, on the road from master's abode to who knows. Master
knows, and you he told: eastward lies the quim delivery station to which (to your elation) you are to move your fleet and furry feet and inject, input, insert every quim without qualm, lest master withold balm.

You are outside of master's hut, and, for now, gut. Above is the wide and clear purple sky, north and south out and past ken ruffle gently spears of grass. The one and single road in all existence begins (not ends; it's master's instance) at master's door westward and pursues
the horizon eastward.
action: You go to the east
response: First time farthest from master's hut, first time farthest from
master. Slowly, first, then faster and faster furry feet patter along the quiet road, hands to hold gently the load.

What's this? 'Road' wouldn't be a miss, but this rises steeply over a river - a bridge, plainly, from hither to thither, with you hither and the goal thither. Between these two places places himself a looming, long-limbed lobster - I mean Robster - I mean mobster - I mean momster - I mean monster. On his face is placed a frown twice upside-down,
and in his eye you espy a flicker that died. "To pass, cross, or otherwise my bridge transverse you must, without loss, provide a
smidge to me of that - in the whole universe - which is most
precious."

The droll toll troll stands in your way and demands his pay. Under
the bridge streams a stream.
action: You take the eyes
response: No, no, proper grammar would be: take ME.
action: You look at the eye
response: Empty, unsparkable, unremarkable holes leading to void needing of
soul.
action: You take yourself
response: No no no, silly furry thing, to master does that belong, along with
the soul inside.
action: You examine the teeth
response: Little furry things do not do such things. Would you add misery to what he sees already with his four eyes sad? He has enough bad.

Pointy pointy, snip snip, sharp sharp 'tween lip and lip.
action: You get the teeth
response: You flunked out of dental school first semester.
action: Xyzzy
response: I got nothing. Sorry.
action: Xyzzy
response: You expect me to come up with something witty, don't you? I really
put a lot of effort into the IF as a whole, so just enjoy that, will you?
action: Xyzzy
response: Augh! Something witty and cleaver and funny, huh? Well, guess what?
I don't want to.
action: Xyzzy
response: Alright, fine. How's this for witty and cleaver? The quims explode and you die.
action: Sing
response: La la la la la la lu la.
action: Sing
response: BATMAN!
action: You examine the grass
response: Red, red, red the waves roll forever, with wind through leaves in dodges and weaves, oceans of unfathomed depth and unmeasured breadth unbroken but by rising stones standing alone.
action: You examine the stones
response: like breaching whales out of the infinite, sunny ocean of grasses.
action: You take the stones
response: Too far, too far, silly furry thing, you would be lost, lost, lost.
action: You examine the sky
response: No clouds, no green pyramidal clouds today. A perfect purple day.
action: You examine the road
response: White road, right road, onward to success; eastward leading, still proceeding - guiding you, you guess (master wasn't clear, and master's isn't here - to ask - master said east, and thither the road - at least, you think).
action: Kiss Troll
response: In a flurry of fuzzy furry fur you the cover the monster - his leg, at least, the most of the beast you could reach, but in your embrace the troll's droll face brightened, his eyes enlightened.

"Ah - ah! Furry little thing, silly fuzzy little thing, this is fitting payment, I only lament I'm so late to relent of the cold dull resistance of distance. For this treasure, please pass at your pleasure."
action: You examine the stream
response: Bubbling, babbling, burbling brook, winding and weaving with hooks and crooks. From far to the south to far in the north, running and streaming, 'round bends, there careening. Gold-colored water from somewhere to elsewhere, free frolicking through the red sea of leaves.
action: You go to the south
response: No, no, no, not only too little, but too brittle of mind; only the road, grass-lined, for your furry little feet. Too quick to pick the wayward way and away your way back home does fly. Try, try to stay straight on the street, straight with furry feet east and east until you meet, as master is fair, the whole goal of this affair.
action: Go east
response: You stroll by the toll troll.

Elation! The quim delivery station! A box atop a pole, inside the
box a hole, facing the westward side at just the height right for
fuzzy furry little things. Strange - the range of the road runs
longer than master told - master didn't say it didn't but master
didn't say it did, but the road goes ever on, through and among the throng red and waving east to meet with the horizon.
action: Go east
response: Quims delivered, yet you shiver to wonder to wander away from master. To return did master intend - would you with that contend? The road runs down alone, along the sides the rise of red, the plain moves out and out, empty, no master, no quims, only wind, wind, wind through red...
action: You go to the east
response: East and on and past all ken, past all memory of kith or quim, through the endless plain, master from your mine long waned,
action: Kiss
response: (the Droll Toll Troll)
In a flurry of fuzzy furry fur you the cover the monster - his leg, at least, the most of the beast you could reach, but in your embrace the troll's droll face brightened, his eyes enlightened.

"Ah - ah! Furry little thing, silly fuzzy little thing, this is fitting payment, I only lament I'm so late to relent of the cold dull resistance of distance. For this treasure, please pass at your pleasure."
action: Go east
response: You stroll by the toll troll.

Elation! The quim delivery station! A box atop a pole, inside the
box a hole, facing the westward side at just the height right for
fuzzy furry little things. Strange - the range of the road runs
longer than master told - master didn't say it didn't but master
didn't say it did, but the road goes ever on, through and among the throng red and waving east to meet with the horizon.
action: Go east
response: Eastward onward rolling through the plain, ocean's red rising, waving, rolling
action: %
response: "In order for the light to shine so brightly, the darkness must be present." -Francis Bacon

There have been unexplained murders and disappearances at a seemingly innocent amusement area just north of Providence, Rhode Island. Due
to your strange investigations in the past, you are the one called in solve the mystery of the. . .

You have been hired by the police chief, Elmer Walker, but he wanted
to keep his involvement secret. Instead, he has sent you a dossier about the recent incidents here in Swan Point. He said he would check in on you, but otherwise, you are on your own. This is the front walk to Mother Matheson's boarding house, where you'll be staying. Her porch is to the west and the main road is to the east. Her lawn is dotted with dogwoods and covered in leaves.
action: Inventory
response: 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 (closed)
a holster (being worn)
a revolver
action: You examine revolver
response: It's a .45 revolver.
action: About yourself
response: You are a private eye; a gumshoe, as they say, and you appear as such.
action: You read the dossier
response: It is an openable folder meant to hold documents.
action: You open dossier
response: You open the dossier, revealing the first incident, the second incident, the third incident, the fourth incident and the fifth incident.
action: You look at the clothes
response: They're what you could afford with your wages but at least they're in style.
action: You read first
response: May 12, 1928; Kent Howard and Lucy Pringle, lovers, wandered from
the carnival and into the cemetery. Kent Howard was found injured and insane the next morning, babbling about "horrors from the grave". He now resides at the Butler Insane Asylum and Lucy Pringle is still missing.
action: You read second
response: June 14, 1928; Freddie Pendergast, age 12, entered the "Tunnel of Terrors" ride at the carnival. The mechanical car came back but the boy is still missing.
action: You read third
response: July 23, 1928; Police officer Andy Reynolds investigated a report
of vandals at the city dump. Reynolds claims to have seen the Pendergast boy there but the child was "swallowed by a moving mountain of garbage" according to Reynolds' report. Reynolds has been
dismissed from the force for drinking. He resides at Mother
Matheson's boarding house.
action: You read fifth
response: Sept 12, 1928; Jordan McIntyre, attendant at Butler Insane Asylum,
was on his way home, a walk that takes him by the cemetery. He never made it home and his bloody clothes were found near the south gate of the cemetery. Unbelievable as it sounds, it appears that he was
pulled through the gate. There was also dried mucus covering the entirety of the scene.
action: You go to the west
response: This is a cozy front porch that looks out onto the dogwood trees. The front walk is to the east and the front door is to the west.

A rocking chair sits among the scattered leaves that made their way onto the porch.
action: You examine the chair
response: It has a tall back and a homemade look to it. Nonetheless, it looks comfortable.
action: You sit in the chair
response: You get onto the rocking chair.
action: Rock
response: You creakily rock on the rocking chair.
action: You knock on the Door
response: You knock on the front door. A moment later, a woman's voice can be heard, inviting you to come in.
action: You enter
response: (first getting off the rocking chair)
You can't go that way.
action: You open the Door
response: You open the front door.
action: You go west
response: This is a small foyer marking the entrance to the boarding house. You can see a dining room to the north, a living room to the south, and a hall stretches to the west where it seems to terminate in a room with
a lot of windows. In the downstairs hall is a set of stairs up to the second floor. The place seems to be decorated with original artwork and craftwork.

You can see Andy Reynolds here.

Andy Reynolds looks around as if wondering what to do with himself.
action: Topics
response: You could ask him about himself, the first incident, the second incident, the third incident, the fourth incident, the fifth incident or the Carnival.
action: You ask Andy about himself
response: "What's your story?" you ask but instead of a reply, Andy Reynolds
just gives you an irritated look.
action: You ask andy about third
response: "So you were the cop fired for making that report about the event at the city dump?"

"I'm not going to let you sit here and scoff me." he begins to say but you set him straight.

"On the contrary. I've seen shit that would change your gender. I'm here to find the truth, so tell me what you know." you say.

He sees you are serious so he tells you what he knows.

(press SPACE)"I was about a hundred yards into the dump when I got
this feeling I was being watched. I saw this person standing there in the middle of a pile of smouldering garbage. I looked closer and saw it was a small person, maybe a child, maybe the Pendergast boy is what I was thinking at the time. He even looked at me all scared and I was about to approach him to help him out and take him home, but that's when it happened.

"The garbage around him rose up like a wave and swallowed the boy. Everything settled and he was gone. Like an idiot, I reported the truth to Chief Walker. He didn't fire me but the city council did, saying I was a drunk. I'm not a drunk. I'm just a bitter
ex-policeman now. That's my story. Now get outta my face."

Andy Reynolds looks at some of the crafts hanging on the walls.
action: You examine the crafts
response: You can tell they are homemade as they aren't really that good.
You're allowed to say so because you took an art class once.

Andy Reynolds looks around as if wondering what to do with himself.
action: You ask him about second
response: "What about the Pendergast boy? You know anything about him that
might help me find him?" you ask.

"You're going to try to find him? Good luck. You know after a few days. . ." he says but you interrupt.

"I'm hoping for once, a missing persons case doesn't end in homicide." you tell him.

"Well," he says, "I really don't know more than the simple fact that, against his mom's wishes, he went down to the carnival one evening
with the Coombs brothers. Freddie Pendergast got on the Tunnel of Terrors ride and never emerged again. The ride was searched, of course, but no body was found. Probably abducted." he says with the proper cynacism.
action: Topics
response: You could ask him about the first incident, the fourth incident, the fifth incident or the Carnival.
action: You ask about Carnival
response: "You ever visit that carnival down the road?" you ask Andy Reynolds.

"Not really." he says. "I don't like the carny-folk. Buncha
scumbags, really. And that Jonathan Boom, the security guard, thinks he's some sort of cop or soldier, but he's really just a disturbed man with a gun."

Andy Reynolds looks at some of the crafts hanging on the walls.
action: Go south
response: This is a comfortable common area, complete with an old but comfortable-looking sofa, an armchair, and a bookcase. You can see
the foyer to the north and a narrow door to the west. Outside the windows, you can see the dogwoods in Mother Matheson's yard. The same artwork that is seen throughout the house can be found in here.
action: You examine the artwork
response: You can tell they are homemade as they aren't really that good.
You're allowed to say so because you took an art class once.
action: Examine books
response: How one can collect so many books of such a limited genre baffles you.
action: You look at the bookcase
response: It was either found somewhere or homemade, but it seems sturdy enough. It is full of romance paperbacks.
action: You go west
response: (first opening the narrow door)

This is a white, tiled bathroom with the appropriate fixtures (toilet, sink, tub). The pipes are visible up the walls from the fixtures and
a mirror is set in the wall above the sink. A white door is to the north and a narrow door is to the east.
action: You look at the mirror
response: You look at yourself in the mirror. You look fine, at the moment.
action: You look at the pipes
response: The pipes lead from the fixtures and into the walls and ceiling.
action: Go north
response: (first opening the white door)

This is the nexus of the house with passages in many directions. The same homemade artwork lines the walls and a staircase leads up to the second floor. To the north, you can see the kitchen and to the east, the foyer. A white door is to the south and you can see a sun room through a doorway to the west.
action: You go to the south
response: This is a white, tiled bathroom with the appropriate fixtures (toilet, sink, tub). The pipes are visible up the walls from the fixtures and
a mirror is set in the wall above the sink. A white door is to the north and a narrow door is to the east.
action: You open the mirror
response: You open the mirror.
action: You look in the mirror
response: The mirror is empty.
action: You put the pipes in the mirror
response: (first taking the pipes)

That's hardly portable.
action: You get the mirror
response: That's hardly portable.
action: Go north
response: This is the nexus of the house with passages in many directions. The same homemade artwork lines the walls and a staircase leads up to the second floor. To the north, you can see the kitchen and to the east, the foyer. A white door is to the south and you can see a sun room through a doorway to the west.
action: Go west
response: This room has large windows that look out onto a garden of wildflowers behind the house. A door to a bedroom is to the south and a utility room door is to the north. The downstairs hall is to the east.

An easel sits in this room.

On the art easel is an unfinished painting.
action: You examine painting
response: It appears to be a painting of an elephant underground, walking among stalagmites and stalactites with a crazed look in its eyes. The painting makes you uneasy as you look at it.
action: You examine the easel
response: It's designed to support a canvas.

On the art easel is an unfinished painting.
action: You go south
response: (first opening Reynolds' door)
It seems to be locked.
action: You check your inventory
response: 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
action: You pick
response: (up the art easel)
Yes, it's light and easy to carry, but it would still be a pain in the ass to do so, especially as you've no real need for it.
action: You look at lighter
response: It is nickel-plated and maybe was once fancy but now it is dull and weathered. You found it in New Mexico. It's a long story.

The cigar lighter is currently switched off.
action: Go north
response: (first opening the utility door)

This seems to be part mud-room and part laundry-room. A large basin and a small basin sit by one wall. An door to the outside is to the west and the rest of the house can be reached to the south.

You can see Mother Matheson here.

Mother Matheson seems to be preparing to do laundry with the basins.
action: You talk to the Mother
response: You say hello to Mother Matheson.

Mother Matheson arranges the large and small basins.

(You could ask her about herself, room key, the first incident, the second incident, the third incident, the fourth incident, the fifth incident, the unfinished painting or the Carnival.)
action: You ask about the paiting
response: There is no reply.

Mother Matheson seems to be preparing to go outside, but you can't be certain.
action: You ask about the painting
response: "What's with the painting I saw in the Sun Room?" you ask.

"Oh, yes," Mother Matheson explains, "I have recurring dreams of horrible things moving underground; beneath the carnival. But those are just dreams."
action: You ask about the room key
response: You approach the landlady and ask about your room key.

"Oh yes." she says, "You're the temporary tenant that phoned ahead. Your arrangements have been made. Here's your key. Your room is on the second floor." she tells you.

Mother Matheson arranges the large and small basins.
action: You examine large
response: This is probably the basin used for rinsing clothes.

Mother Matheson seems to be preparing to go outside, but you can't be certain.
action: You ask about the fifth incident
response: "What about this incident that happened just the other night? Did you know Jordan McIntyre?" you ask.

"I know of the man. He worked at Butler. People have no idea what to think of the incident. How could it have been so barbaric and what's with all the dried gook all over the scene? It's just one of those things, I guess." she says.
action: You look at the key
response: (room key)
It's really just an ordinary house key.
action: You go south
response: This room has large windows that look out onto a garden of wildflowers behind the house. A door to a bedroom is to the south and a utility room door is to the north. The downstairs hall is to the east.

An easel sits in this room.

On the art easel is an unfinished painting.
action: You go east
response: This is the nexus of the house with passages in many directions. The same homemade artwork lines the walls and a staircase leads up to the second floor. To the north, you can see the kitchen and to the east, the foyer. A white door is to the south and you can see a sun room through a doorway to the west.
action: Up
response: This is the upstairs hall area. It is minimally furnished. There are stairs leading down and a door in each wall.
action: You examine the Door
response: Which do you mean, your door, the wide door, Arthur's door or mother's door?
action: You unlock your door with the key
response: You unlock your door.
action: You enter your door
response: (first opening your door)

This is a small, simple bedroom furnished with only a bed and a
bedside table. A simple door leads to the upstairs balcony to the south and the upstairs hall is to the west.
action: You look at table
response: It's so simple, you wonder if Mother Matheson made it herself.
action: Go south
response: (first opening the balcony door)

This is a small, open-air porch that allows you to look down to the front walk. The flowering dogwoods give this space privacy. The door back inside is to the north.

Forgotten by the last tenant and neglected by Mother Matheson's cleaning is a sealed jar of moonshine.
action: You get the moonshine
response: You pick up the jar of moonshine from the ground.
action: You go to the north
response: This is a small, simple bedroom furnished with only a bed and a
bedside table. A simple door leads to the upstairs balcony to the south and the upstairs hall is to the west.
action: Go west
response: This is the upstairs hall area. It is minimally furnished. There are stairs leading down and a door in each wall.
action: You go west
response: (first opening Arthur's door)
It seems to be locked.
action: Go north
response: (first opening mother's door)
It seems to be locked.
action: Go south
response: (first opening the wide door)

This is a white, tiled bathroom with the appropriate fixtures (toilet, sink, tub). The pipes are visible up the walls from the fixtures and
a mirror is set in the wall above the sink. A wide door is to the north.
action: You look at the mirror
response: You examine yourself in the mirror.
action: You look in the mirror
response: The mirror is empty.
action: You go to the north
response: This is the upstairs hall area. It is minimally furnished. There are stairs leading down and a door in each wall.
action: Go downwards
response: This is the nexus of the house with passages in many directions. The same homemade artwork lines the walls and a staircase leads up to the second floor. To the north, you can see the kitchen and to the east, the foyer. A white door is to the south and you can see a sun room through a doorway to the west.
action: You go north
response: This kitchen is truly the heart of the home. The smells of decades of home-cooking permeate from the walls. A stove, icebox, and pantry are the fixtures but there are also a cabinet and a counter. From here, you can head east to the dining room and south to the downstairs hall.

You can see Arthur Peabody here.
action: You talk to Arthur
response: You say hello to Arthur Peabody.

(You could ask him about himself, the first incident, the second incident, the third incident, the fourth incident, the fifth incident or the Carnival.)
action: You ask about third
response: "So, you live in the same boarding house as Andy Reynolds, the disgraced cop." you say.

"That's a little harsh, don't you think?" he asks, "But as I say, unless I have a dead body to examine, I have no professional opinion
of the matter."
action: You ask about the self
response: There is no reply.

Arthur looks to the south, into the downstairs hall.
action: You ask about Arthur
response: "What's your story, mister?" you ask.

"Nice to meet you. I'm Arthur Peabody. I'm one of the proprietors of the undertaking firm Jackson, Goldberg, & Peabody.
action: You ask about fourth
response: "Any thoughts on the town drunk's story of people in the cemetery?"
you ask.

"Nope."

Arthur stares out the window for a moment.
action: You ask about fifth
response: "What about this recent incident? Jordan McIntyre's death?" you ask.

"Well, as one of the undertakers here in town, I can tell you there
was a murder, but there wasn't hardly any body left to undertake. Something tore that man in pieces." he says with a shudder.
action: You ask about Carnival
response: "You ever visit Swan Point Carnival?" you ask Arthur Peabody.

"Hardly." is the gentleman's answer, "I am too busy to indulge in such trivialities. Plus, that place hardly looks safe."
action: You look at the counter
response: It's just a hard, wooden counter.

Arthur Peabody goes south.
action: You look at the pantry
response: It matches the cabinet.
action: You look at the cabinet
response: It matches the pantry.
action: You open the cabinet
response: Don't mess with the food. You're not that hungry and you don't want
to take other people's stuff.
action: Go east
response: This is a homey dining room with mismatched chairs and a wide table. You can see the kitchen through a doorway to the west and the foyer is to the south. The same arts-and-crafts artwork decorate the walls. Outside the windows, you can see the dogwoods on Mother Matheson's lawn.
action: You go south
response: This is a small foyer marking the entrance to the boarding house. You can see a dining room to the north, a living room to the south, and a hall stretches to the west where it seems to terminate in a room with
a lot of windows. In the downstairs hall is a set of stairs up to the second floor. The place seems to be decorated with original artwork and craftwork.
action: You go east
response: This is the front walk to Mother Matheson's boarding house, where you'll be staying. Her porch is to the west and the main road is to the east. Her lawn is dotted with dogwoods and covered in leaves.
action: You look at the dogwood
response: There are a good number of these trees. Their branches gives a
shadowy canopy over the house and yard.
action: You go east
response: You make your way down the road to the carnival.

Having made your way down the dusty road, you find the carnival.
Being very late in the season, there aren't many carnival-goers from what you can tell so far. The ticket booth stands sentinel before the fairgrounds entrance to the east. A large, sweat-soaked man stands inside the ticket booth, eyeing you expectingly.
action: You talk to the man
response: You say hello to the sweaty man.

The sweaty man wipes his brow with a dirty rag.

(You could ask him about himself, the incidents or the carnival ticket.)
action: You ask about him
response: "You don't look too comfortable in there." you say to the man, trying to break the ice.

The man just stares at you.
action: You ask about the incidents
response: "As the ticket guy here, have you seen any suspicious people lately?" you ask.

"Everyone is suspicious in my eyes." he says.
action: You ask about the ticket
response: (the ticket booth)
There is no reply.
action: You ask about the carnival ticket
response: "How does one get in the carnival?" you ask the sweaty man in the booth.

"You just buy the carnival ticket." he replies.
action: You buy the the carnival ticket
response: You speak to the sweating man in the booth. He does not speak back
but the ticket transaction still happens.

The sweaty man coughs without covering his mouth.
action: You go east
response: You are at the southern end of the carnival's main thoroughfare. The entrance to the park and its accompanying ticket booth is to the west. The security shack sits to the south. To the east is a small building with a sign saying Gift Shop on its door. The thoroughfare
continues to the north where more booths, buildings, and tents are lined up on the east side with the road to town flanking its west border.

A black cat runs by, crossing your path.
action: You go south
response: (first opening the security door)
It seems to be locked.
action: You unlock the security door with the pick
response: You clandestinely pick the lock while looking out for anyone who might see you. You feel you did it without being noticed.
action: You go south
response: (first opening the security door)

This is a one-room affair of clapboard with a pot-belly stove in one corner. By the opposite wall is a desk with accompanying chair. The exit is to the north.

You can see Jonathan Boom here.

Seeing you in the security shack, the security guard whips out his pistol and trains it on you.

"What the hell do you think you're doing in here?" he demands, but without waiting for an answer, he pistol whips you into unconsciousness.
Darkness
It is pitch dark, and you can't see a thing.
action: You check what you're carrying
response: You are carrying:
a carnival ticket
a jar of moonshine
room key
a lock pick
a fedora (being worn)
a set of ordinary clothes (being worn)
a trenchcoat (being worn and open)
a cigar lighter
a dossier (open)
the first incident
the second incident
the third incident
the fourth incident
the fifth incident
a holster (being worn)
a revolver
action: You get lighter
response: You take the cigar lighter from the trenchcoat.
action: Light lighter
response: A small flame pops from the ligher.

You switch the cigar lighter on.

This is a featureless portion of the fun house, designed only to be as dark as possible. The sides are covered in thick black curtains. You can make out passages to the south and west.
action: Go south
response: Something is wrong with this ridiculous room. It is small and cylindrical shaped and the floor is spinning counter-clockwise extremely fast. You're hard pressed to imagine any children or
elderly people traversing this terrifying fun house. You
might be able to cross safely; or the floor will spin you
wherever it chooses. Passages are north and south.
action: You go south
response: The floor of this room is severely slanted. You're not sure how this is supposed to be fun. Passages lead north and south.
action: You go to the south
response: This is a featureless portion of the fun house, designed only to be as dark as possible. The sides are covered in thick black curtains. You can make out passages to the north, west, and south.
action: Go south
response: Strangely, this entrance is unattended. The building itself is made
of numerous trailers attached to one another. A facade dresses this
up to be some sort of wondrous spectacle, but the management has not gone out of its way to hide any of the smoke-and-mirrors that support their flimsy illusion. Still, the entrance, to the north, is so dark as to be menacing in its own way. The carnival's main thoroughfare
can be reached to the south and southeast.
action: You go to the south-west
response: That leads out of the park, to the road.
action: Go southeast
response: You are on the east-west path of the carnival's main thoroughfare. To your north is the House of Mirrors. You can cut across to the north-south part of the thoroughfare by heading southwest. To the southeast is a dunk-a-clown booth.
action: You go southeast
response: You stand before a dunk-a-clown booth off the main thoroughfare.
Before you is the edge of the booth where you can talk to the carny to buy a chance to throw a ball at a target that would dunk a poor clown sitting in a dunk tank. The clown in question is a crass looking character who stares at you with crabby eyes as he chews a wet cigar
in his mouth. The carny ignores him, choosing to watch you instead.
He stands by a large box of stuffed animals. The main thoroughfare is to the north, but you can cut to it by going northeast and northwest
as well.

Randy the Clown shouts at you, "Throw the ball!"
action: You talk to the carny
response: You say hello to Terrance Valdosky.

Newspapers blow by like so much forgotten trash.

Randy the Clown shouts at you, "Just throw the ball, piss-ass!"

(You could ask him about himself, the incidents or Jonathan Boom.)
action: You ask about himself
response: The carny looks at you but shouts to the clown, "Hey, look, Randy,
it's some retarded chump!"

From his platform above the dunk tank, Randy the Clown shouts back, "Give 'em a try for free!"

The carny throws a red ball at you which you catch.

Randy the Clown shouts at you, "Bend over and I'll show ya a pizza party!"
action: You look at the ball
response: It's like a skinned baseball.

You hear the sound of laughter from somewhere, but it is a mirthless, chilling sound.

Randy the Clown shouts at you, "Do it, lady!"
action: About yourself
response: You are a private eye; a gumshoe, as they say, and you appear as such.

Randy the Clown shouts at you, "Do it, lady! Throw the ball!"
action: You ask about the incidents
response: "What do you think about the recent incidents involving the murders
and disappearances?" you ask.

"Shit's bad all over, man." is all you can get out of the carny.

You see a balloon float off in the distance.

Randy the Clown shouts at you, "Throw the ball!"
action: You ask about Boom
response: "Isn't Boom squirrely enough to be a suspect?" you mention.

"Aren't you?" you asks in return.

"Actually, no." you say.

"Oh. Well, I'm not one to say. I barely know the guy."

Randy the Clown shouts at you, "This guy ain't no pitcher! He's more like. . .diarrhea! Yeah!"
action: You throw the ball
response: Dropped.

Randy the Clown shouts at you, "You couldn't even throw a fit!"
action: You throw ball at Clown
response: (first taking the red ball)
You lack the nerve when it comes to the crucial moment.

A black cat runs by, crossing your path.

Randy the Clown shouts at you, "This shit sucks!"
action: You look at Clown
response: A true monster, you can tell as you can smell the whisky from all the way over here. His rheumy eyes stare you down. He must've terrified children and so has been relegated here, to the dunking booth.

Randy the Clown shouts at you, "Let me outta this cage and I'll show you how to throw a ball!"
action: You look at your surroundings
response: You stand before a dunk-a-clown booth off the main thoroughfare.
Before you is the edge of the booth where you can talk to the carny to buy a chance to throw a ball at a target that would dunk a poor clown sitting in a dunk tank. The clown in question is a crass looking character who stares at you with crabby eyes as he chews a wet cigar
in his mouth. The carny ignores him, choosing to watch you instead.
He stands by a large box of stuffed animals. The main thoroughfare is to the north, but you can cut to it by going northeast and northwest
as well.

You hear the sound of a child crying; echoing from somewhere nearby.

Randy the Clown shouts at you, "Bend over and I'll show ya a pizza party!"
action: You throw the ball at the target
response: You wind up and pitch the ball. It hits the target square in the center and Randy the Clown is dunked with a splash. You hear him thud on the bottom of the tank as there wasn't enough water to cushion his fall. With a crappy look on his face, he rights the platform, returns the wet cigar to his mouth, and sits again. The carny throws a
stuffed pig at you.

Newspapers blow by like so much forgotten trash.

Randy the Clown shouts at you, "Pussy!"
action: You examine the pig
response: It's a small, stuffed pig.

Something moves in the corner of your eye, but when you turn to look, nothing is there.

Randy the Clown shouts at you, "Look at you! You look like an idiot!"
action: You go to the north
response: This is the carnival's main thoroughfare running east to west. To
your north is a large building with a detailed sign stating Tunnel
of Terrors and to your south is a dunk-a-clown booth.

You can see Filmore the Clown here.

Filmore the Clown looks at you with insane eyes.
action: You talk to Filmore
response: You say hello to Filmore the Clown.

You hear the sound of laughter from somewhere, but it is a mirthless, chilling sound.

(You could ask him about himself or the incidents.)
action: You ask about the incidents
response: "Can you tell me anything about the recent incidents here?" you ask
the sad clown.

"What incidents?" he replies.

"The grisly murders and disappearances." you inform him.

"I honestly have no idea what you're on about." he confesses.
action: You ask about the himsef
response: There is no reply.

Something moves in the corner of your eye, but when you turn to look, nothing is there.
action: You ask about himself
response: "Aww," you tease, "Are you a sad clown?" noting the tears painted on his face.

"Fuck off." is the reply.

You hear a scream in the distance; perhaps from one of the rides.

Filmore the Clown dances a little soft-shoe-shuffle.
action: You go east
response: You are on the carnival's main thoroughfare. Here, it turns. You can head west toward most of the booths and tents or you can head
southeast where you can see a swan pond and a number of other buildings. In the distance there, you can see the roller-coaster and ferris wheel, among other attractions. To the immediate north is a Parisian theater, where silent films are shown, no doubt. To the southwest is a dunk-a-clown booth.
action: Go west
response: This is the carnival's main thoroughfare running east to west. To
your north is a large building with a detailed sign stating Tunnel
of Terrors and to your south is a dunk-a-clown booth.

You can see Filmore the Clown here.

Something moves in the corner of your eye, but when you turn to look, nothing is there.
action: Go north
response: This is a large wooden building with the facade painted to resemble an old castle. The ride cars used to carry two passengers through the dark interior are made to resemble coffins. These cars come out of
the facade on one side and re-enters it on the other after loading and unloading the passengers. A surly attendant watches over the operation.

Filmore the Clown arrives from the south.
action: You talk to the attendant
response: You say hello to Billy Jumpner.

Filmore the Clown goes south.

(You could ask him about himself, the incidents or Jonathan Boom.)
action: You ask about Boom
response: "What about Boom, the security guard? What kind of man is he really?" you ask, trying to sound casual.

"He likes this ride!" is the carny's response.
action: You ask about himself
response: "What's up with this ride?" you ask, "How safe is this? Are you the mechanic?"

"Hop in there, young feller, and I'll show ya how safe it is!" he smiles.
action: You ask about the incidents
response: "What can you tell me about the recent grisly incidents around here, gramps?" you ask.

"Only that people get what they deserve, they do, young feller! Now hop on and get in the dark. We'll all be in the dark soon enough!"
and he cackles with laughter.
action: Hop
response: You jump on the spot, fruitlessly.
action: You enter the car
response: You clambor aboard one of the ride cars and squeeze into the seat.

With the grinding of gears and the hiss of machinery, the ride car begins being pulled on the track and into the dark tunnel within the castle facade.

It's not long when you realize something is wrong. The track below
you makes a loud snapping noise and it suddenly dips downward into a secret cavity. The ride car, with you in it, plummets into darkness
as the passage closes above you again.

You hang on for dear life as the cart crashes downward and finally,
you are dumped into mud, somewhere deep underground.

This cave's ceiling is lost in the darkness above. The rest of it is covered in mud. Walking in here brings you up to your knees in it. Passages lead southeast, northwest, and west.

Seemingly dropped from above, a wrecked ride-car from one of the carnival's amusement rides is half-sunk in the mud here.
action: You go to the west
response: This cave opens into an irregular space, even for an underground cavern. Tight passages lead west, northeast, east, and southeast, but a wide tunnel leads south. Each passage leads into pitch darkness and the air is still and close here.
action: Go south
response: The tunnel continues here, from north to south. As it leads south, it gets much wider. This area makes you extremely uneasy, but you cannot put your finger on why.
action: You go to the south
response: You head south, for a bit, but as you continue, your fear grows and grows until it is extreme terror. There is nothing that you see or hear to cause this. It just is. Soon, you decide to turn around and explore a different tunnel.
action: Go west
response: This is a circular tunnel with no features, however, the walls are slick with moisture. Passages lead west, southwest, and east.
action: You go west
response: This is a narrow tunnel carved into the earth. It is just wide enough for you to traverse through. Passages lead northwest, east, and
south.

Standing in the chamber is a dark figure. As you look closer, you see it is a rotting corpse, yet it peers at you with eyes that are definitely alive. . .somewhat.

Standing in the chamber is a dark figure. As you look closer, you see it is a rotting corpse, yet it peers at you with eyes that are definitely alive. . .somewhat.

The hideous zombie seems barely aware of you.

The horrible zombie seems more aware of you and lashes out.
It rakes your skin with its claws and manages to bite your shoulder. You holler out in pain.
action: You shoot zombie
response: Who do you mean, the horrible zombie or the hideous zombie?
action: Horrible
response: You aren't carrying a gun.

The horrible zombie goes northwest.

The hideous zombie seems barely aware of you.
action: You get gun
response: (putting the lock pick into the trenchcoat to make room)
You take the revolver from the holster.

The hideous zombie seems barely aware of you.
action: About yourself
response: You are a private eye; a gumshoe, as they say, and you appear as such. You are wounded.

The hideous zombie goes northwest.
action: Go northwest
response: This is a low-ceilinged cave chamber. Oddly, there are balls strewn about; the kind you'd find in a child's ball pit. A trapdoor is
closed above you. A tunnel leads into pitch darkness to the
southeast.

Standing in the chamber is a dark figure. As you look closer, you see it is a rotting corpse, yet it peers at you with eyes that are definitely alive. . .somewhat.

Standing in the chamber is a dark figure. As you look closer, you see it is a rotting corpse, yet it peers at you with eyes that are definitely alive. . .somewhat.

The hideous zombie seems barely aware of you.

The horrible zombie seems barely aware of you.
action: You examine the balls
response: They are scattered about the cave, probably having fallen from the trapdoor above, perhaps. Now, they sit in the dust and dirt of the cave.

The hideous zombie goes southeast.

The horrible zombie seems barely aware of you.
action: Up
response: You find yourself waist deep in a room full of small, rubber balls.
How this is fun, you've no clue. Passages lead north, where you hear
a popping sound and to the east where you hear the sound of air-jets.
action: You go north
response: This is a dizzying and disorienting room. Flashes of light strobe
from every wall and corner. The pop of flashbulbs echo about and your eyes are stung by the bright flashing. It's nothing short of a nightmare. Passages lead east and south.
action: You go east
response: The flashing is so disorienting, you aren't sure what exit you took.

You find yourself waist deep in a room full of small, rubber balls.
How this is fun, you've no clue. Passages lead north, where you hear
a popping sound and to the east where you hear the sound of air-jets.
action: Search balls
response: You feel around the rubber balls for the floor and immerse yourself in them to search even better. It's not long before you find a trapdoor in the floor.
action: You go to the east
response: This is a featureless box of a room with the exception that there are numerous, small dark holes randomly drilled into the walls. Immediately, you can tell that air jets are sporadically shooting air at a high pressure through these holes by the loud noises coming from the walls. Passages lead west and south.
action: You get ball
response: You don't want to take one of these balls; with so many people playing in here through the years, you'd probably catch pink-eye.
action: You look at holes
response: You can tell that air jets are behind the wall, violently shooting high-pressured air through the small holes.
action: Go south
response: A jet of air blasts you in the ear, knocking your fedora off your
head.

This is a fairly standard fun house room. It tricks the eye of a person on one side of the room to think that the people on the other side are giants. It all has to do with where you stand as well has
how lines are painted in the room. To you, it's quite mundane and the room seems to have nothing else to offer. Passages go north and west.
action: Go north
response: This is a featureless box of a room with the exception that there are numerous, small dark holes randomly drilled into the walls. Immediately, you can tell that air jets are sporadically shooting air at a high pressure through these holes by the loud noises coming from the walls. Passages lead west and south.

You can see a fedora here.
action: You get hat
response: (putting room key into the trenchcoat to make room)
You pick up the fedora from the ground.
action: Go south
response: This is a fairly standard fun house room. It tricks the eye of a person on one side of the room to think that the people on the other side are giants. It all has to do with where you stand as well has
how lines are painted in the room. To you, it's quite mundane and the room seems to have nothing else to offer. Passages go north and west.
action: Go west
response: This room has a sunken floor and there are a small set of steps that lead down to it from both the eastern and southern exits. Unseen machinery in the walls make all of these steps shake back and forth. This foolishness would normally just cause one to lose balance and giggle, but the machinery is pumping so noisily and furiously that the shaking is extreme, to say the least.
action: You go east
response: You are jostled enough to drop one of your items.

This is a fairly standard fun house room. It tricks the eye of a person on one side of the room to think that the people on the other side are giants. It all has to do with where you stand as well has
how lines are painted in the room. To you, it's quite mundane and the room seems to have nothing else to offer. Passages go north and west.
action: Go west
response: This room has a sunken floor and there are a small set of steps that lead down to it from both the eastern and southern exits. Unseen machinery in the walls make all of these steps shake back and forth. This foolishness would normally just cause one to lose balance and giggle, but the machinery is pumping so noisily and furiously that the shaking is extreme, to say the least.

You can see a stuffed pig here.
action: Go south
response: This room comes out of the archetypal fear all children have for clowns. Many mannequins are positioned here; faceless except for smeared clown make-up. They are mockeries of clowns, if anything, and their arms stretch out akimbo, reaching for passers-by. Passages lead north and east.
action: You get pig
response: You pick up the stuffed pig from the ground.
action: Go south
response: You are jostled enough to drop one of your items.

This room comes out of the archetypal fear all children have for clowns. Many mannequins are positioned here; faceless except for smeared clown make-up. They are mockeries of clowns, if anything, and their arms stretch out akimbo, reaching for passers-by. Passages lead north and east.
action: Go north
response: This room has a sunken floor and there are a small set of steps that lead down to it from both the eastern and southern exits. Unseen machinery in the walls make all of these steps shake back and forth. This foolishness would normally just cause one to lose balance and giggle, but the machinery is pumping so noisily and furiously that the shaking is extreme, to say the least.

You can see a jar of moonshine here.
action: You get the jar
response: You pick up the jar of moonshine from the ground.
action: Go east
response: Maybe once this room was to simply spray a fine mist from the corners, but now, instead, they blast dirty water at fire-house strength. The water pools in the center of this weird room, and empties through a drain in the floor. Passages lead east and west.
action: You examine the drain
response: It's a rusty drain. It's too small to think about squeezing through.
action: Go east
response: This is a featureless portion of the fun house, designed only to be as dark as possible. The sides are covered in thick black curtains. You can make out passages to the north, west, and south.
action: Go north
response: The floor of this room is severely slanted. You're not sure how this is supposed to be fun. Passages lead north and south.
action: You go north
response: Something is wrong with this ridiculous room. It is small and cylindrical shaped and the floor is spinning counter-clockwise extremely fast. You're hard pressed to imagine any children or
elderly people traversing this terrifying fun house. You
might be able to cross safely; or the floor will spin you
wherever it chooses. Passages are north and south.
action: You go to the north
response: The room spins and jostles you. You find yourself in the. . .

This is a featureless portion of the fun house, designed only to be as dark as possible. The sides are covered in thick black curtains. You can make out passages to the south and west.
action: You look at curtains
response: You can't see any such thing.

They are thick, heavy black curtains.
action: You get the curtains
response: That's hardly portable.
action: You go west
response: This is a circular tunnel running east to west. It is spinning, of course, but rather than whimsically spinning slow enough to keep one off-balance and amused, this one is spinning out-of-control. The tunnel goes east to west.
action: Go west
response: The tunnel spins beneath your feet, knocking you off balance. You are unable to make any progress.
action: You go to the west
response: The tunnel spins beneath your feet, but you keep your balance and make it through.

This is a dizzying and disorienting room. Flashes of light strobe
from every wall and corner. The pop of flashbulbs echo about and your eyes are stung by the bright flashing. It's nothing short of a nightmare. Passages lead east and south.
action: Go south
response: The flashing is so disorienting, you aren't sure what exit you took.

This is a circular tunnel running east to west. It is spinning, of course, but rather than whimsically spinning slow enough to keep one off-balance and amused, this one is spinning out-of-control. The tunnel goes east to west.
action: You go to the south
response: The tunnel spins beneath your feet, but you keep your balance and make it through.

You can't go that way.
action: Go downwards
response: Before exploring this underworld, you feel you should investigate more attractions topside.
action: You go east
response: The tunnel spins beneath your feet, but you keep your balance and make it through.

This is a featureless portion of the fun house, designed only to be as dark as possible. The sides are covered in thick black curtains. You can make out passages to the south and west.
action: Go south
response: Something is wrong with this ridiculous room. It is small and cylindrical shaped and the floor is spinning counter-clockwise extremely fast. You're hard pressed to imagine any children or
elderly people traversing this terrifying fun house. You
might be able to cross safely; or the floor will spin you
wherever it chooses. Passages are north and south.
action: You go south
response: The floor of this room is severely slanted. You're not sure how this is supposed to be fun. Passages lead north and south.
action: You go to the south
response: This is a featureless portion of the fun house, designed only to be as dark as possible. The sides are covered in thick black curtains. You can make out passages to the north, west, and south.
action: Go south
response: Strangely, this entrance is unattended. The building itself is made
of numerous trailers attached to one another. A facade dresses this
up to be some sort of wondrous spectacle, but the management has not gone out of its way to hide any of the smoke-and-mirrors that support their flimsy illusion. Still, the entrance, to the north, is so dark as to be menacing in its own way. The carnival's main thoroughfare
can be reached to the south and southeast.
action: Go south
response: This is the northern end of the carnival's main thoroughfare where it turns to the east. To the south, the thoroughfare stretches with the road flanking its western side and a line of tents, buildings, and booths lining the east side. To the east, the thoroughfare continues deeper into the carnival grounds. To the southeast is a baseball toss booth and to your north is the funhouse, standing ominous and decaying in the autumn sun.

You hear the distant sound of a carnival barker.
action: You go to the east
response: You are on the east-west path of the carnival's main thoroughfare. To your north is the House of Mirrors. You can cut across to the north-south part of the thoroughfare by heading southwest. To the southeast is a dunk-a-clown booth.

You see a couple of teenaged hooligans loitering around the carnival. They see you and quickly move on.
action: You go east
response: This is the carnival's main thoroughfare running east to west. To
your north is a large building with a detailed sign stating Tunnel
of Terrors and to your south is a dunk-a-clown booth.

You can see Wilberforce Wyatt here.

Janice Parker arrives from the north.
action: You talk to Janice
response: You say hello to Janice Parker.

(You could ask her about the incidents.)
action: You ask about the incidents
response: "Have you seen anything untoward in this place? Any people I should ask about the murders and disappearances?" you inquire.

She seems to brighten at your question. "Yes!" she says, "I've been keeping records on the carnival and these murders and disappearances aren't isolated to this season. People have been going missing for years here, it's just that lately, it's gotten worse. If you stopped by the library sometime, I can show you the records." she tells you this but she's already told you all you need to know. You thank her for her time.

Wilberforce Wyatt takes off his cowboy hat, dusts it briefly, then returns it to his head.
action: You examine janice
response: Miss Parker is the town's young librarian and looks the part.

Janice Parker goes west.

Wilberforce Wyatt seems to survey the area.
action: You examine Wyatt
response: This dark, handsome man in his late 40's is the owner and manager of the carnival. You can tell this by the way he carries himself and gives orders to any carnies within earshot. He is impeccably dressed as a stage cowboy and is the wealthiest-appearing man in the carnival.

Wilberforce Wyatt takes off his cowboy hat, dusts it briefly, then returns it to his head.
action: You talk to Wyatt
response: You say hello to Wilberforce Wyatt.

Wilberforce Wyatt quietly watches the few carnival-goers that walk by.

(You could ask him about himself, the incidents or Jonathan Boom.)
action: You ask about himself
response: "You look like some sort of carnival cowboy." you say but you immediately notice that you've offended this man. Still, he
is dressed to the nines in a shiny, white, expensive-looking
cowboy outfit.

"No, sir, I am Wilberforce Wyatt, the owner and manager of this fine carnival. Now, if you'll excuse me, sir, I have much better things to do."
action: You ask about the incidents
response: "Anything you can tell me about the recent incidents? The murders and disappearances?" you ask.

"Just some bad luck and misadventure, unfortunately. Nothing for you to worry about." he says with a smile, "Please enjoy your stay in my park."

Something moves in the corner of your eye, but when you turn to look, nothing is there.

Wilberforce Wyatt smooths his mustache.
action: You ask about Boom
response: "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.
action: You go east
response: You are on the carnival's main thoroughfare. Here, it turns. You can head west toward most of the booths and tents or you can head
southeast where you can see a swan pond and a number of other buildings. In the distance there, you can see the roller-coaster and ferris wheel, among other attractions. To the immediate north is a Parisian theater, where silent films are shown, no doubt. To the southwest is a dunk-a-clown booth.
action: You go north
response: (first opening the red door)

Coming in from the bright, autumn sunlight, it takes a moment for your eyes to adjust. You find yourself in a dark lobby, dimly lit by a couple of wall lamps in an attempt at an ersatz Hollywood theater.
The theater itself is beyond a curtain to the north. An attendant, dressed in a poorly-fitting belhop uniform, sits on a stool, allowing admittance.

You can see Edgar Coombs here.

Edgar Coombs goes north.
action: You talk to the attendant
response: You say hello to George Suggs.

Edgar Coombs arrives from the north.

(You could ask him about himself or the incidents.)
action: You ask about himself
response: "You run the theater?" you ask the belhop-looking carny.

"Yeah. Showin' Felix the Cat. Yes! Again!"

Edgar Coombs goes north.
action: You ask about the incidents
response: "What do you know about the deaths that have happened recently?" you ask.

He looks at you while picking his teeth with his tongue. "You wanna watch the flick or not?" is all he says.

Edgar Coombs arrives from the north.
action: You talk to Edgar
response: You say hello to Edgar Coombs.

Edgar Coombs goes south.

(You could ask him about himself or the incidents.)
action: Go south
response: You are on the carnival's main thoroughfare. Here, it turns. You can head west toward most of the booths and tents or you can head
southeast where you can see a swan pond and a number of other buildings. In the distance there, you can see the roller-coaster and ferris wheel, among other attractions. To the immediate north is a Parisian theater, where silent films are shown, no doubt. To the southwest is a dunk-a-clown booth.

You can see Filmore the Clown here.

Filmore the Clown goes southwest.
action: You go southeast
response: This is the northern edge of a natural looking swan pond. It was installed in the center of the park as if the park was built around
it. True to its name, swans lazily drift about on its surface. The carnival's main thoroughfare is to the northwest. You can walk around the pond to the southeast or southwest. The men's restroom building
is to the north and the women's is to the east. Between them, to the northeast, is a small path leading to the House of Freaks. To the
west is the ice house.

version of Blue Danube.
action: You go northeast
response: The front of this building is dressed up to appear as a large circus tent. Two entrances allow visitors to choose which direction to take this tour of freaks; north or northwest. The north side of the swan pond can be reached by heading southwest. A wooded path leads southeast. A carnival barker shouts at any who would hear; hustling them to enter the building and experience the grotesque wonders
within.
action: Go north
response: You enter the House of Freaks. . .

The inside of this building is made of a hall with cubicles built on the sides to display the freaks. The place is fetid and rank with an odor as persistent as it is undefinable. You will certainly never forget it. On the east wall, bars prevent you from entering the cubicle of Wong Fu Ji, The Amazing Indian Rubber Man.
Opposite him, on the west wall, you can see through bars to Rondo Moresby, The Most Horrible Man in America. Signs below the
bars tell you this information. The house continues to the north and the exit is to the south.
action: You examine Rondo
response: Rondo Moresby is an extremely grotesque individual. He simply sits on a stool to be stared at as an ugly, ugly man.
action: You talk to Rondo
response: You say hello to Rondo Moresby.

(You could ask him about himself or the incidents.)
action: You ask about himself
response: "Well, what's your story?" you ask the unfortunate looking man.

"Just a freak. Like you." he says, "Keep it moving, this ain't a peep show."

"That's almost exactly what it is." you tell him.

"Look, buddy, if the sidewalk were made of cocks, you'd find a way to walk on yer ass. Now keep it moving!"

Yeah?," you say, "Well, if assholes could fly, this carnival would be an airport."
action: You go north
response: You can't reach him, nor should you.

The inside of this building is made of a hall with cubicles built on the sides to display the freaks. The place is fetid and rank with an odor as persistent as it is undefinable. You will certainly never forget it. You are further within the House of Freaks and the hall turns here. You can either go west or south. Cubicles with bars
exist in the north wall and the east wall. Signs here indicate that the resident of the north cell is Fatima Flores, The Fat
Lady, and sure enough, she's at least 500 pounds. The east cell
is evidently Co-Co, The Dog Boy, whom, you can see, is really
nothing more than a hirsute and deformed congenital idiot.
action: Go west
response: The inside of this building is made of a hall with cubicles built on the sides to display the freaks. The place is fetid and rank with an odor as persistent as it is undefinable. You will certainly never forget it. You are further within the House of Freaks and the hall turns here. You can head east or south. Bars cover cubicle cells to the north and west. Signs here indicate that the north is occupied by the Two-Headed Dog and the west houses the Horror From
The Deep.
action: You examine Horror
response: This is a thing in a large stagnant tank of brine. It
appears to be an octopus with human hands sewn on the ends of the tentacles. It's dead, of course, but the overall effect is ghastly. Plus, doesn't anyone else notice the obvious human hands in the tank?
action: Go south
response: The inside of this building is made of a hall with cubicles built on the sides to display the freaks. The place is fetid and rank with an odor as persistent as it is undefinable. You will certainly never forget it. The hall continues into the House of Freaks to the north and the exit is to the southeast. There are three barred cubicle
cells here; one on each of the east, west, and south walls. Signs indicate that the east cell is home to The Astounding Mushroom
Man, the west cell houses what looks like a real, but stuffed, five-legged calf, and the south is a cell holding the
What-Is-It.
action: You look at what-is-it
response: In the cell is a small pool of black liquid. In the pool is a large tentacle; about eight feet long and a foot thick. You've never seen anything like it. It is dead, of course, but doesn't have the suction pads on it as an octopus's tentacle would have. The more you consider it, the more disturbing it is to you.
action: You go southeast
response: The front of this building is dressed up to appear as a large circus tent. Two entrances allow visitors to choose which direction to take this tour of freaks; north or northwest. The north side of the swan pond can be reached by heading southwest. A wooded path leads southeast. A carnival barker shouts at any who would hear; hustling them to enter the building and experience the grotesque wonders
within.
action: You go southeast
response: This is a forked path amid some trees. From here, you can head northwest to the House of Freaks. The carousel is nearby and you can reach the north side of it by heading east or the west side by heading south.
action: Go east
response: You are on the north side of a once-grand carousel. You can tell she was, at one time, a glamorous machine that delighted families for many years, but now, the faded paint and chipped wood gives her an almost-sinister air. A path into some trees heads west. You can walk around the carousel to the southeast and southwest. The carousel is spinning somewhat fast. In fact, you're not certain you'd safely make it on there if you tried, unless you jumped, maybe. It spins in silence, the music having stopped long ago.

You see a balloon float off in the distance.
action: You jump
response: You safely hop onto the spinning carousel.

You are on a once-grand carousel that is spinning rather rapidly. The horses and other animals of the ride are chipping their paint and cracking their wood, making them ugly, frightening things. A maintainance door leads into the center portion of the carousel, but
as it is spinning rather fast, it would be a challenge to get in
there.
action: You enter door
response: You make an attempt at opening the door, but the carousel is spinning
a bit too rapidly. Maybe next time, you'll have better luck.
action: You enter door
response: door.

You are in the center of the carousel. Gears and cogs grind and spin, keeping the ride in rapid motion. A door leads out to the ride to the east and a ladder leads down into darkness. The smell of grease and smoke fills your nose and the sound of the gears grinding fills your ears.
action: Go downwards
response: This is a small cave cluttered with random junk. Bits of metal,
pipes, tubing, cogs, and bolts litter the ground. A ladder leads upwards through a hole in the rock and some floorboards beyond. The only passage leads northwest.
action: You go to the north-west
response: This cave has a very low ceiling and you are forced to stoop over as you walk through it. Passages lead west and southeast.
action: You go west
response: This is a curving, wet tunnel which is slippery to traverse. It bends from the northwest to the east.
action: Go northwest
response: You stand on a natural bridge over a dark and turbulent underground river flowing to the southwest. The bridge spans northwest to southeast and, of course, it looks ridiculously dangerous to cross as the surface of the stone is slick with moisture.
action: Go northwest
response: You slip on the slick stone of the bridge and plummet into the turbulent underground river. The black water rushes over you and
takes your breath away as it is almost freezing, this late in the season. You are swept along with the current until you wash up on a.
. .

This is the muddy shore of a fast-moving underground river. The river flows from the northeast to the southwest and a passage leads into darkness to the west. The sound of rushing water echoes about in this chamber.

It is now pitch dark in here!
action: You go northwest
response: In this large but low-ceilinged chamber, the stalagmites and stalactites have merged, making a strange, natural temple of pillars. Passages lead north, southeast, and southwest.
action: You go to the southwest
response: You jump, feet-first, into the turbulent underground river. The black water rushes over you and takes your breath away as it is almost freezing, this late in the season. You are swept along with the current until you wash up on a. . .

This is the muddy shore of a fast-moving underground river. The river flows from the northeast to the southwest and a passage leads into darkness to the west. The sound of rushing water echoes about in this chamber.

It is now pitch dark in here!
action: Light lighter
response: That's already on.
action: You turn off lighter
response: You cap the lighter's flame.

You switch the cigar lighter off.
action: You turn on lighter
response: A small flame pops from the ligher.

You switch the cigar lighter on.

This is a small cave and every surface is covered with some sort of sickening slime. Your shoes make nauseating squishing sounds as you traverse the chamber. Also, it smells like a hobo's asshole in here. Passages lead north and east.
action: Go north
response: on flushing the sewage from the room above. Where it goes, you cannot say. Passages lead northeast, northwest, southwest,  and south. You see a trapdoor closed above you.

Standing in the chamber is a dark figure. As you look closer, you see it is a rotting corpse, yet it peers at you with eyes that are definitely alive. . .somewhat.

The horrible zombie attacks you again and, somehow, it is quicker than you anticipated. It tears you to shreds.
action: You go east
response: This is the muddy shore of a fast-moving underground river. The river flows from the northeast to the southwest and a passage leads into darkness to the west. The sound of rushing water echoes about in this chamber.
action: You go northeast
response: It would be impossible to swim up that river.
action: Go southwest
response: You decide against jumping into the river as you've no guarantee it will even take you anywhere before you eventually drown.

The horrible zombie arrives from the west.

The horrible zombie attacks you. Luckily, the zombie misses you as
you deftly dodge.
action: Go west
response: This is a small cave and every surface is covered with some sort of sickening slime. Your shoes make nauseating squishing sounds as you traverse the chamber. Also, it smells like a hobo's asshole in here. Passages lead north and east.
action: You go to the north
response: on flushing the sewage from the room above. Where it goes, you cannot say. Passages lead northeast, northwest, southwest,  and south. You see a trapdoor closed above you.

Standing in the chamber is a dark figure. As you look closer, you see it is a rotting corpse, yet it peers at you with eyes that are definitely alive. . .somewhat.

The hideous zombie goes northwest.
action: Up
response: (first opening the trapdoor)
It seems to be locked.
action: You unlock the trapdoor with the pick
response: (first taking the lock pick)
(putting the carnival ticket into the trenchcoat to make room)
That doesn't seem to fit the lock.

The hideous zombie arrives from the northwest.

The hideous zombie seems barely aware of you.
action: You shoot zombie
response: You fire a few rounds into the walking corpse but it is unaffected by your attack with the revolver.

The hideous zombie attacks you but luckily, the zombie misses you as you deftly dodge.
action: Attack zombie with lighter
response: That wouldn't be too effective, you feel.

The hideous zombie seems barely aware of you.
action: You go to the southeast
response: You stand on a natural bridge over a dark and turbulent underground river flowing to the southwest. The bridge spans northwest to southeast and, of course, it looks ridiculously dangerous to cross as the surface of the stone is slick with moisture.

Standing in the chamber is a dark figure. As you look closer, you see it is a rotting corpse, yet it peers at you with eyes that are definitely alive. . .somewhat.

The horrible zombie goes southeast.
action: You go to the north
response: This is, by far, the largest cavern you've explored so far. In the center is a large, scum-covered pool of black water. From the corner of your eye, when you aren't looking, you think there is
movement within it. Near the edge on one of the pool's sides is a wooden podium and a number of wooden benches set up like some sort of blasphemous church. A wide tunnel leads east while smaller passages lead west and south.

On the wooden podium is a stained notebook.
action: You read the notebook
response: (putting the revolver into the trenchcoat to make room)
You take the stained notebook from the wooden podium.

The first page tells you its title: Translation of the Black Book
of Shudde M'ell. It goes on to a litany regarding huge,
tentacled worms that burrow beneath the earth. Apparently, it is a book for worshipping these dreaded horrors. Before closing the book, you see it also contains instructions for human sacrifice as well as the creation of zombies. Near the back is a list, written in blood,
in various handwritings, of the names of the carnies with the head signature: WIlberforce Wyatt. With this damning evidence,
you should confront Wyatt and get this carnival of cultists shut down.
action: You get it
response: You already have that.
action: You go to the east
response: This is the widest tunnel you've seen in this underground labrynth.
It originates from the room with the black pool to the west and it recedes into darkness to the east. You have a very uneasy feeling about this tunnel.
action: You go east
response: You walk east for as long as your willpower allows, but the terror creeps up in your brain and you quickly walk back to near the
beginning of the tunnel.
action: Go west
response: This is, by far, the largest cavern you've explored so far. In the center is a large, scum-covered pool of black water. From the corner of your eye, when you aren't looking, you think there is
movement within it. Near the edge on one of the pool's sides is a wooden podium and a number of wooden benches set up like some sort of blasphemous church. A wide tunnel leads east while smaller passages lead west and south.
action: Go west
response: The stench in this cave is overwhelmingly disgusting. The reason why is evident enough; numerous corpses, in various states of decay, hang from chains fastened to the ceiling. Passages lead northwest, where
an eerie, rosy glow seems to emenate, and east, into more darkness.
action: Go northwest
response: This cave's ceiling is lost in the darkness above. The rest of it is covered in mud. Walking in here brings you up to your knees in it. Passages lead southeast, northwest, and west.

Seemingly dropped from above, a wrecked ride-car from one of the carnival's amusement rides is half-sunk in the mud here.
action: You look at the corpses
response: There are twelve of them of various ages and in various stages of decay.
action: Search corpses
response: You try not to touch anything gross, but since most of the corpses are still wearing the clothes in which they were murdered, you search a pocket or two. Eventually, you find a library card, of all things.
action: Go northwest
response: You stand in a small cave with a ladder leading upwards into darkness. Narrow passages lead southeast and southwest.
action: Up
response: This is a dark, stuffy passage. A ladder leads down into a dark pit and the south wall seems to be a slightly askew door of some sort.
action: You go south
response: You are in a maze of mirrored walls. Reflections of yourself recede into infinity. The north mirror looks slightly askew. You
think you can go west, and south.
action: You go south
response: You are in a maze of mirrored walls. Reflections of yourself recede into infinity. You think you can go north, northwest, west,
and southwest.
action: You go southwest
response: You are in a maze of mirrored walls. Reflections of yourself recede into infinity. You think you can go north and northeast
deeper into the maze. The door back outside is to the south.
action: Go south
response: (first opening the mirrored door)

You are on the east-west path of the carnival's main thoroughfare. To your north is the House of Mirrors. You can cut across to the north-south part of the thoroughfare by heading southwest. To the southeast is a dunk-a-clown booth.
action: You go east
response: This is the carnival's main thoroughfare running east to west. To
your north is a large building with a detailed sign stating Tunnel
of Terrors and to your south is a dunk-a-clown booth.
action: You go east
response: You are on the carnival's main thoroughfare. Here, it turns. You can head west toward most of the booths and tents or you can head
southeast where you can see a swan pond and a number of other buildings. In the distance there, you can see the roller-coaster and ferris wheel, among other attractions. To the immediate north is a Parisian theater, where silent films are shown, no doubt. To the southwest is a dunk-a-clown booth.

You smell hot dogs for a brief moment, but then it goes away.
action: You go to the southeast
response: This is the northern edge of a natural looking swan pond. It was installed in the center of the park as if the park was built around
it. True to its name, swans lazily drift about on its surface. The carnival's main thoroughfare is to the northwest. You can walk around the pond to the southeast or southwest. The men's restroom building
is to the north and the women's is to the east. Between them, to the northeast, is a small path leading to the House of Freaks. To the
west is the ice house.
action: You go southeast
response: You are at the eastern side of a natural looking swan pond. It was installed in the center of the park as if the park was built around
it. True to its name, swans lazily drift about on its surface. You can walk around the pond to the northwest and southwest. To your
east, the carousel summons you with its hurdy-gurdy music. In the distance to the southwest, you can see the roller coaster and ferris wheel.

You hear a scream in the distance; perhaps from one of the rides.
action: You go southwest
response: This is the southern point of a natural looking swan pond. It was installed in the center of the park as if the park was built around
it. True to its name, swans lazily drift about on its surface. You can walk around the pond to the northeast or northwest. From here,
you can also walk a path to the ferris wheel to the southeast.
action: Go southeast
response: A young and tall carny mans this ride, assisting any carnival-goers on and off the ferris wheel. At this time of season, those
carnival-goers are few and far between. The ferris wheel itself is surprisingly sturdy in its appearance, however, like all things in
this carnival, it needs a fresh coat of paint. For some reason, this seems to be an extra-tall ferris wheel, larger than the one in Coney Island, from what you can remember. The Ferris wheel sits by the river, on the edge of the carnival. The only path is back to the swan pond to the northwest.

You can see Royce Brunner here.
action: You go northwest
response: You are at the western portion of a natural looking swan pond. It was installed in the center of the park as if the park was built around
it. True to its name, swans lazily drift about on its surface. From here, you can walk around the pond to the northeast or the southeast.
A path leads south to the roller coaster.

You smell a pungent smell of burning meat.
action: You go south
response: This is a picnic area for the carnival. A large wooden roof is held over some empty picnic tables. A trash can accompanies the area.
Here, at the end of the season, the place is desolate. The roller coaster, a scary and cantankerous wooden contraption, is to the south. Once in awhile, the coaster's cars can be seen and heard traversing
its slopes, but when you look, you don't see any riders on it. A path leads back to carnival to the north and the coaster's entrance is to the south.

You can see Elmer Walker here.

Standing around as if waiting for someone is your client, of all people: the police chief Elmer Walker. He waves at you while wiping his brow and popping a heart pill due to his extreme obesity.

"What are you doing here?" you ask as you approach.

"I came to see how you're coming along. Join me on the coaster." he says and he heads south.
action: You go south
response: A carny guards this entrance. He is the greasiest you've seen thus far. The entrance leads to the track where the cars wait for passengers. You can leave the roller coaster area and reach it's picnic pavillion by heading north.

You can see Elmer Walker and Greasy Pete here.

The carny nods his head to the two of you to board the cars and, dutifully, you do so. Elmer, being obese, has already tilted the car
a bit off the track, terrifying you already.

The cars are pulled up the hill by the lift chain and Elmer begins talking to you. "So, detective, I wanted to let you know that I went to the asylum and visited that poor Kent Howard boy: the one from the first incident report. I couldn't get much out of him, the way he babbles now about horrors from the grave and such, but one thing he said really struck me as odd." the police chief pops another heart
pill and the cars reach the first peak.
action: You show the notebook to Elmer
response: You aren't able to do that while riding on a rickety roller coaster.

The car suddenly drops down the first hill. WInd whips your ears and your gut sinks as your plummet. Strangely, Elmer keeps talking as if the two of you are simply seated on a park bench, "The lad said that the biggest corpse in the whole world must be buried under the
cemetery where he and Lucy were attacked."

Elmer's bulk. He doesn't seem to notice and instead, keeps talking.
action: You wait awhile
response: Time passes.

"I asked him why he said that," Elmer says, "And the boy says to me, because of the maggots. Such big maggots must come from a big
man's body."

down on a row of small hills in the track. You start to feel sick. Elmer turns to you and asks, "Have you found out anything, or are you just farting around here?"
action: You show the notebook to Elmer
response: You aren't able to do that while riding on a rickety roller coaster.

"Well," you tell him, trying to speak over the noise of the coaster,
"I discovered there are passages to some underground lair here."

"Interesting." Elmer says, but he seems not too phased about what you just told him. "Just keep at it. Be sure to really check out the fun house, that mirror house, and that carousel, for sure. We'll meet up again soon." and no sooner does he say this, the ride comes to a stop and you disembark with your obese client. Without saying anything more, he wanders off, not wanting to be seen too long with you.
action: Look around
response: A carny guards this entrance. He is the greasiest you've seen thus far. The entrance leads to the track where the cars wait for passengers. You can leave the roller coaster area and reach it's picnic pavillion by heading north.

You can see Greasy Pete here.
action: You go north
response: This is a picnic area for the carnival. A large wooden roof is held over some empty picnic tables. A trash can accompanies the area.
Here, at the end of the season, the place is desolate. The roller coaster, a scary and cantankerous wooden contraption, is to the south. Once in awhile, the coaster's cars can be seen and heard traversing
its slopes, but when you look, you don't see any riders on it. A path leads back to carnival to the north and the coaster's entrance is to the south.
action: Go north
response: You are at the western portion of a natural looking swan pond. It was installed in the center of the park as if the park was built around
it. True to its name, swans lazily drift about on its surface. From here, you can walk around the pond to the northeast or the southeast.
A path leads south to the roller coaster.
action: You go to the northeast
response: This is the northern edge of a natural looking swan pond. It was installed in the center of the park as if the park was built around
it. True to its name, swans lazily drift about on its surface. The carnival's main thoroughfare is to the northwest. You can walk around the pond to the southeast or southwest. The men's restroom building
is to the north and the women's is to the east. Between them, to the northeast, is a small path leading to the House of Freaks. To the
west is the ice house.

Newspapers blow by like so much forgotten trash.
action: Go north
response: (first opening the restroom door)

You are in the men's restroom for the carnival. A long pee trough, of all horrible things, sits against one wall and a single toilet sits in the corner. They really spared every expense for these accomodations, you think. A perfectly visible trapdoor leads downward to who-knows-where and the exit back to the park is south.

You can see Nuncio the Strongman here.
action: Go west
response: (first opening the blue door)
It seems to be locked.
action: You unlock the blue Door with the pick
response: You clandestinely pick the lock while looking out for anyone who might see you. You feel you did it without being noticed.

You hear the sound of laughter from somewhere, but it is a mirthless, chilling sound.
action: Go west
response: (first opening the blue door)

This is a small, concrete building with the apparatus necessary for
the production and storage of block ice. The exit is a blue door to the east. It is very cold in here and you can see your breath in
white mist before you.

You can see an ice block here.
action: You get the ice
response: It's far too big and heavy.
action: You examine the ice
response: It is larger than a man and must weigh a ton. You can see that it
sits on a trapdoor.
action: Go down
response: (first opening the trapdoor)

This is a very cold, small cave. There are no features except for a trapdoor that is open above you. A passage leads northeast.
action: Go upward
response: This is a small, concrete building with the apparatus necessary for
the production and storage of block ice. The exit is a blue door to the east. It is very cold in here and you can see your breath in
white mist before you.

You can see an ice block here.
action: You go west
response: This is the carnival's main thoroughfare running east to west. To
your north is a large building with a detailed sign stating Tunnel
of Terrors and to your south is a dunk-a-clown booth.

Something moves in the corner of your eye, but when you turn to look, nothing is there.
action: Go west
response: This is the northern end of the carnival's main thoroughfare where it turns to the east. To the south, the thoroughfare stretches with the road flanking its western side and a line of tents, buildings, and booths lining the east side. To the east, the thoroughfare continues deeper into the carnival grounds. To the southeast is a baseball toss booth and to your north is the funhouse, standing ominous and decaying in the autumn sun.
action: Go south
response: This is near the northern end of the carnival's main thoroughfare, running north and south. You can cut across to where the thoroughfare turns by heading northeast. The western border is the road back to town and the eastern border is flanked with buildings, tents, and booths. To your immediate east is a booth with a sign hanging above
it stating Baseball Toss.
action: You go south
response: You are on the carnival's main thoroughfare, running north to south. The western border is the road back to town and the eastern border is flanked with buildings, tents, and booths. To your immediate east is
a tent with a sign hanging above the entrance stating Fortune
Teller.
action: Go east
response: You make your way inside the tent.

This is a gaudy, theatrically decorated gypsy tent smelling of incense and cigarette smoke. Glass baubles dangle and an enshrouded table holds a large crystal ball. The tent's exit is to the west.

Sitting on one side of the crystal ball is a woman, dressed as a
gypsy, and smoking a cigarette.
action: You examine the gypsy
response: If she's a real fortune-telling gypsy, then you're Fatty Arbuckle.
action: You talk to the gypsy
response: You say hello to Madam Zarah.

(You could ask her about herself, the incidents, Wilberforce Wyatt or Jonathan Boom.)
action: You ask about Wyatt
response: "Can you tell me anything about Wilberforce Wyatt?" you ask.

"He owes me my last paycheck, that's what I can tell you, mister." she says. "I don't trust him or any of the other full-time carny folk around here."
action: You ask about herself
response: "Fortune teller, huh? Not a real gypsy, I hope." you say.

"I am Madam Zarah!" she says, snubbing out her cigarette, "And I can tell you your future! Would you like to know what I see?" she asks.
action: Yes
response: "Sure, why the hell not?" you say.

Madam Zarah looks into the crystal ball and makes a show as if she's seeing the most paranormal things within. You roll your eyes.

"I see you going down into darkness" she says, "I see you becoming
lost down there. I see large things moving down there with you.
There are evil forces against you!" she cries.

"Splendid." you say.
action: Go west
response: You exit the flap of the tent.

You are on the carnival's main thoroughfare, running north to south. The western border is the road back to town and the eastern border is flanked with buildings, tents, and booths. To your immediate east is
a tent with a sign hanging above the entrance stating Fortune
Teller.
action: You go south
response: This is the carnival's main thoroughfare, running north and south.
The western border is the road back to town and the eastern border is flanked with buildings, tents, and booths. To your immediate east is
a small building with a sign on the door reading Manager's
Office.
action: You go east
response: (first opening the manager's door)
It seems to be locked.
action: You unlock the Door with the pick
response: You clandestinely pick the lock while looking out for anyone who might see you. You feel you did it without being noticed.

You hear a scream in the distance; perhaps from one of the rides.
action: Go east
response: (first opening the manager's door)

The interior of this cottage-like building is nicely decorated. A large desk for the manager sits near a fabric sofa. A first-aid cabinet, clearly marked with a red cross, is attached to one wall.
The only exit is to the west.
action: You open the cabinet
response: You open the first-aid cabinet, revealing a roll of bandages.
action: You get the bandages
response: (putting the fedora into the trenchcoat to make room)
You're carrying too many things already.
action: You look at the bandages
response: on the carnival grounds.
action: You look at what you're carrying with you
response: You are carrying:
a library card
a stained notebook
a lock pick
a jar of moonshine
a stuffed pig
a cigar lighter (providing light)
a set of ordinary clothes (being worn)
a trenchcoat (being worn and open)
a fedora
a revolver
a carnival ticket
room key
a dossier (open)
the first incident
the second incident
the third incident
the fourth incident
the fifth incident
a holster (being worn)
action: You wear hat
response: (first taking the fedora)
(putting the stuffed pig into the trenchcoat to make room)
You put on the fedora.
action: You get the bandages
response: You take the roll of bandages from the first-aid cabinet.
action: You put revolver in the holster
response: (first taking the revolver)

(putting the jar of moonshine into the trenchcoat to make room)
You put the revolver into the holster.
action: You put pig in the dossier
response: Only documents fit in the dossier.
action: You remove the clothes
response: You'd look ridiculous.
action: You use the bandages
response: You use the bandages on your wounds.
action: About yourself
response: You are a private eye; a gumshoe, as they say, and you appear as such.
action: You look at the desk
response: It is a large, wooden desk; a bit fancy and out-of-place in this trailer. It has a drawer that is closed.
action: You open drawer
response: You open the drawer, revealing a black tome.
action: You read tome
response: This is a black tome handwritten in Latin with what looks like dried blood. No doubt, whatever this book is, it is evil.
action: You examine sofa
response: It is an old sofa covered with an ugly fabric.
action: You sit on sofa
response: You get onto the fabric sofa.
action: Go outside
response: You get off the fabric sofa.

The interior of this cottage-like building is nicely decorated. A large desk for the manager sits near a fabric sofa. A first-aid cabinet, clearly marked with a red cross, is attached to one wall.
The only exit is to the west.
action: Go west
response: This is the carnival's main thoroughfare, running north and south.
The western border is the road back to town and the eastern border is flanked with buildings, tents, and booths. To your immediate east is
a small building with a sign on the door reading Manager's
Office.
action: Go south
response: You are on the carnival's main thoroughfare, running north and south. The western border is the road back to town and the eastern border is flanked with buildings, tents, and booths. To your immediate east is
a small, wooden building with a sign on the door reading East
Asian Imports.
action: You go east
response: (first opening the shop door)

This is a stuffy shop with shelves filled with strange, Oriental trinkets. The exit is to the west.

Behind the counter, a squirrelly-looking Asian man watches you.

You can also see Jonathan Boom here.
action: Go west
response: You are on the carnival's main thoroughfare, running north and south. The western border is the road back to town and the eastern border is flanked with buildings, tents, and booths. To your immediate east is
a small, wooden building with a sign on the door reading East
Asian Imports.

You see a couple of teenaged hooligans loitering around the carnival. They see you and quickly move on.
action: Go south
response: You are at the southern end of the carnival's main thoroughfare. The entrance to the park and its accompanying ticket booth is to the west. The security shack sits to the south. To the east is a small building with a sign saying Gift Shop on its door. The thoroughfare
continues to the north where more booths, buildings, and tents are lined up on the east side with the road to town flanking its west border.
action: Go east
response: (first opening the shop door)

You are inside a small brick building where all sorts of mementos are sold. The exit is to the west.

A man stands behind the counter, looking bored.
action: You examine the mementos
response: Nothing here is worth much or of any real interest. But then you notice strange wood carvings on a shelf in the back. They appear to
be rearing fat worms with heads full of groping tentacles. They
almost make you sick staring at them.
action: You go west
response: You are at the southern end of the carnival's main thoroughfare. The entrance to the park and its accompanying ticket booth is to the west. The security shack sits to the south. To the east is a small building with a sign saying Gift Shop on its door. The thoroughfare
continues to the north where more booths, buildings, and tents are lined up on the east side with the road to town flanking its west border.

You smell a pungent smell of burning meat.
action: You go to the west
response: Being very late in the season, there aren't many carnival-goers from what you can tell so far. The ticket booth stands sentinel before the fairgrounds entrance to the east. A large, sweat-soaked man stands inside the ticket booth, eyeing you expectingly.
action: You go west
response: That heads into the woods. You shouldn't be heading in that
direction.
action: Go south
response: That heads into the woods. You shouldn't be heading in that
direction.

The sweaty man's face goes slack for a minute.
action: Go north
response: You head back up the road to the boarding house.

This is the front walk to Mother Matheson's boarding house, where you'll be staying. Her porch is to the west and the main road is to the east. Her lawn is dotted with dogwoods and covered in leaves.

You can see Arthur Peabody here.
action: Go east
response: You should get your room key (and maybe gather some information)
before you head to the carnival.

Arthur Peabody straightens his tie and breathes in the cool air.
action: You get the room key
response: You take room key from the trenchcoat.
action: You go east
response: You make your way down the road to the carnival.

Being very late in the season, there aren't many carnival-goers from what you can tell so far. The ticket booth stands sentinel before the fairgrounds entrance to the east. A large, sweat-soaked man stands inside the ticket booth, eyeing you expectingly.

The sweaty man coughs without covering his mouth.
action: Go east
response: You are at the southern end of the carnival's main thoroughfare. The entrance to the park and its accompanying ticket booth is to the west. The security shack sits to the south. To the east is a small building with a sign saying Gift Shop on its door. The thoroughfare
continues to the north where more booths, buildings, and tents are lined up on the east side with the road to town flanking its west border.
action: Go north
response: You are on the carnival's main thoroughfare, running north and south. The western border is the road back to town and the eastern border is flanked with buildings, tents, and booths. To your immediate east is
a small, wooden building with a sign on the door reading East
Asian Imports.
action: You go north
response: This is the carnival's main thoroughfare, running north and south.
The western border is the road back to town and the eastern border is flanked with buildings, tents, and booths. To your immediate east is
a small building with a sign on the door reading Manager's
Office.

You smell hot dogs for a brief moment, but then it goes away.
action: You go to the north
response: You are on the carnival's main thoroughfare, running north to south. The western border is the road back to town and the eastern border is flanked with buildings, tents, and booths. To your immediate east is
a tent with a sign hanging above the entrance stating Fortune
Teller.
action: You go to the north
response: This is near the northern end of the carnival's main thoroughfare, running north and south. You can cut across to where the thoroughfare turns by heading northeast. The western border is the road back to town and the eastern border is flanked with buildings, tents, and booths. To your immediate east is a booth with a sign hanging above
it stating Baseball Toss.
action: You go to the north
response: This is the northern end of the carnival's main thoroughfare where it turns to the east. To the south, the thoroughfare stretches with the road flanking its western side and a line of tents, buildings, and booths lining the east side. To the east, the thoroughfare continues deeper into the carnival grounds. To the southeast is a baseball toss booth and to your north is the funhouse, standing ominous and decaying in the autumn sun.
action: Go east
response: You are on the east-west path of the carnival's main thoroughfare. To your north is the House of Mirrors. You can cut across to the north-south part of the thoroughfare by heading southwest. To the southeast is a dunk-a-clown booth.
action: You go to the south
response: You can't go that way.
You see a couple of teenaged hooligans loitering around the carnival. They see you and quickly move on.
action: You go to the east
response: (first opening the restroom door)

Why you are in the women's rest room is slightly baffling. Stalls
with toilets line one wall and a sink with a mirror sits across from them. The exit is to the west.

You can see Abner Weems here.
action: You talk to Weems
response: You say hello to Abner Weems.

Abner Weems goes west.

(You could ask him about himself or the incidents.)
action: Go west
response: This is the northern edge of a natural looking swan pond. It was installed in the center of the park as if the park was built around
it. True to its name, swans lazily drift about on its surface. The carnival's main thoroughfare is to the northwest. You can walk around the pond to the southeast or southwest. The men's restroom building
is to the north and the women's is to the east. Between them, to the northeast, is a small path leading to the House of Freaks. To the
west is the ice house.

You can see Abner Weems here.
action: You go southeast
response: You are at the eastern side of a natural looking swan pond. It was installed in the center of the park as if the park was built around
it. True to its name, swans lazily drift about on its surface. You can walk around the pond to the northwest and southwest. To your
east, the carousel summons you with its hurdy-gurdy music. In the distance to the southwest, you can see the roller coaster and ferris wheel.
action: Go southeast
response: A young and tall carny mans this ride, assisting any carnival-goers on and off the ferris wheel. At this time of season, those
carnival-goers are few and far between. The ferris wheel itself is surprisingly sturdy in its appearance, however, like all things in
this carnival, it needs a fresh coat of paint. For some reason, this seems to be an extra-tall ferris wheel, larger than the one in Coney Island, from what you can remember. The Ferris wheel sits by the river, on the edge of the carnival. The only path is back to the swan pond to the northwest.

You can see Royce Brunner here.

Newspapers blow by like so much forgotten trash.
action: You talk to the carny
response: You say hello to Royce Brunner.

A black cat runs by, crossing your path.

(You could ask him about himself or the incidents.)
action: You buy the ticket
response: You've already purchased a ticket. You're free to roam the carnival grounds.
action: You ask the carny about himself
response: You can't go that way.

"Ferris wheel, huh? That's a big one." you say, trying to sound conversational.

"Hello, friend." he says, in a friendly tone. "Care to ride the wheel?"
action: Yes
response: "Sure, why the hell not?" you agree.

You hop in one of the seats and Royce cranks the machine to life. You lift into the air on the wheel until you are on top of the ride, looking over most of the carnival. Before the ride comes to a stop
and you disembark, you take a look around from the highest point and see no one of note about.
no one of note about.
no one of note about.
no one of note about.
no one of note about.
no one of note about.
no one of note about.
Abner Weems is near the Thoroughfare. no one of note about.
no one of note about.
no one of note about.
no one of note about.
action: You look around
response: A young and tall carny mans this ride, assisting any carnival-goers on and off the ferris wheel. At this time of season, those
carnival-goers are few and far between. The ferris wheel itself is surprisingly sturdy in its appearance, however, like all things in
this carnival, it needs a fresh coat of paint. For some reason, this seems to be an extra-tall ferris wheel, larger than the one in Coney Island, from what you can remember. The Ferris wheel sits by the river, on the edge of the carnival. The only path is back to the swan pond to the northwest.

You can see Royce Brunner here.

You hear the sound of a child crying; echoing from somewhere nearby.
action: You ask about himself
response: "Ferris wheel, huh? That's a big one." you say, trying to sound conversational.

"Hello, friend." he says, in a friendly tone. "Care to ride the wheel?"
action: You talk to Royce
response: You are already talking to Royce Brunner.
action: Topics
response: You could ask him about himself or the incidents.
action: You ask about incidents
response: "Do you happen to know anything that might help me learn more about
the murders and disappearances here?" you ask.

"Sure," he says, "People run into the wrong kind of folk around these parts. Not that I would know who any of those folk are, a'course."
action: Inventory
response: You are carrying:
room key
a fedora (being worn)
a library card
a stained notebook
a lock pick
a cigar lighter (providing light)
a set of ordinary clothes (being worn)
a trenchcoat (being worn and open)
a jar of moonshine
a stuffed pig
a carnival ticket
a dossier (open)
the first incident
the second incident
the third incident
the fourth incident
the fifth incident
a holster (being worn)
a revolver

Something moves in the corner of your eye, but when you turn to look, nothing is there.
action: Go northwest
response: This is the southern point of a natural looking swan pond. It was installed in the center of the park as if the park was built around
it. True to its name, swans lazily drift about on its surface. You can walk around the pond to the northeast or northwest. From here,
you can also walk a path to the ferris wheel to the southeast.

You hear the distant sound of a carnival barker.
action: You get the swan
response: You can't reach them.

You hear a scream in the distance; perhaps from one of the rides.
action: Describe the surroundings
response: This is the southern point of a natural looking swan pond. It was installed in the center of the park as if the park was built around
it. True to its name, swans lazily drift about on its surface. You can walk around the pond to the northeast or northwest. From here,
you can also walk a path to the ferris wheel to the southeast.

version of Blue Danube.
action: You go to the south
response: This is a picnic area for the carnival. A large wooden roof is held over some empty picnic tables. A trash can accompanies the area.
Here, at the end of the season, the place is desolate. The roller coaster, a scary and cantankerous wooden contraption, is to the south. Once in awhile, the coaster's cars can be seen and heard traversing
its slopes, but when you look, you don't see any riders on it. A path leads back to carnival to the north and the coaster's entrance is to the south.

You hear the sound of laughter from somewhere, but it is a mirthless, chilling sound.
action: You go south
response: A carny guards this entrance. He is the greasiest you've seen thus far. The entrance leads to the track where the cars wait for passengers. You can leave the roller coaster area and reach it's picnic pavillion by heading north.

You can see Greasy Pete here.
action: You go north
response: This is a picnic area for the carnival. A large wooden roof is held over some empty picnic tables. A trash can accompanies the area.
Here, at the end of the season, the place is desolate. The roller coaster, a scary and cantankerous wooden contraption, is to the south. Once in awhile, the coaster's cars can be seen and heard traversing
its slopes, but when you look, you don't see any riders on it. A path leads back to carnival to the north and the coaster's entrance is to the south.
action: You go north
response: You are at the western portion of a natural looking swan pond. It was installed in the center of the park as if the park was built around
it. True to its name, swans lazily drift about on its surface. From here, you can walk around the pond to the northeast or the southeast.
A path leads south to the roller coaster.

You smell hot dogs for a brief moment, but then it goes away.
action: You go southeast
response: This is the southern point of a natural looking swan pond. It was installed in the center of the park as if the park was built around
it. True to its name, swans lazily drift about on its surface. You can walk around the pond to the northeast or northwest. From here,
you can also walk a path to the ferris wheel to the southeast.

You smell a pungent smell of burning meat.
action: Go southeast
response: A young and tall carny mans this ride, assisting any carnival-goers on and off the ferris wheel. At this time of season, those
carnival-goers are few and far between. The ferris wheel itself is surprisingly sturdy in its appearance, however, like all things in
this carnival, it needs a fresh coat of paint. For some reason, this seems to be an extra-tall ferris wheel, larger than the one in Coney Island, from what you can remember. The Ferris wheel sits by the river, on the edge of the carnival. The only path is back to the swan pond to the northwest.

You can see Royce Brunner here.
action: Go northeast
response: You are at the eastern side of a natural looking swan pond. It was installed in the center of the park as if the park was built around
it. True to its name, swans lazily drift about on its surface. You can walk around the pond to the northwest and southwest. To your
east, the carousel summons you with its hurdy-gurdy music. In the distance to the southwest, you can see the roller coaster and ferris wheel.
action: Go down
response: This is a very cold, small cave. There are no features except for a trapdoor that is open above you. A passage leads northeast.
action: You go to the north-east
response: on flushing the sewage from the room above. Where it goes, you cannot say. Passages lead northeast, northwest, southwest,  and south. You see a trapdoor closed above you.
action: Go northeast
response: In this large but low-ceilinged chamber, the stalagmites and stalactites have merged, making a strange, natural temple of pillars. Passages lead north, southeast, and southwest.
action: You go northwest
response: This is a very long tunnel that glows with an eerie reddish light.
The source of the light is the millions of bioilluminescent mushrooms that grow on every surface. The tunnel stretches northwest to southeast.
action: You examine the mushrooms
response: You've never seen anything like this: bioilluminated mushrooms.
action: You get the fungus
response: You pick one of the glowing mushrooms.
action: You taste Mushroom
response: (the bioilluminescent mushroom)
You taste nothing unexpected.
action: You eat Mushroom
response: (the bioilluminescent mushroom)
You've never really liked mushrooms. Especially the ones that glow.
action: You go to the northwest
response: This cave opens into an irregular space, even for an underground cavern. Tight passages lead west, northeast, east, and southeast, but a wide tunnel leads south. Each passage leads into pitch darkness and the air is still and close here.

Standing in the chamber is a dark figure. As you look closer, you see it is a rotting corpse, yet it peers at you with eyes that are definitely alive. . .somewhat.

The horrible zombie seems barely aware of you.
action: You go to the west
response: This is a circular tunnel with no features, however, the walls are slick with moisture. Passages lead west, southwest, and east.

The horrible zombie arrives from the east.

The horrible zombie seems barely aware of you.
action: Go west
response: This is a narrow tunnel carved into the earth. It is just wide enough for you to traverse through. Passages lead northwest, east, and
south.
action: You go northwest
response: This is a low-ceilinged cave chamber. Oddly, there are balls strewn about; the kind you'd find in a child's ball pit. A trapdoor is open above you. A tunnel leads into pitch darkness to the southeast.
action: Search balls
response: You find nothing of interest.

You find nothing of interest.
action: You go south
response: This is a small cavern littered with stalagmites and stalactites (but you've never remembered which is which). Fungi grows inbetween all of these stone formations. These mushrooms all glow with a sickening reddish light. Passages exist north and northeast.

Standing in the chamber is a dark figure. As you look closer, you see it is a rotting corpse, yet it peers at you with eyes that are definitely alive. . .somewhat.

The horrible zombie seems more aware of you and lashes out.
It rakes your skin with its claws and manages to bite your shoulder. You holler out in pain.
action: You go to the north-east
response: This is a circular tunnel with no features, however, the walls are slick with moisture. Passages lead west, southwest, and east.
action: You go east
response: This cave opens into an irregular space, even for an underground cavern. Tight passages lead west, northeast, east, and southeast, but a wide tunnel leads south. Each passage leads into pitch darkness and the air is still and close here.
action: You go to the southeast
response: This is a very long tunnel that glows with an eerie reddish light.
The source of the light is the millions of bioilluminescent mushrooms that grow on every surface. The tunnel stretches northwest to southeast.
action: You examine the podium
response: It was probably pilfered from a schoolhouse somewhere.
action: You look at the benches
response: There are six total, arranged lie pews before the wooden podium.
action: Inventory
response: You are carrying:
a bioilluminescent mushroom (providing light)
room key
a fedora (being worn)
a library card
a stained notebook
a lock pick
a cigar lighter (providing light)
a set of ordinary clothes (being worn)
a trenchcoat (being worn and open)
a jar of moonshine
a stuffed pig
a carnival ticket
a dossier (open)
the first incident
the second incident
the third incident
the fourth incident
the fifth incident
a holster (being worn)
a revolver
action: You enter the pool
response: You must be out of your fucking mind.
action: You examine the car
response: It is half-sinking in mud and looks as if it had been dropped from above; a fugitive from one of the carnival's amusements.
action: Go west
response: This is a circular tunnel with no features, however, the walls are slick with moisture. Passages lead west, southwest, and east.

Standing in the chamber is a dark figure. As you look closer, you see it is a rotting corpse, yet it peers at you with eyes that are definitely alive. . .somewhat.

The horrible zombie seems barely aware of you.
action: Go upwards
response: You are in the center of the carousel. Gears and cogs grind and spin, keeping the ride in rapid motion. A door leads out to the ride to the east and a ladder leads down into darkness. The smell of grease and smoke fills your nose and the sound of the gears grinding fills your ears.
action: Go east
response: You are on a once-grand carousel that is spinning rather rapidly. The horses and other animals of the ride are chipping their paint and cracking their wood, making them ugly, frightening things. A maintainance door leads into the center portion of the carousel, but
as it is spinning rather fast, it would be a challenge to get in
there.
action: Go north
response: You are on the north side of a once-grand carousel. You can tell she was, at one time, a glamorous machine that delighted families for many years, but now, the faded paint and chipped wood gives her an almost-sinister air. A path into some trees heads west. You can walk around the carousel to the southeast and southwest. The carousel is spinning somewhat fast. In fact, you're not certain you'd safely make it on there if you tried, unless you jumped, maybe. It spins in silence, the music having stopped long ago.
action: Go west
response: This is a forked path amid some trees. From here, you can head northwest to the House of Freaks. The carousel is nearby and you can reach the north side of it by heading east or the west side by heading south.
action: You go northwest
response: You are on the carnival's main thoroughfare. Here, it turns. You can head west toward most of the booths and tents or you can head
southeast where you can see a swan pond and a number of other buildings. In the distance there, you can see the roller-coaster and ferris wheel, among other attractions. To the immediate north is a Parisian theater, where silent films are shown, no doubt. To the southwest is a dunk-a-clown booth.

You smell a pungent smell of burning meat.
action: You go west
response: This is the northern end of the carnival's main thoroughfare where it turns to the east. To the south, the thoroughfare stretches with the road flanking its western side and a line of tents, buildings, and booths lining the east side. To the east, the thoroughfare continues deeper into the carnival grounds. To the southeast is a baseball toss booth and to your north is the funhouse, standing ominous and decaying in the autumn sun.

You see a balloon float off in the distance.

You can't go that way.
You hear the sound of a child crying; echoing from somewhere nearby.
action: Go south
response: This is near the northern end of the carnival's main thoroughfare, running north and south. You can cut across to where the thoroughfare turns by heading northeast. The western border is the road back to town and the eastern border is flanked with buildings, tents, and booths. To your immediate east is a booth with a sign hanging above
it stating Baseball Toss.

You are on the carnival's main thoroughfare, running north to south. The western border is the road back to town and the eastern border is flanked with buildings, tents, and booths. To your immediate east is
a tent with a sign hanging above the entrance stating Fortune
Teller.

You see a balloon float off in the distance.

This is the carnival's main thoroughfare, running north and south.
The western border is the road back to town and the eastern border is flanked with buildings, tents, and booths. To your immediate east is
a small building with a sign on the door reading Manager's
Office.

You are on the carnival's main thoroughfare, running north and south. The western border is the road back to town and the eastern border is flanked with buildings, tents, and booths. To your immediate east is
a small, wooden building with a sign on the door reading East
Asian Imports.
action: Go south
response: You are at the southern end of the carnival's main thoroughfare. The entrance to the park and its accompanying ticket booth is to the west. The security shack sits to the south. To the east is a small building with a sign saying Gift Shop on its door. The thoroughfare
continues to the north where more booths, buildings, and tents are lined up on the east side with the road to town flanking its west border.
action: Go south
response: This is a one-room affair of clapboard with a pot-belly stove in one corner. By the opposite wall is a desk with accompanying chair. The exit is to the north.
action: You open Door
response: That's already open.
action: You enter
response: You get onto Boom's chair.
action: You look at the stove
response: It is a small stove to warm the shack.
action: You close the Door
response: You close the security door.
action: You lock Door
response: What do you want to lock the security door with?
action: You examine the desk
response: Definitely function over form. It has a drawer.
action: You open the drawer
response: There is nothing on the metal desk.

You open the drawer, revealing a men's room key.
action: You take the key
response: (the men's room key)
(putting the lock pick into the trenchcoat to make room)
You take the men's room key from the drawer.
action: You open the Door
response: You open the security door.
action: You go to the north
response: (first getting off Boom's chair)

You are at the southern end of the carnival's main thoroughfare. The entrance to the park and its accompanying ticket booth is to the west. The security shack sits to the south. To the east is a small building with a sign saying Gift Shop on its door. The thoroughfare
continues to the north where more booths, buildings, and tents are lined up on the east side with the road to town flanking its west border.
action: Go north
response: You are on the carnival's main thoroughfare, running north and south. The western border is the road back to town and the eastern border is flanked with buildings, tents, and booths. To your immediate east is
a small, wooden building with a sign on the door reading East
Asian Imports.

Something moves in the corner of your eye, but when you turn to look, nothing is there.
action: You go north
response: This is the carnival's main thoroughfare, running north and south.
The western border is the road back to town and the eastern border is flanked with buildings, tents, and booths. To your immediate east is
a small building with a sign on the door reading Manager's
Office.
action: You go to the north
response: You are on the carnival's main thoroughfare, running north to south. The western border is the road back to town and the eastern border is flanked with buildings, tents, and booths. To your immediate east is
a tent with a sign hanging above the entrance stating Fortune
Teller.
action: You go to the north
response: This is near the northern end of the carnival's main thoroughfare, running north and south. You can cut across to where the thoroughfare turns by heading northeast. The western border is the road back to town and the eastern border is flanked with buildings, tents, and booths. To your immediate east is a booth with a sign hanging above
it stating Baseball Toss.
action: You go to the north
response: This is the northern end of the carnival's main thoroughfare where it turns to the east. To the south, the thoroughfare stretches with the road flanking its western side and a line of tents, buildings, and booths lining the east side. To the east, the thoroughfare continues deeper into the carnival grounds. To the southeast is a baseball toss booth and to your north is the funhouse, standing ominous and decaying in the autumn sun.
action: You go east
response: You are on the east-west path of the carnival's main thoroughfare. To your north is the House of Mirrors. You can cut across to the north-south part of the thoroughfare by heading southwest. To the southeast is a dunk-a-clown booth.

You hear the sound of laughter from somewhere, but it is a mirthless, chilling sound.
action: You go to the east
response: This is the carnival's main thoroughfare running east to west. To
your north is a large building with a detailed sign stating Tunnel
of Terrors and to your south is a dunk-a-clown booth.

You smell a pungent smell of burning meat.
action: Go east
response: You are on the carnival's main thoroughfare. Here, it turns. You can head west toward most of the booths and tents or you can head
southeast where you can see a swan pond and a number of other buildings. In the distance there, you can see the roller-coaster and ferris wheel, among other attractions. To the immediate north is a Parisian theater, where silent films are shown, no doubt. To the southwest is a dunk-a-clown booth.

You hear a scream in the distance; perhaps from one of the rides.
action: Go north
response: You are in the men's restroom for the carnival. A long pee trough, of all horrible things, sits against one wall and a single toilet sits in the corner. They really spared every expense for these accomodations, you think. A perfectly visible trapdoor leads downward to who-knows-where and the exit back to the park is south.

You can see Nuncio the Strongman here.
action: You open the trapdoor
response: It seems to be locked.
action: You unlock the trapdoor with the men's key
response: You unlock the trapdoor.
action: You open the trapdoor
response: You open the trapdoor.
action: Go down
response: on flushing the sewage from the room above. Where it goes, you cannot say. Passages lead northeast, northwest, southwest,  and south. You see a trapdoor open above you.

Standing in the chamber is a dark figure. As you look closer, you see it is a rotting corpse, yet it peers at you with eyes that are definitely alive. . .somewhat.

The hideous zombie seems barely aware of you.
action: Go upward
response: You are in the men's restroom for the carnival. A long pee trough, of all horrible things, sits against one wall and a single toilet sits in the corner. They really spared every expense for these accomodations, you think. A perfectly visible trapdoor leads downward to who-knows-where and the exit back to the park is south.

You can see Nuncio the Strongman here.

Nuncio the Strongman goes south.
action: Go south
response: This is the northern edge of a natural looking swan pond. It was installed in the center of the park as if the park was built around
it. True to its name, swans lazily drift about on its surface. The carnival's main thoroughfare is to the northwest. You can walk around the pond to the southeast or southwest. The men's restroom building
is to the north and the women's is to the east. Between them, to the northeast, is a small path leading to the House of Freaks. To the
west is the ice house.

You can see Nuncio the Strongman here.
action: You go to the northwest
response: You are on the carnival's main thoroughfare. Here, it turns. You can head west toward most of the booths and tents or you can head
southeast where you can see a swan pond and a number of other buildings. In the distance there, you can see the roller-coaster and ferris wheel, among other attractions. To the immediate north is a Parisian theater, where silent films are shown, no doubt. To the southwest is a dunk-a-clown booth.

You see a balloon float off in the distance.
action: You go to the west
response: This is the carnival's main thoroughfare running east to west. To
your north is a large building with a detailed sign stating Tunnel
of Terrors and to your south is a dunk-a-clown booth.

A black cat runs by, crossing your path.
action: You go south
response: You are on the carnival's main thoroughfare, running north to south. The western border is the road back to town and the eastern border is flanked with buildings, tents, and booths. To your immediate east is
a tent with a sign hanging above the entrance stating Fortune
Teller.

You hear the sound of laughter from somewhere, but it is a mirthless, chilling sound.
action: You listen to the Door
response: You don't hear anyone inside.

A black cat runs by, crossing your path.
action: You go east
response: The interior of this cottage-like building is nicely decorated. A large desk for the manager sits near a fabric sofa. A first-aid cabinet, clearly marked with a red cross, is attached to one wall.
The only exit is to the west.
action: Go north
response: You are on the carnival's main thoroughfare, running north to south. The western border is the road back to town and the eastern border is flanked with buildings, tents, and booths. To your immediate east is
a tent with a sign hanging above the entrance stating Fortune
Teller.

You smell a pungent smell of burning meat.
action: Go east
response: You stand before a baseball toss booth on the thoroughfare. In it, a carny stands before a wall of cheap stuffed animals and novelty gifts. Before the wall of prizes is a table with bottles stacked on each other. Carnival-goers try to pitch baseballs to knock over the
bottles to win the prizes. The main thoroughfare can be easily
reached to the west and the fun house stands to the northwest.

You hear the sound of laughter from somewhere, but it is a mirthless, chilling sound.
action: You talk to the carny
response: You say hello to 'Sparrow' Gubatosi.

(You could ask him about himself, the incidents, Wilberforce Wyatt or Jonathan Boom.)
action: You ask the gubatosi about Wyatt
response: "What can you tell me of Wyatt?" you ask.

"He's an alright boss. What do you want to know?" he asks.

"Well, I guess I'm looking to find out how legit this guy is. I mean, his carnival is starting to get some really bad attention." you explain.

"Yes." the carny suddenly seems to get a little angry, but you're not sure at what, "I told him we don't want no bad press or attention." he says under his breath. "You wanna throw a damn ball or what?"
action: You ask him about himself
response: "What's this? Some sort of ball toss booth?" you ask.

The sinister-looking carny stares at you like you're insane for a moment. "Wanna try?" he finally asks, holding out a baseball for you.
action: Yes
response: "Gimme the thing." you snatch the ball out of his hand.
action: Examine booth
response: gifts and before the wall of prizes is a table with bottles stacked on each other.

You smell hot dogs for a brief moment, but then it goes away.
action: You throw the ball at the bottles
response: You furiously throw the baseball at the stacked bottles and they explode apart from each other. You even hear an onlooker say "Whoah". The carny replaces the stacked bottles and throws you a kewpie doll.

"Get outta my face, mister." he says.

You see a balloon float off in the distance.
action: You examine the kewpie
response: It's like a naked cupid or something.

You smell a pungent smell of burning meat.
action: You ask the carny about incidents
response: "I suppose you don't know anything about the recent grisly incidents here at your fine park, do you?" you say, already knowing the answer.

"You hit the nail on the head, mister."
action: Yes
response: cheapglulxe quit with exit status: 0