A Killer Headache
by Mike Ciul (2012)
Genres: Horror
Zombie

The apocalypse is over. The human race lost. You're hungry. And you have a hell of a headache. Discretionary warning: This game is violent, scatological, and eschatological.

action: %
response: Ever since you died, the migraines have been getting worse. At first you tried the usual - aspirin, caffeine, screaming - but you quickly learned that the type of migraine caused by having a large part of your brain eaten by an undead creature does not respond well to medication. The only known remedy is nutritional.

The brains of lower animals will work, partially, for a short time, but only human brains have the right balance of vitamins, essential fats and amino acids necessary to hold off the searing, throbbing agony long enough to make it to your next meal. And they taste surprisingly good. Unfortunately, while you were busy figuring all this out, the rest of the undead world was finishing off the last of the human race, leaving you with...



This tiny trailer is where you would sleep, if you slept. The front door is to the south.

What's left of a large mirror leans against the wall, smeared with dried blood and vomit. Pieces of broken glass litter the floor.

Towards the back is a small kitchenette. There's not much to it, since the trailer has no water, gas, or electricity. The fridge is still here, though.
action: You open the fridge
response: You open the refrigerator, revealing the severed head of your friend Jim.
action: You look at the head
response: Eyes that were once steely blue have clouded over. There is a gaping hole in the back of the skull. The severed head is sitting on a shelf in the refrigerator.
action: You get the head
response: The head's eyes follow you as you pick it up.
action: You look in the hole
response: The skull was bashed in and most of the brains were scooped out and eaten. There's a lot of empty space in the skull cavity, but a small scrap of the hippocampus inside the head remains.
action: You examine the mirror
response: (the broken mirror)
Little remains but a few fragments of glass projecting from a wooden frame. Flies cluster around chunks of skin caught on the sharp edges. A much more pleasant sight than your own reflection.
action: Lick mirror
response: (the broken mirror)
The broken mirror tastes like dust.
action: You eat the hippocampus
response: You scrape out the last of the rotten tissue and swallow it whole. The brains of the living are more nourishing, but you feel better as soon as it hits your stomach. You rock back and forth, feeling the heat spread through your body, soothing the rattling in your head.

Almost there.

You rock back and forth, feeling the heat spread up your arm as
you work. You're halfway through the spinal column. A hacksaw is just not the right tool for this job. Peter and Marie do their best to hold the body down, but it struggles more than ever.

"It's not Jim anymore." Peter reminds you. "It's just a corpse. A thing. A monster. You can do it, Jack."
action: About yourself
response: You're in pretty good shape, considering all you've been
through.
action: Inventory
response: You are carrying:
a hacksaw
action: You look around
response: You look up from your work. Your friends are... not here. You
must have been hallucinating again.

This tiny trailer is where you would sleep, if you slept. The front door is to the south.

What's left of a large mirror leans against the wall, smeared with dried blood and vomit. Pieces of broken glass litter the floor.

The refrigerator is standing open.
action: You examine the hacksaw
response: There's no hacksaw here. Are you hallucinating again?
action: Look around
response: This tiny trailer is where you would sleep, if you slept. The front door is to the south.

What's left of a large mirror leans against the wall, smeared with dried blood and vomit. Pieces of broken glass litter the floor.

The refrigerator is standing open.
action: You examine the mirror
response: (the broken mirror)
Little remains but a few fragments of glass projecting from a wooden frame. Flies cluster around chunks of skin caught on the sharp edges. A much more pleasant sight than your own reflection.
action: Go south
response: (first opening the front door)
You grip the doorknob with your free hand and twist it. The door rattles, but doesn't open. You pull at the knob, but the door seems stuck. You yank at the doorknob again. The handle rips out of the door and you're left holding it in your hand.
action: You examine the handle
response: It's old and filthy with smears of dried fluids. The knob has been yanked from the door.
action: You kick the door
response: You give the front door a forceful kick, but it seems to do a lot more damage to your foot than your foot does to it.

Christ Almighty! This living death isn't for the weak.

Your foot is turned inward at an angle that would be impossible if it were firmly attached.
action: You look at the door
response: It's a splintered old wooden door with a missing handle. It is currently closed.
action: You hit the door with the handle
response: You whack the doorknob against the door, but it hardly makes a mark. You hit it harder, until you hear a crack in your wrist.

God dammit to hell. Flies settle on your body, tickling you
in spots you can't reach.
action: Look around
response: Among the pieces you find a shard of your mirror, about the size of a credit card.

The head rolls its eyes, attempts to swallow, and speaks to you: "Ride. Riiiiiiide..."

This tiny trailer is where you would sleep, if you slept. The front door is to the south.

What's left of a large mirror leans against the wall, smeared with dried blood and vomit. Pieces of broken glass litter the floor.

The refrigerator is standing open.
action: You examine the glass
response: There are countless pieces. You notice one in particular, a shard about the size of a credit card.
action: You take it
response: That's fixed in place.
action: You examine the shard
response: It's a shard of your mirror, about the size of a credit card.
action: You look at the skull
response: The skull was bashed in and all of the brains were scooped out and eaten.

In the skull cavity is a doorknob.
action: You look at the fridge
response: It's a beat-up old white fridge, apartment-sized.
action: You get the doorknob from the cavity
response: (putting the shard of your mirror into the skull cavity to get your hand free)
Taken.
action: You look at what you're carrying with you
response: In one hand you have the severed head (containing a shard of your mirror). In the other you have a doorknob.
action: You drop the head
response: The head bites onto your finger in an attempt to avoid being let go. The flesh of your hand is not very substantial, however, and the head drops to the ground, a small strip of your skin between its teeth.
action: You get the shard
response: Taken.
action: You open the door with the knob
response: (putting the shard of your mirror into the skull cavity to get your hand free)
You turn the doorknob, careful not to pull it out. Since you've got the other hand free, you're able to pry the door open with your fingernails.

The front door swings closed with a bang.
action: You leave
response: (first opening the front door)
The doorknob is loose, so you need a free hand to pry the door open while you turn it. You're still holding the severed head.
action: Leave
response: (first opening the front door)
You turn the doorknob, careful not to pull it out. Since you've got the other hand free, you're able to pry the door open with your fingernails.

Parked just uphill on the northern shoulder of the road is the battered Cloudliner trailer. The road leads along the mountainside from a pine grove in the west, and a sign points east towards the highway. Scattered trees and shrubs cling to the slope below you. The afternoon heat is on the wane.

From inside the trailer, you hear the head wail, "Noooo! Doonnnn' leeavve!"

Then the front door swings closed with a bang.
action: You go east
response: You stumble along for what seems like quite a long distance. Your dragging foot catches on a rock. With a crack, it snaps right off and you plant your face in the hot asphalt. No matter, you can still crawl until you eat enough brains to reattach it.

Open Road (crawling)
You're crawling on an east-west road cut into the steep hillside. The desert spreads out to the south, covered by just enough low scrub to conceal a reasonably large predator.

Your foot seems to have fallen off and it's lying on the ground nearby.
action: You examine it
response: Your foot is severed from your leg. Bones stick out of it at odd angles, and the sole is studded with gravel and broken glass. Every so often it flexes and wiggles its toes.
action: Go east
response: Cracked Road (crawling)
Your path continues east over cracked, uneven asphalt. A glint of chrome to the east might be a diner. Everything here is dry as paper and there's not a cloud in sight to shade you from the harsh afternoon sun.
action: You go to the northeast
response: Parking Lot (crawling)
A short drive from the southwest leads to this empty parking lot. The mountainside is choked with shrubs, obscuring the view of the road from here.

Blinds in the windows prevent you from seeing inside the diner to the west. A paved walk leads northwest around the back of the building.
action: You go northwest
response: Shed (crawling)
You are under an awning that forms a small shed against the back of the diner. A paved walk leads east around the building past the parking lot. Next to the shed, a door marked "EMPLOYEES ONLY" leads south.

A tangle of cables emerges from amid the vents on the wall. The cables snake down to a backup power generator.

You can also see a siphon pump and a bright red plastic gas can here.
action: Go south
response: Kitchen (crawling)
Traces of rust and mysterious stains line the reflective surfaces here, but do little to obscure the reflection of your gruesome appearance. The kitchen door is east, and there is an employee exit to the north.

A massive steel door dominates the west end of the kitchen. It is closed.

A key is in the keyhole of the steel door. It is attached by a chain to a bolt on the wall.
action: You examine the key
response: The key to the steel door is chained to a bolt on the wall. It's inserted into the lock, which is currently unlocked.
action: You look at the steel door
response: The steel door has a spring latch so it can be locked when it is open. It is currently closed and unlocked.
action: You open the door
response: You open the steel door.
action: You take the key
response: You take hold of the key at the end of the chain and remove it from the lock.
action: Go west
response: As you leave, the chain tugs on the key in your hand. You let go and it dangles towards the floor.

Freezer (crawling)
This walk-in freezer is a dark and stuffy place with no power. Although cooler than outdoors, it has a suffocating atmosphere that makes you long for the open air.

The freezer door is to the east. It is open.
action: You go to the east
response: Kitchen (crawling)
Traces of rust and mysterious stains line the reflective surfaces here, but do little to obscure the reflection of your gruesome appearance. The kitchen door is east, and there is an employee exit to the north.

A massive steel door dominates the west end of the kitchen. It is open.

A steel key hangs from a chain bolted to the wall.
action: You insert key
response: I didn't understand that. Try rephrasing your command another way.
action: You lock the door
response: (with the steel key)
(first taking the steel key)

You take hold of the key at the end of the chain.

You lock the freezer door.
action: You take the key
response: You already have that.
action: You look around
response: Kitchen (crawling)
Traces of rust and mysterious stains line the reflective surfaces here, but do little to obscure the reflection of your gruesome appearance. The kitchen door is east, and there is an employee exit to the north.

A massive steel door dominates the west end of the kitchen. It is open and locked.

A chain connects the steel key you're carrying to a bolt on the wall.
action: You drop the key
response: Dropped.
action: You go to the north
response: Shed (crawling)
You are under an awning that forms a small shed against the back of the diner. A paved walk leads east around the building past the parking lot. Next to the shed, a door marked "EMPLOYEES ONLY" leads south.

A tangle of cables emerges from amid the vents on the wall. The cables snake down to a backup power generator.

You can also see a siphon pump and a bright red plastic gas can here.
action: You look at the cables
response: The generator is weathered, but nothing is obviously broken, and it's still hooked up to some thick cables that run into the building. It has a large opening on the top labeled "GASOLINE." The gas cap seems to be missing. There's also a button labeled "IGNITION." Down near the bottom, where the motor is located, there's a pull cord with a plastic handle.

The generator is currently switched off.
action: You go east
response: Parking Lot (crawling)
A short drive from the southwest leads to this empty parking lot. The mountainside is choked with shrubs, obscuring the view of the road from here.

Blinds in the windows prevent you from seeing inside the diner to the west. A paved walk leads northwest around the back of the building.
action: Go inside
response: The Uptown Diner (crawling)
A long counter divides the dining room from the kitchen entrance to the west. Booths line the east wall. Many of the windows are smashed, including most of the ones on the south wall, which provide an alternative exit to the locked front door. The floor is scattered with broken dishes and window glass.

An old jukebox stands in one corner, dark and silent.
action: You examine jukebox
response: The jukebox is as dark and silent as every electrical device in the diner. An array of panels list the available songs. There is a button labeled with the disc number and side by each one:

A1: After the Fall - Klaus Nomi
B1: The Voyeur of Utter Destruction - David Bowie

A2: Piggy Smack - Severed Heads
B2: Big Car - Severed Heads

A3: Mad World - Tears for Fears
B3: Everybody Wants to Rule the World - Tears for Fears

A4: Thriller - Michael Jackson
B4: Ghostbusters - Ray Parker Junior

A5: Jerdacuttup Man - The Triffids
B5: The Spinning Top Song - The Triffids

A6: Love Zombie - Sweet Lickin' Honey Babes
B6: I'm Not the Man I Used to Be - Fine Young Cannibals

A7: Omnichrome - Three Hour Detour
B7: Snow Karma - Three Hour Detour

Button B2 looks more worn than the others - you can hardly read the label at all.
action: Go west
response: Kitchen (crawling)
Traces of rust and mysterious stains line the reflective surfaces here, but do little to obscure the reflection of your gruesome appearance. The kitchen door is east, and there is an employee exit to the north.

A massive steel door dominates the west end of the kitchen. It is open and locked.

A steel key hangs from a chain bolted to the wall.
action: Press b2
response: Nothing happens. The jukebox doesn't appear to have any power.
action: You look at the counter
response: The counter extends from the north wall. It's made of rusted steel and chipped formica, and it's covered with dark sticky stains. Broken and twisted bolts in the floor indicate that the barstools were ripped out, probably for use in the general smashing of stuff that has taken place here. They are nowhere to be found now.
action: You examine the booths
response: Each booth is a formica table with two bench seats upholstered in ripped and faded red vinyl, with a speaker positioned on the ceiling directly overhead.
action: About you
response: Your hand isn't quite as firmly attached to your arm as it ought to be, and you are missing a foot. You have eaten a last piece of your friend Jim's brains. A sledgehammer-like rhythm pounds its way from the back of your skull towards your eyeballs, but it only hurts about five times as much as the worst headache you ever experienced while alive.
action: Dance
response: You flail your limbs around on the floor.
action: You check your inventory
response: In one hand you have your severed foot. The other hand is free.
action: You attach the foot
response: (to your leg)
You hold your severed foot against your leg, but your body must not be ready to heal, because it doesn't stick. You need to find some more brains to eat.
action: You examine gas
response: It's about the size and shape of the gasoline intake on a car.
action: You take the can
response: Taken.
action: You take the pump
response: Your hands are full.
action: You drop the foot
response: Dropped.
action: You examine the pump
response: Two flexible plastic tubes connect to either end of a black rubber squeeze bulb.
action: Look around
response: Shed (crawling)
You are under an awning that forms a small shed against the back of the diner. A paved walk leads east around the building past the parking lot. Next to the shed, a door marked "EMPLOYEES ONLY" leads south.

A tangle of cables emerges from amid the vents on the wall. The cables snake down to a backup power generator.

You can also see your severed foot here.
action: Go east
response: Parking Lot (crawling)
A short drive from the southwest leads to this empty parking lot. The mountainside is choked with shrubs, obscuring the view of the road from here.

Blinds in the windows prevent you from seeing inside the diner to the west. A paved walk leads northwest around the back of the building.

Inching along with a twisting, flexing motion, your foot arrives from the back entrance of the diner. It has returned to its owner.
action: Go east
response: Pile-up (crawling)
The road curves to the north here around a steep cliff. Dead ahead is the scene of a horrific accident - four or five cars are smashed together. Behind the pile-up is another wreck: lying on its side, blocking the entire road, is the carcass of a school bus.

Several more cars seem to have stopped short of the accident scene. Most are stripped-down or rusted beyond recognition, but a large, boxy blue sedan looks more recent.

Your severed foot arrives from the west.
action: You look at the sedan
response: It's an old Dodge. Light blue, scratched and dusty, but still in decent shape. The doors and windows are locked, but the gas cap for the sedan's tank is open.
action: You examine the bus
response: Straining to see through the smashed windows to the darkness inside, it looks like there's plenty of bodily fluids staining the seats. Maybe a few limbs too.
action: You put the pump in the sedan
response: You insert the siphon pump into the sedan's gas tank.
action: You put the pump in the can
response: You insert the siphon pump into the nozzle. Now the pump connects it to the sedan's gas tank.
action: Pump pump
response: You start to squeeze the bulb, but it feels too stiff. It's dried out and beginning to crack - any further squeezing would probably break it.
action: You take pump
response: (Removing the end of the siphon pump from the gas can)
(Removing the end of the siphon pump from the sedan's gas tank)
Taken.
action: Spit
response: What do you want to spit?
action: You get in the bus
response: You work your way through the wreckage towards the schoolbus. There's definitely something moving around underneath. You crouch down and reach your hand in. Something grabs it and pulls you forward. It's a small hand, and in the shadows you make out a blanched round face, and then several others. More hands grab your limbs, pulling them in different directions, then tiny teeth nip at your flesh as fingernails pry at your skull.

In a moment, you're opened wide and icicles of hurt shoot from your head through your paralyzed body. As the children scoop out your brains, you become disoriented, but your consciousness of the pain never fades...
action: You put the pump in the mouth
response: You grip the siphon pump between your teeth.
action: Spit pump
response: You spit the siphon pump out onto the ground. It's a little slimy now, but still usable.
action: You examine the pump
response: Two flexible plastic tubes connect to either end of a black rubber squeeze bulb.
action: You attach the pump to the sedan
response: You might as well just drop the siphon pump.
action: You look at the sedan
response: It's an old Dodge. Light blue, scratched and dusty, but still in decent shape. The doors and windows are locked, but the gas cap for the sedan's tank is open.
action: You put pump in the tank
response: You insert the siphon pump into the sedan's gas tank.
action: You suck on the pump
response: You suck hard. Nothing comes. Then, very quickly, the gasoline rises through the pump and shoots into your mouth. You gag, but the fumes give you momentary relief from the pounding in your head.

You are now holding the pump in your mouth to keep the gasoline from flowing out again.
action: You check what you're carrying
response: In one hand you have a gas can. The other hand is free. You're holding a full siphon pump in your teeth.
action: Blow pump
response: I didn't understand that. Try rephrasing your command another way.
action: You put the pump in the can
response: (first removing the pump from your mouth)
You insert the pump into the nozzle and the tubes take on a comfortable chill as gasoline flows through them. Soon the flow stops and air bubbles back into the pump.

A tattered orthopedic shoe crunches by your ear. You twist your head around and look up.

"Oh, I'm sorry, dear. I didn't mean to startle you!" says the kindly old nun looking down at you.
action: You put the gas in the can
response: (the sedan's gas tank in the gas can)
That already has one end of the pump in it.
action: You examine nun
response: A smiling woman in her seventies, the old nun looks quite dignified in her purple dress. The fact that one eye is missing and a dark purple ooze stains her plain white veil and flows out from where her left ear should be does nothing to reduce her appearance of grace and goodwill. A rosary made of irregular white beads hangs from her waist. She's smiling at you cheerfully.
action: You examine the rosary
response: The rosary has a loop of five decades, or sets of of ten beads, with a single bead separating each decade from the next. A string of four more beads hangs from the loop, with a crucifix at the end. Every bead represents a prayer. You know how to pray the rosary, and when you were alive you used one to calm down. This one appears to be made of cavity-riddled teeth hooked together with small pieces of wire.

"Isn't this a lovely rosary? Would you like to have it?" She holds it out to you.
action: You ask the nun for rosary
response: You ask the old nun for the rosary.

"Go ahead, take it," she offers.
action: Pray
response: Your fingers are too spastic to do the rosary one-handed. You'll have to put the gas can down first.
action: Full gas can
response: You mumble something almost comprehensible about the gas can.

"Well, if you change your mind, you can have it," the old nun replies.
action: Pray
response: You hold the rosary in your hands, counting off beads with your fingers. You start with the cross on the end, making the sign of the cross and praying the Apostle's Creed. At the first bead you say the Lord's Prayer, and then a Hail Mary on each of the next three.
action: Pray
response: You enter the loop, which contains five strings of ten beads, each with a single bead in between. Meditating on the Resurrection, you say an Our Father and ten Hail Marys.
action: Pray
response: You contemplate Pentecost, the time when The Holy Spirit descended on the apostles in tongues of fire. You say an Our Father and ten more Hail Marys.
action: Pray
response: You complete the last decade of the rosary. The fifth mystery is the Coronation of Mary, Queen of Heaven. At the end you pray:

"Hail, Holy Queen, mother of mercy,
our life, our sweetness and our hope.
To thee do we cry, poor banished children of Eve
To thee do we send up our sighs, mourning and weeping in this vale
of tears.
Turn then, most gracious advocate, thine eyes of mercy toward
us,
and after this our exile, show us the blessed fruit of thy womb, Jesus.
O clement, O loving, O sweet Virgin Mary.
Pray for us, O Holy Mother of God, that we may be made worthy of
the promises of Christ."

Or at least that's how it goes in your head. The actual sound you make is more like "Fghh hu arhl hrh cluh thghhl."
action: You eat nun
response: You reach for her greedily but she stops your arm, holding it with an iron grip. "Dear me, child," she says. "If you want something, you ought to ask nicely."
action: You ask the nun for the brains
response: "BRAAI--" you begin, but the old nun interrupts. "Hush now! You'll startle those creatures under the bus."

The old nun looks you over gravely. "You're in very bad shape, my friend. Very bad. I wish I could help you. I'd even give you my own brain, if it were enough. But I don't think you'd have the strength to escape without eating more than that," she says. "Go find yourself some more brains to eat, and maybe I'll be able to help you then."
action: You fill the gas can
response: (from the blue sedan)
That already has one end of the pump in it.
action: Examine can
response: It sloshes heavily.

One end of the siphon pump is sticking into the opening.

"I see you got some gasoline out of my old clunker here," the old nun observes. "I hope it can be of use to you, and do please let me know if there's anything else I can help you with," she says.
action: You drink the gas
response: (the gas can)
The gas can has the siphon pump in it.
action: You take pump
response: (Removing the end of the siphon pump from the gas can)
(Removing the end of the siphon pump from the sedan's gas tank)
Taken.
action: You take the can
response: Your hands are full.
action: You drop the pump
response: Dropped.
action: You take the can
response: Taken.
action: Go northeast
response: Parking Lot (crawling)
A short drive from the southwest leads to this empty parking lot. The mountainside is choked with shrubs, obscuring the view of the road from here.

Blinds in the windows prevent you from seeing inside the diner to the west. A paved walk leads northwest around the back of the building.

Your severed foot arrives from the front of the diner.
action: Go northwest
response: Shed (crawling)
You are under an awning that forms a small shed against the back of the diner. A paved walk leads east around the building past the parking lot. Next to the shed, a door marked "EMPLOYEES ONLY" leads south.

A tangle of cables emerges from amid the vents on the wall. The cables snake down to a backup power generator.

Your severed foot arrives from the parking lot.
action: You fill the opening with the can
response: You insert the nozzle into the intake and gasoline glugs in. You pull it out again.
action: You pull cord
response: You pull on the cord and you hear a couple of bangs as the engine turns over. You try again and the lawnmower roars to a start. Wow, that noise is loud - it makes everything shake.
action: You look at lawnmower
response: It's old, rusty, and heavy, but it might make a decent weapon if
you gave it a really good swing.

Lawnmower?

Damn. Forgot you were dead again.
action: About you
response: Your hand isn't quite as firmly attached to your arm as it ought to be, and you are missing a foot. You have eaten a last piece of your friend Jim's brains. A sledgehammer-like rhythm pounds its way from the back of your skull towards your eyeballs, but it only hurts about five times as much as the worst headache you ever experienced while alive.
action: Look around
response: Shed (crawling)
You are under an awning that forms a small shed against the back of the diner. A paved walk leads east around the building past the parking lot. Next to the shed, a door marked "EMPLOYEES ONLY" leads south.

A tangle of cables emerges from amid the vents on the wall. The cables snake down to a backup power generator that is chugging away noisily.

You can also see your severed foot here.

The generator makes a really loud noise, and it makes everything shake. You can't even think straight.
action: Go south
response: Everything is shaking. You try to turn the handle on the back door but you can't get a good grip on it.
action: You go east
response: Parking Lot (crawling)
A short drive from the southwest leads to this empty parking lot. The mountainside is choked with shrubs, obscuring the view of the road from here.

Blinds in the windows prevent you from seeing inside the diner to the west. A paved walk leads northwest around the back of the building.

Your severed foot arrives from the back entrance of the diner.
action: Go inside
response: The Uptown Diner (crawling)
A long counter divides the dining room from the kitchen entrance to the west. Booths line the east wall. Many of the windows are smashed, including most of the ones on the south wall, which provide an alternative exit to the locked front door. The floor is scattered with broken dishes and window glass.

An old jukebox stands in one corner, lit up and ready to play a tune.

Your severed foot arrives from outside the front of the diner.
action: Examine booth
response: Each booth is a formica table with two bench seats upholstered in ripped and faded red vinyl, with a speaker positioned on the ceiling directly overhead.

The jukebox is playing selection B2: 'Big Car' by Severed Heads. A foursquare techno beat.
action: Look around
response: The Uptown Diner (crawling)
A long counter divides the dining room from the kitchen entrance to the west. Booths line the east wall. Many of the windows are smashed, including most of the ones on the south wall, which provide an alternative exit to the locked front door. The floor is scattered with broken dishes and window glass.

You can see your severed foot here.

The jukebox is playing selection B2: 'Big Car' by Severed Heads. A foursquare techno beat.
action: You go to the east
response: You get into the booth.

Each booth is a formica table with two bench seats upholstered in ripped and faded red vinyl, with a speaker positioned on the ceiling directly overhead. This booth has a blind covering the window. It's crooked and appears to be jammed, but it covers the glass so that you can't tell whether it's broken or not.

The jukebox is playing selection B2: 'Big Car' by Severed Heads. A foursquare techno beat.
action: You go west
response: You get out of the booth.

The Uptown Diner (crawling)
A long counter divides the dining room from the kitchen entrance to the west. Booths line the east wall. Many of the windows are smashed, including most of the ones on the south wall, which provide an alternative exit to the locked front door. The floor is scattered with broken dishes and window glass.

You can see your severed foot here.

The jukebox is playing selection B2: 'Big Car' by Severed Heads. A foursquare techno beat.
action: You examine blind
response: Flimsy, bent, and faded with age, it nevertheless covers the window so that you can't see outside from here.

The song comes to an end, and the jukebox is silent once more.
action: You go to the north
response: You can't go that way. You can go south to the front of the diner or west through the kitchen door. You can also enter the booth.
action: You open blind
response: You pull on the cord, but it's solidly jammed. If you want to see, you'll have to look under the blind.
action: You look under blind
response: You have to get into the booth to reach the east window.
action: You go to the east
response: You get into the booth.

Each booth is a formica table with two bench seats upholstered in ripped and faded red vinyl, with a speaker positioned on the ceiling directly overhead. This booth has a blind covering the window. It's crooked and appears to be jammed, but it covers the glass so that you can't tell whether it's broken or not.
action: You enter booth
response: But you're already in the booth.
action: You look under blind
response: Peeking behind the blind, you see that the window is intact. The parking lot beyond is deserted.
action: You go west
response: You get out of the booth.

The Uptown Diner (crawling)
A long counter divides the dining room from the kitchen entrance to the west. Booths line the east wall. Many of the windows are smashed, including most of the ones on the south wall, which provide an alternative exit to the locked front door. The floor is scattered with broken dishes and window glass.

An old jukebox stands in one corner, lit up and ready to play a tune.

You can also see your severed foot here.
action: You examine the jukebox
response: A light behind the entry for "B2: 'Big Car' by Severed Heads" indicates that it is now playing, and the music fills the room from a number of speakers over the booths. An array of panels list the available songs. There is a button labeled with the disc number and side by each one:

A1: After the Fall - Klaus Nomi
B1: The Voyeur of Utter Destruction - David Bowie

A2: Piggy Smack - Severed Heads
B2: Big Car - Severed Heads

A3: Mad World - Tears for Fears
B3: Everybody Wants to Rule the World - Tears for Fears

A4: Thriller - Michael Jackson
B4: Ghostbusters - Ray Parker Junior

A5: Jerdacuttup Man - The Triffids
B5: The Spinning Top Song - The Triffids

A6: Love Zombie - Sweet Lickin' Honey Babes
B6: I'm Not the Man I Used to Be - Fine Young Cannibals

A7: Omnichrome - Three Hour Detour
B7: Snow Karma - Three Hour Detour

Button B2 looks more worn than the others - you can hardly read the label at all.

A foursquare techno beat.
action: You go west
response: Kitchen (crawling)
Traces of rust and mysterious stains line the reflective surfaces here, but do little to obscure the reflection of your gruesome appearance. The kitchen door is east, and there is an employee exit to the north.

A massive steel door dominates the west end of the kitchen. It is open and locked.

A steel key hangs from a chain bolted to the wall.

Your severed foot arrives from the dining room.

Muffled music can be heard coming from the jukebox in the dining room.
action: Go east
response: The Uptown Diner (crawling)
A long counter divides the dining room from the kitchen entrance to the west. Booths line the east wall. Many of the windows are smashed, including most of the ones on the south wall, which provide an alternative exit to the locked front door. The floor is scattered with broken dishes and window glass.

Your severed foot arrives through the kitchen door.

The jukebox is playing selection B2: 'Big Car' by Severed Heads. A foursquare techno beat.
action: You search the floor
response: The floor is littered with broken glass.

The song comes to an end, and the jukebox is silent once more.
action: You go to the west
response: Freezer (crawling)
Pale fluorescent lights illuminate the room. With the power back on, this walk-in freezer is getting cold quite rapidly. For a moment, it offers relief from the summer heat. Then the chill starts to seep in and you feel your body shutting down.

The freezer door is to the east. It is open and locked.

Out in the kitchen, your foot taps its toe impatiently.
action: You go to the west
response: The only way out is through the door to the east.

Out in the kitchen, your foot taps its toe impatiently.
action: You close the door
response: You lock yourself in the freezer. It continues getting colder.

You feel an object bump against your foot. You look down to see what it is, but your foot isn't there. You feel the bump again, like your foot is trying to get somewhere and hitting an obstacle. Maybe it needs your help.

It's peaceful here, but the harsh light and the mechanical noises eventually get to you. Soon your head is buzzing like it's filled with angry bees. You think of eating brains. Maybe you could have found more before you got stuck here. Too late now...
action: Go east
response: Kitchen (crawling)
Traces of rust and mysterious stains line the reflective surfaces here, but do little to obscure the reflection of your gruesome appearance. The kitchen door is east, and there is an employee exit to the north.

A massive steel door dominates the west end of the kitchen. It is open and locked.

A steel key hangs from a chain bolted to the wall.

You can also see your severed foot here.

Muffled music can be heard coming from the jukebox in the dining room.
action: You go east
response: Kitchen (crawling)
Traces of rust and mysterious stains line the reflective surfaces here, but do little to obscure the reflection of your gruesome appearance. The kitchen door is east, and there is an employee exit to the north.

A massive steel door dominates the west end of the kitchen. It is open and locked.

A steel key hangs from a chain bolted to the wall.

You can also see your severed foot here.
action: Go east
response: The Uptown Diner (crawling)
A long counter divides the dining room from the kitchen entrance to the west. Booths line the east wall. Many of the windows are smashed, including most of the ones on the south wall, which provide an alternative exit to the locked front door. The floor is scattered with broken dishes and window glass.

An old jukebox stands in one corner, lit up and ready to play a tune.

Your severed foot arrives through the kitchen door.
action: You go north
response: The Uptown Diner (crawling)
A long counter divides the dining room from the kitchen entrance to the west. Booths line the east wall. Many of the windows are smashed, including most of the ones on the south wall, which provide an alternative exit to the locked front door. The floor is scattered with broken dishes and window glass.

An old jukebox stands in one corner, lit up and ready to play a tune.

Your severed foot arrives from outside the front of the diner.
action: You go to the west
response: Cracked Road (crawling)
Your path leads east and west over cracked, uneven asphalt. A glint of chrome is all you see of the diner to the east.

Your severed foot arrives from the east.
action: You go west
response: Open Road (crawling)
You're crawling on an east-west road cut into the steep hillside. The desert spreads out to the south.

Your severed foot arrives from the east.
action: You go west
response: Outside the Trailer (crawling)
Parked just uphill on the northern shoulder of the road is the battered Cloudliner trailer. The road leads along the mountainside from a pine grove in the west, and a sign points east towards the highway.

Your severed foot arrives from the east.
action: You go west
response: Pines (crawling)
As the road leads into the mountains, the gnarled old pine trees get thicker. Cracks in the road trip your feet and thorns rip your arms and legs. Further travel west is blocked by a pile of fallen rocks.

Your severed foot arrives from the east.

You stumble upon an old yellow dog. Its fur is matted, and there's a fleck of foam on its jaw. Its eyes focus, you hear the beginning of a growl, and then it leaps at you. You step back just in time, and it circles back.
action: Pet dog
response: You reach out, and it turns to bite your hand. The teeth sink into your flesh and you realize just how strong the dog's grip is.

Your hand is now caught, still holding the gas can.
action: You examine dog
response: The dog's fur is matted and foamy drool drips from its jaws. It grips your hand tightly between its teeth.
action: You eat the dog
response: You pull the dog's head close and smash your face into its skull. Your teeth go flying and the dog bites down hard on your hand, but soon hot blood splashes on your face  and the animal goes limp.

The creature is now motionless on the ground and its brains are yours for the taking, but it has bitten your hand clean off.
action: You look at the hand
response: Your hand has been ripped from your arm. In its grip is a gas can.
action: You eat the dog
response: You reach for the dog, and it turns to bite your hand. The teeth sink into your flesh and you realize just how strong the dog's grip is.

Your hand is now caught, still holding the rosary.
action: Pray
response: "Hail Mary, full of grace, the Lord is with thee. Blessed art thou among women, and blessed is the fruit of thy womb, Jesus. Holy Mary, mother of God, pray for us sinners now and at the hour of our
death."

Or at least that's how it goes in your head. The actual sound you make is more like "Aarhvfark frmtbl."
action: You eat the brains
response: You ball your remaining hand into a fist and smash it into the skull of the defenseless animal. Cupping its head to your mouth, you suck out the tender grey matter, and then dig out the remaining pieces with your fingers, licking them clean.

"It should have been me."

"You're wrong, Jack. It shouldn't have been at all. What's
happening-" Peter stops. "These creatures - they're unnatural. They defy God. You can't blame yourself."

He turns back to the fire and pulls the other hind leg off of the rabbit you're sharing. It's not much of a meal for all three of you, but it's the best you've had in days.

Marie's finished off the flanks and forelegs already and now she's trying to get little bits of meat off the skull.
action: You eat the brains
response: The thought of eating brains nauseates you in the extreme. You're
not some kind of monster, are you?
action: Look around
response: As the road leads into the mountains, the gnarled old pine trees
get thicker. Here there is a little shelter from the freezing winds. Further travel west is blocked by a pile of fallen rocks.

The three of you have built a small campfire here. Only a few
embers remain and you've been inching closer against the late winter chill.

A rabbit carcass lies by the fire, stripped of its meat.

Peter is cleaning his fingernails with a pocketknife.

gusto.

your headache subside as the first morsels of food hit your stomach juices.
action: You examine carcass
response: Cooking directly on the fire does not make for even heating. Some bones are charred, while others are still wet and bloody.
action: You eat the rabbit
response: (the hind leg)
You gnaw at the bone a little more.
action: You talk to Marie
response: "What's up with you, Marie?"

skull.
action: You talk to Peter
response: (To speak aloud the thought that is currently on your mind, you
can use the abbreviation "T".)

"How are you doing, Peter?"

"It's been rough, Jack. You know all about that. Man, winter was
hard. I didn't think it got that cold out here. But the cold's better than what's coming - now the corpses are starting to thaw. It's hard not to give up sometimes."

You're thinking, "Seriously? Peter, giving up?"
action: You talk to Peter
response: "You're not seriously thinking about giving up, are you
Peter?"

"We've got to have faith, Jack. That's about all we've got left.
But I still believe. There's got to be something better after
this."

You're thinking, "How can Peter still believe in God? After
everything that's happened?"
action: You talk god
response: "How can you still believe in God, Peter? After everything that's happened?"

"I have to believe that God still cares, Jack. The corruption of
this world - that doesn't come from God. That comes from us, from our sins. We've fallen so far. But I believe He will take us back. I believe we'll be in Paradise soon."

You're thinking, "What if the undead life IS the afterlife?"
action: You talk the afterlife
response: "What if this is it? What if the undead life IS the
afterlife?"

"You know that doesn't make any sense. Stop talking crazy."

You're thinking, "What happens to your soul when your body is
turned undead?"
action: You talk soul
response: "What happens to your soul when your body is turned undead? Can
you still go to Heaven?"

"Mmfph!" she mumbles through a mouthful of rabbit.
action: You talk giving up
response: "Seriously, Marie? Peter, giving up?"

"Mmfph!" she mumbles through a mouthful of rabbit.
action: You talk darn right
response: "darn right" was not recognized as something you can talk
about.
action: You talk to Peter
response: "How are you doing, Peter?"

"It's been rough, Jack. You know all about that. Man, winter was
hard. It's hard not to give up sometimes."

You're thinking, "Thank God they stop when it freezes. But now
they're thawing out..."
action: You talk soul
response: "All right then, what happens to your soul when your body is
turned undead? Can you still go to Heaven?"

"Death is death. This undead thing, that's not you. Your soul is released when you die. It leaves your body. You've seen those things. They can't possibly have a soul."

You're thinking, "But what if they do? How could their souls find release?"
action: Release
response: (the hind leg)
Dropped.
action: You talk the release
response: "But what if they do have souls, trapped in their bodies? What if they're just in so much pain that they can't express anything else? How could their souls find release?"

Peter glances at you uneasily. "They don't have souls." He gives a frustrated sigh. "But for the sake of argument, suppose you're right. Destroying the head, that seems to shut them down. Like really dying, for good. Maybe their souls are released then. Would that make you feel any better about it?"
action: Talk
response: You're at a loss for words.

"You've made your point," Peter says.

You're thinking, "What the hell happened last week? That thing
came out of nowhere."
action: Talk
response: "What the hell happened last week? That thing came out of
nowhere."

"It was half buried underground, Jack. Maybe it got caught in that flash flood in November. You almost stepped on it - I guess that's when it woke up. If I hadn't had my steel-toed boots on, we'd probably both be dead now."

You're thinking, "Thank God they stop when it freezes. But now
they're thawing out..."
action: Talk
response: "Thank God they stop when it freezes. But now they're thawing
out..."

"It's like they're lizards," he says. "You know, some kind of cold-blooded creature. When the weather freezes, they freeze too. And when it's cold, they're slow. But they still move. It only takes a little bit of a warm-up to get them going again."
action: Talk
response: You can't think of anything to talk about right now.

"Whoo-hah! That was one tasty bunny," Marie bellows, wiping her
face with the back of her hand. She burps loudly and leans back with a sleepy, satisfied expression.

You're thinking, "Jim saved me. I didn't deserve that."
action: Talk
response: "He saved me. I didn't deserve that."

Peter replies, "You would have done the same thing, Jack. You're not--"

What sounds at first like a chuckle from Marie turns into a gag,
and then a muffled scream. Bony hands wrap around her head and squeeze her throat as she's dragged away by shadowy figures. Unearthly whoops and grunts suggest there's at least four of them. Peter stands and draws a pistol, shooting first into the shadows, and then as teeth flash and blood flows, at Marie's head. You're on your feet too, and more shadows are approaching...
action: You look around
response: As the road leads into the mountains, the gnarled old pine trees
get thicker. Here there is a little shelter from the freezing winds. Further travel west is blocked by a pile of fallen rocks.

The three of you have built a small campfire here. Only a few
embers remain and you've been inching closer against the late winter chill.

A rabbit carcass lies by the fire, stripped of its meat.

Peter is slashing at monsters with his pocketknife, pistol ready
in his other hand.

darkness, reaching for your throat with bloody hands.

You can also see a hind leg here.

Monsters? That dog's brain must have gone right to your head.
You're being attacked by a pack of wild dogs!

Pines (crawling)
As the road leads into the mountains, the gnarled old pine trees get thicker. Further travel west is blocked by a pile of fallen rocks.

A wretched old yellow dog is lying dead in the dirt. In its mouth is your severed hand.

A pack of wild dogs is barking aggressively and hopping around, each one tripping over the others to get at you first. One of them seems to have something in its mouth.

You feel an itching at the end of your leg and your arm. The stump of your ankle is really throbbing.
action: You look at mouth
response: (the wild dog's mouth)
The animal has your foot in its mouth. It must have picked it up and followed the scent here.

Your ankle continues to throb.
action: You attach the foot
response: (to your leg)
As you place your foot on your leg, the itching becomes more intense until it feels like a white-hot flame. Cartilage springs from your bone as sinews reattach and flesh crawls together. Within a minute or so your foot is as whole as it was before - that is to say, putrid and threadbare, but attached.

Unfortunately, your headache is worse now.
action: You attach hand
response: (to your arm)
You hold your severed hand against your arm, but your body must not be ready to heal, because it doesn't stick. You need to find some more brains to eat.
action: Status
response: Your foot has been fused back onto your leg, and you are missing a hand. You have eaten some old yellow dog's brains and a last piece of your friend Jim's brains. Your head is throbbing painfully, but it's only about four times the intensity of the worst headache you ever felt in your life.
action: Describe the surroundings
response: As the road leads into the mountains, the gnarled old pine trees get thicker. Further travel west is blocked by a pile of fallen rocks.

A wretched old yellow dog is lying dead in the dirt. In its mouth is your severed hand.

A pack of wild dogs is barking aggressively and hopping around, each one tripping over the others to get at you first.
action: You take the hand
response: Your hands are full, so to speak.
action: Inventory
response: In one hand you have a gas can. The other hand has been severed from your arm.
action: Up
response: The hills here are steep and treacherous. You saw a dead guy going down a slope like this one time -- he tripped and fell quite a ways. Having both legs broken wouldn't have been so bad in itself, but then the wild dogs and the vultures found him. His flesh kept growing back and they just kept chewing it off before he could build up the strength to get up again.

The only way back is down the road to the east.
action: You drop can
response: Dropped.
action: You go to the east
response: You flee towards the east, pursued by the dogs.

Parked just uphill on the northern shoulder of the road is the battered Cloudliner trailer. The road leads along the mountainside from a pine grove in the west, and a sign points east towards the highway.

A pack of wild dogs is barking aggressively and hopping around, each one tripping over the others to get at you first.
action: Go east
response: You flee towards the east, pursued by the dogs.

You stumble along for what seems like quite a long distance. Your dragging foot catches on a rock. With a crack, it snaps right off and you plant your face in the hot asphalt.

The pack leaps upon you silently, pinning you to the pavement and tearing into your flesh. Your throat is torn out, your spine is crushed, and you feel the world tumble as your head rolls away from your body. The dogs lose interest in a short while, and then the vultures arrive to pick at your exposed organs. Somehow you are still able to feel all of it.
action: You throw the hand
response: You toss your severed hand a short distance and it lands in the dirt.
action: Go downwards
response: The hills here are steep and treacherous. You saw a dead guy going down a slope like this one time -- he tripped and fell quite a ways. Having both legs broken wouldn't have been so bad in itself, but then the wild dogs and the vultures found him. His flesh kept growing back and they just kept chewing it off before he could build up the strength to get up again.

You can go north into the trailer or down the road to the east or the west.
action: Go east
response: You flee towards the east, pursued by the dogs.

You stumble along for what seems like quite a long distance. Your dragging foot catches on a rock. With a crack, it snaps right off and you plant your face in the hot asphalt.

The pack leaps upon you silently, pinning you to the pavement and tearing into your flesh. Your throat is torn out, your spine is crushed, and you feel the world tumble as your head rolls away from your body. The dogs lose interest in a short while, and then the vultures arrive to pick at your exposed organs. Somehow you are still able to feel all of it.
action: You go inside
response: (first opening the front door)
You squeeze into the trailer and slam the door behind you.

This tiny trailer is where you would sleep, if you slept. The front door is to the south.

What's left of a large mirror leans against the wall, smeared with dried blood and vomit. Pieces of broken glass litter the floor.

The refrigerator is standing open.

The severed head is lying on the floor, its eyes following you crookedly.

The sound of barking dogs is coming from the front door.

Outside you hear howls of frustration. The door rattles as paws scratch and bodies thump against it. After a while, the barking turns to sniffing, and then silence as the animals leave in search of easier prey.
action: Go outside
response: (first opening the front door)
You turn the doorknob, careful not to pull it out. By rubbing the stump of your wrist against the edge of the door, you're able to chivvy it open.

Parked just uphill on the northern shoulder of the road is the battered Cloudliner trailer. The road leads along the mountainside from a pine grove in the west, and a sign points east towards the highway.

You can see your severed hand here.

From inside the trailer, you hear the head wail, "Noooo! Doonnnn' leeavve!"

Then the front door swings closed with a bang.
action: Go east
response: You stumble along for what seems like quite a long distance. The road is uneven here, and your poor vision misses many rocks and pieces of debris. You trip on something, planting your face in the hot asphalt, but your foot seems to have healed well enough to take the punishment. You get up again.

You're walking on an east-west road cut into the steep hillside. The desert spreads out to the south.
action: You go south
response: And become a permanent feast for the vultures in these steep and treacherous hills? Not today.

You can go down the road to the east or the west.
action: Go east
response: You stumble along for what seems like quite a long distance. The road is uneven here, and your poor vision misses many cracks and potholes. You twist your ankle on some unseen obstacle. You sit down to rest for a moment, but your foot seems to have healed well enough to take the punishment. You get up again.

Your path leads east and west over cracked, uneven asphalt. A glint of chrome is all you see of the diner to the east.
action: Go inside
response: A long counter divides the dining room from the kitchen entrance to the west. Booths line the east wall. Many of the windows are smashed, including most of the ones on the south wall, which provide an alternative exit to the locked front door. The floor is scattered with broken dishes and window glass.

An old jukebox stands in one corner, lit up and ready to play a tune.

A pack of wild dogs is barking aggressively and hopping around, each one tripping over the others to get at you first.
action: You examine the dogs
response: There are four or five big mongrel dogs - they move so fast and your vision is so poor that you can't be sure. They look stout and healthy, unlike the rabid beast you just took down. They're barking aggressively and hopping around, each one tripping over the others to get at you first.

The jukebox is playing selection B2: 'Big Car' by Severed Heads. A foursquare techno beat.
action: Dance
response: You flail around, jumping up and down like a crazy fool. It makes you a little dizzy, but your head doesn't hurt any worse for it.

The jukebox is playing selection B2: 'Big Car' by Severed Heads. A foursquare techno beat.
action: You examine the jukebox
response: A light behind the entry for "B2: 'Big Car' by Severed Heads" indicates that it is now playing, and the music fills the room from a number of speakers over the booths. An array of panels list the available songs. There is a button labeled with the disc number and side by each one:

A1: After the Fall - Klaus Nomi
B1: The Voyeur of Utter Destruction - David Bowie

A2: Piggy Smack - Severed Heads
B2: Big Car - Severed Heads

A3: Mad World - Tears for Fears
B3: Everybody Wants to Rule the World - Tears for Fears

A4: Thriller - Michael Jackson
B4: Ghostbusters - Ray Parker Junior

A5: Jerdacuttup Man - The Triffids
B5: The Spinning Top Song - The Triffids

A6: Love Zombie - Sweet Lickin' Honey Babes
B6: I'm Not the Man I Used to Be - Fine Young Cannibals

A7: Omnichrome - Three Hour Detour
B7: Snow Karma - Three Hour Detour

Button B2 looks more worn than the others - you can hardly read the label at all.

A foursquare techno beat.
action: Go west
response: You head for the kitchen door, pursued by the dogs.

Traces of rust and mysterious stains line the reflective surfaces here, but do little to obscure the reflection of your gruesome appearance. The kitchen door is east, and there is an employee exit to the north.

A massive steel door dominates the west end of the kitchen. It is open and locked.

A steel key hangs from a chain bolted to the wall.

A pack of wild dogs is barking aggressively and hopping around, each one tripping over the others to get at you first.

Muffled music can be heard coming from the jukebox in the dining room.
action: You enter
response: You head for the freezer door, pursued by the dogs.

Pale fluorescent lights illuminate the room. With the power back on, this walk-in freezer is getting cold quite rapidly. For a moment, it offers relief from the summer heat. Then the chill starts to seep in and you feel your body shutting down.

The freezer door is to the east. It is open and locked.

A pack of wild dogs is barking aggressively and hopping around, each one tripping over the others to get at you first.
action: You go east
response: You head for the freezer door, pursued by the dogs.

Traces of rust and mysterious stains line the reflective surfaces here, but do little to obscure the reflection of your gruesome appearance. The kitchen door is east, and there is an employee exit to the north.

A massive steel door dominates the west end of the kitchen. It is open and locked.

A steel key hangs from a chain bolted to the wall.

A pack of wild dogs is barking aggressively and hopping around, each one tripping over the others to get at you first.
action: You go west
response: You head for the freezer door, pursued by the dogs.

Pale fluorescent lights illuminate the room. With the power back on, this walk-in freezer is getting cold quite rapidly. For a moment, it offers relief from the summer heat. Then the chill starts to seep in and you feel your body shutting down.

The freezer door is to the east. It is open and locked.

A pack of wild dogs is barking aggressively and hopping around, each one tripping over the others to get at you first.

You can also see your severed hand here.
action: You wave the hand
response: You wave your severed hand around with your good hand.
action: You go west
response: The wild dogs have better things to do.
action: You look at what you're carrying with you
response: In your good hand you have your severed hand (with a rosary in its grip).
action: You describe your surroundings
response: Traces of rust and mysterious stains line the reflective surfaces here, but do little to obscure the reflection of your gruesome appearance. The kitchen door is east, and there is an employee exit to the north.

A massive steel door dominates the west end of the kitchen. It is open and locked.

A steel key hangs from a chain bolted to the wall.

A pack of wild dogs is barking aggressively and hopping around, each one tripping over the others to get at you first.
action: You go north
response: You are standing under an awning that forms a small shed against the back of the diner. A paved walk leads east around the building past the parking lot. Next to the shed, a door marked "EMPLOYEES ONLY" leads south.

A tangle of cables emerges from amid the vents on the wall. The cables snake down to a backup power generator that is chugging away noisily.

The generator makes a really loud noise, and it makes everything shake. You can't even think straight.

The sound of barking dogs is coming from the employee entrance.
action: You go to the east
response: A short drive from the southwest leads to this empty parking lot. The mountainside is choked with shrubs, obscuring the view of the road from here.

Blinds in the windows prevent you from seeing inside the diner to the west. A paved walk leads northwest around the back of the building.
action: You go to the east
response: The road curves to the north here around a steep cliff. Dead ahead is the scene of a horrific accident - four or five cars are smashed together. Behind the pile-up is another wreck: lying on its side, blocking the entire road, is the carcass of a school bus.

Several more cars seem to have stopped short of the accident scene. Most are stripped-down or rusted beyond recognition, but a large, boxy blue sedan looks more recent.

A religious sister is smiling at you peacefully.

You can also see a siphon pump here.
action: You talk nun
response: "Aaaah.... hhhello, sssister."

"I'm very pleased to meet you, sir. My name is Sister Christina Therese."
action: You examine the sedan
response: It's an old Dodge. Light blue, scratched and dusty, but still in decent shape. The doors and windows are locked, but the gas cap for the sedan's tank is open.

"I see you got some gasoline out of my old clunker here," Sister Christina observes. "I hope it can be of use to you, and do please let me know if there's anything else I can help you with," she says.
action: Talk dogs
response: "Annimmmals..."

Sister Christina gives you a glassy-eyed smile and a slight nod, but no further pretense that she understood you.
action: You talk bus
response: "Schoooll buuuss!"

"I believe I saw somebody moving around underneath that schoolbus," she tells you.
action: You talk the hand
response: You mumble something almost comprehensible about your severed hand.

"Would you like me to hold your severed hand for you while you put it back on?" Sister Christina offers.
action: You talk sedan
response: "Gas... in caaarr..."

"I see you got some gasoline out of my old clunker here. I hope it can be of use to you, and do please let me know if there's anything else I can help you with," she says.
action: You give hand to the nun
response: You offer your severed hand to Sister Christina Therese.

She takes your severed hand and holds it out so you can steady yourself to reattach it.
action: You attach the hand
response: (to your arm)
You hold your severed hand against your arm, but nothing happens. Your body refuses to heal.

"Noooo! Need more braaaains!" you howl.
"Braaaaaaaaaaiiins!"

You hear a great number of high-pitched voices somewhere among the wreckage. You can't make out what they're saying.

"Oh listen to all these pitiable wretches! You must be very hungry, friend," Sister Christina says to you. "Here, you need this more than I do."

She kneels down and pulls back her veil, exposing a scarred head dotted with patches of brittle white hair. A large gash running from front to back reveals that her skull is cracked open and most of her brain is still intact.

"Go ahead, dear. I know you'll feel much better."
action: You eat the brains
response: (the Sister's brains)
You devour the Sister's brains with gusto.

Here we go.

Peter adjusts the straps around his head and then activates his detonator switch. "This is it, Jack. We're the lucky ones - we can choose between eternal rest and eternal torment."
action: You talk peter
response: "How are you doing, Peter?"

"Not so good, man. I think this is it."
action: Look around
response: The road curves to the north here around a steep cliff. Dead ahead
is the scene of a horrific accident - four or five cars are smashed together.

walking dead, leering with half-eaten faces and groaning with bloodlust.

Peter is trembling slightly, sweating slightly, smiling slightly.
His eyes don't focus. His thumb is ready to release his bomb.
action: You examine the bomb
response: (your bomb)
The bomb has a lump of plastic explosive, a detonator, and straps
for your head. A cord runs down from the detonator to a hand-operated switch. There's a safety toggle, currently in the "on" (safe) position, and a trigger button. It's just like the one Peter's wearing, except you asked him to give it a regular detonator switch. Not that you're any more confident about your survival, you just couldn't stand the thought of accidentally blowing yourself up.

You're still working on the "on purpose" part.
action: You remove the bomb
response: (your bomb)
You're not wearing that!
action: You drop the bomb
response: (your bomb)
Dropped.
action: Go outside
response: (leaving to the west)
The horde is approaching from all directions. There is nowhere to
go. The only choice you have is how you will die.
action: You turn off the safety
response: You switch off the safety. If the bomb goes off now, not only
could it be an ugly mess, but your head might survive to be reanimated.

An elderly gentleman with no flesh on the right side of his face touches Peter lightly on the ear. Peter doesn't flinch, he just relaxes his thumb. The two of them drop to the ground amid a deafening crack of blood and fire.

The elderly gentleman gets up.
action: You get the bomb
response: (your bomb)
Taken.
action: You turn off the bomb
response: (your bomb)
That's not something you can switch.

The elderly gentleman, joined by a gaggle of his companions, turns from Peter's body and reaches for you. You go for your weapon, but what you find in your hand is a bomb trigger. Unthinking, you squeeze it...

The bomb goes off in your hands, ripping your stomach apart.
Although you're paralyzed by pain, you remain fully conscious. The creatures claw open your ribcage and stick their little fingers into your organs. You wonder why you haven't passed out, and then you realize there was no bomb, and these creatures are only little children, reaching into your abdomen to fish the chewed-up mush of the poor nun's brains from your stomach. When they finish that, they follow up with your own sorry excuse for grey matter...
action: You turn on the bomb
response: (your bomb)
That's not something you can switch.
action: Toggle safety
response: You switch your bomb's safety toggle on.
action: You look around
response: The road curves to the north here around a steep cliff. Dead ahead
is the scene of a horrific accident - four or five cars are smashed together.

A horde of monsters is ripping chunks off of Peter's body. You
could almost swear their shrieks are cries of frustration that they can't find his brain, that their putrid drool is mixed with tears of longing.

You can also see your bomb here.

The elderly gentleman, joined by a gaggle of his companions, turns from Peter's body and reaches for you. You swing your machete, and it gets stuck in a shoulder. Before you can pull it out, five hands grab your arm, and others behind you lift your body, twisting your arm, turning you upside-down...

But they're not big scary monsters. No, you're the monster... these are just little schoolkids. They couldn't be more than eight years old. There's so many, though, and they want your brains just as much as you want theirs. Headfirst, you're lowered towards their broken little teeth...
action: You throw the bomb at the zombies
response: (your bomb the monsters)
(first taking your bomb)

You might, if you were very lucky, blow up one of these creatures before they got to you. No, this bomb is for you to go out with a scrap of dignity - and avoid becoming one of them.

The elderly gentleman, joined by a gaggle of his companions, turns from Peter's body and reaches for you. You swing your machete, and it gets stuck in a shoulder. Before you can pull it out, five hands grab your arm, and others behind you lift your body, twisting your arm, turning you upside-down...

But they're not big scary monsters. No, you're the monster... these are just little schoolkids. They couldn't be more than eight years old. There's so many, though, and they want your brains just as much as you want theirs. Headfirst, you're lowered towards their broken little teeth...
action: You go west
response: The horde is approaching from all directions. There is nowhere to
go. The only choice you have is how you will die.

The elderly gentleman, joined by a gaggle of his companions, turns from Peter's body and reaches for you. You swing your machete, and it gets stuck in a shoulder. Before you can pull it out, five hands grab your arm, and others behind you lift your body, twisting your arm, turning you upside-down...

But they're not big scary monsters. No, you're the monster... these are just little schoolkids. They couldn't be more than eight years old. There's so many, though, and they want your brains just as much as you want theirs. Headfirst, you're lowered towards their broken little teeth...
action: You look at what you're carrying with you
response: You are carrying:
a rosary
a filthy machete
your bomb
action: You wear the bomb
response: (your bomb)
You fix the straps around your head.

An elderly gentleman with no flesh on the right side of his face touches Peter lightly on the ear. Peter doesn't flinch, he just relaxes his thumb. The two of them drop to the ground amid a deafening crack of blood and fire.

The elderly gentleman gets up.
action: You turn off the safety
response: You switch off the safety. If you have the guts to press the
trigger button now, you will never be reanimated. Maybe you'll finally know if Peter was right about choosing eternal rest...
action: You attach the hand
response: (to your arm)
As you place your hand on your arm, the itching becomes more intense until it feels like a white-hot flame. Cartilage springs from your bone as sinews reattach and flesh crawls together. Within a minute or so your hand is as whole as it was before - that is to say, putrid and threadbare, but attached.

Unfortunately, your headache is worse now.
action: Status
response: Your hand has been fused back onto your arm, and your foot has been fused back onto your leg. You have eaten some Sister's brains, some old yellow dog's brains, and a last piece of your friend Jim's brains. A ringing in your ears like a power drill boring into your skull is the last remnant of a once formidable headache. Now it's only about twice as bad as anything you had while living.
action: You look at the children
response: They're emerging from under the schoolbus and spreading down the road to the west.
action: You go east
response: The wreckage of multiple vehicles blocks further passage down the road. The only way back is to the west.
action: You go inside
response: Some of the children watch hungrily as you leave.

A long counter divides the dining room from the kitchen entrance to the west. Booths line the east wall. Many of the windows are smashed, including most of the ones on the south wall, which provide an alternative exit to the locked front door. The floor is scattered with broken dishes and window glass.

An old jukebox stands in one corner, lit up and ready to play a tune.

The sound of barking dogs is coming from the kitchen door.
action: Go west
response: The dancing children are so densely packed by the kitchen entrance that you can't get past.

The jukebox is playing selection B2: 'Big Car' by Severed Heads. A foursquare techno beat.
action: Go east
response: You slip into the booth without the children noticing. It seems that second-graders are even more easily distractible when they're dead.

The Uptown Diner (in the booth)
A long counter divides the dining room from the kitchen entrance to the west. Booths line the east wall. Many of the windows are smashed, including most of the ones on the south wall, which provide an alternative exit to the locked front door. The floor is scattered with broken dishes and window glass.

A handful of decaying schoolchildren are dancing to the music, temporarily oblivious to your presence. More are joining them as they come in from outside the front of the diner.

Each booth is a formica table with two bench seats upholstered in ripped and faded red vinyl, with a speaker positioned on the ceiling directly overhead. This booth has a blind covering the window. It's crooked and appears to be jammed, but it covers the glass so that you can't tell whether it's broken or not.

The sound of barking dogs is coming from the kitchen door.

The jukebox is playing selection B2: 'Big Car' by Severed Heads. A foursquare techno beat.
action: Break glass
response: (the east window)
You ball your fist up and punch the window. Your fist bounces off. You try again, harder, and pieces of bone splinter from your knuckles. Finally, you pound your head against the window and it shatters pleasingly. You pick the bits of glass from your flesh and drop them to the ground.

The jukebox is playing selection B2: 'Big Car' by Severed Heads. A foursquare techno beat.
action: You go east
response: You crawl out the window.

A short drive from the southwest leads to this empty parking lot. The mountainside is choked with shrubs, obscuring the view of the road from here.

The windows are smashed, allowing entry to the diner to the west. A paved walk leads northwest around the back of the building.
action: You go to the east
response: You push your way through the oncoming crowd...

The road curves to the north here around a steep cliff. Dead ahead is the scene of a horrific accident - four or five cars are smashed together. Behind the pile-up is another wreck: lying on its side, blocking the entire road, is the carcass of a school bus.

Several more cars seem to have stopped short of the accident scene. Most are stripped-down or rusted beyond recognition, but a large, boxy blue sedan looks more recent.

Sister Christina Therese is sitting on the ground, staring ahead with a pure, empty gaze.

A horde of rotting schoolchildren is emerging from under the schoolbus and spreading down the road to the west.

You can also see a siphon pump here.
action: You examine bus
response: The bus rocks back and forth gently from the force of many, many children crawling out from their temporary burial underneath the vehicle.
action: Go northeast
response: Some of the children watch hungrily as you leave.

A short drive from the southwest leads to this empty parking lot. The mountainside is choked with shrubs, obscuring the view of the road from here.

The windows are smashed, allowing entry to the diner to the west. A paved walk leads northwest around the back of the building.

This would be a nice quiet place to hide out, but there's no chance of that now that the kids have seen you going back here.
action: You go northwest
response: You are standing under an awning that forms a small shed against the back of the diner. A paved walk leads east around the building past the parking lot. Next to the shed, a door marked "EMPLOYEES ONLY" leads south.

A tangle of cables emerges from amid the vents on the wall. The cables snake down to a backup power generator that is chugging away noisily.

The generator makes a really loud noise, and it makes everything shake. You can't even think straight.

The sound of barking dogs is coming from the employee entrance.

In the parking lot you see a few of the children wandering over from the road.
action: Examine generator
response: The generator is weathered, but nothing is obviously broken, and it's still hooked up to some thick cables that run into the building. It has a large opening on the top labeled "GASOLINE." The gas cap seems to be missing. There's also a button labeled "IGNITION." Down near the bottom, where the motor is located, there's a pull cord with a plastic handle.

The generator is currently switched on.

The gas tank is full.
action: You switch off the generator
response: There's no obvious way to turn off the generator. It's probably designed to shut down automatically when the grid power comes back on.
action: You go south
response: Everything is shaking. You try to turn the handle on the back door but you can't get a good grip on it.

A crowd of mean-looking kids sidles over from the parking lot, ready to tussle. With the kind of bloodthirsty abandon only a dead guy can muster, you take down half a dozen of them and sink your teeth into a soft, moldering head. But more of them pile on top, and you go down at the bottom of the pile...
action: You go southeast
response: You head towards the crowd...

A short drive from the southwest leads to this empty parking lot. The mountainside is choked with shrubs, obscuring the view of the road from here.

The windows are smashed, allowing entry to the diner to the west. A paved walk leads northwest around the back of the building.

Several dead schoolchildren are milling around. They're wandering over from the front of the diner, and moving towards the back entrance of the diner.

A sudden chill comes over the crowd and their attention focuses more sharply on you. As one, they reach out and begin pulling at your clothes, at your flesh. Little fingers pry your skull open wide and little teeth sink into the rotting remainder of your brain. Your body is laid out flat by many hands, and you become a permanent feast.
action: You go inside
response: You shuffle along with the moving crowd...

A long counter divides the dining room from the kitchen entrance to the west. Booths line the east wall. Many of the windows are smashed, including most of the ones on the south wall, which provide an alternative exit to the locked front door. The floor is scattered with broken dishes and window glass.

An old jukebox stands in one corner, lit up and ready to play a tune.

A small crowd of undead schoolchildren is collected here, a few of them turning your way with blackened drool oozing from gaps between their rotted teeth. They're wandering over from the front of the diner.

The sound of barking dogs is coming from the kitchen door.
action: Go west
response: The dancing children are so densely packed by the kitchen entrance that you can't get past.

The jukebox is playing selection A1: 'After the Fall' by Klaus Nomi. An operatic soprano with a German accent belts out apocalyptic lyrics over a bombastic 80s beat.
action: Go east
response: You slip into the booth without the children noticing. It seems that second-graders are even more easily distractible when they're dead.

The Uptown Diner (in the booth)
A long counter divides the dining room from the kitchen entrance to the west. Booths line the east wall. Many of the windows are smashed, including most of the ones on the south wall, which provide an alternative exit to the locked front door. The floor is scattered with broken dishes and window glass.

A sizeable crowd of dead schoolchildren is dancing to the music, temporarily oblivious to your presence.

Each booth is a formica table with two bench seats upholstered in ripped and faded red vinyl, with a speaker positioned on the ceiling directly overhead. This booth has a blind covering the window. It's crooked and appears to be jammed, but it covers the glass so that you can't tell whether it's broken or not.

The sound of barking dogs is coming from the kitchen door.

The jukebox is playing selection A1: 'After the Fall' by Klaus Nomi. An operatic soprano with a German accent belts out apocalyptic lyrics over a bombastic 80s beat.
action: You break the window
response: (the broken window)
You ball your fist up and punch the window. Your fist bounces off. You try again, harder, and pieces of bone splinter from your knuckles. Finally, you pound your head against the window and it shatters pleasingly. You pick the bits of glass from your flesh and drop them to the ground.

The jukebox is playing selection A1: 'After the Fall' by Klaus Nomi. An operatic soprano with a German accent belts out apocalyptic lyrics over a bombastic 80s beat.
action: You enter the window
response: (the broken window)
You crawl out the window.

A short drive from the southwest leads to this empty parking lot. The mountainside is choked with shrubs, obscuring the view of the road from here.

The windows are smashed, allowing entry to the diner to the west. A paved walk leads northwest around the back of the building.
action: You go to the north-west
response: You are standing under an awning that forms a small shed against the back of the diner. A paved walk leads east around the building past the parking lot. Next to the shed, a door marked "EMPLOYEES ONLY" leads south.

A tangle of cables emerges from amid the vents on the wall. The cables snake down to a backup power generator that is chugging away noisily.

The generator makes a really loud noise, and it makes everything shake. You can't even think straight.

The sound of barking dogs is coming from the employee entrance.
action: Go south
response: Everything is shaking. You try to turn the handle on the back door but you can't get a good grip on it.
action: You check what you're carrying
response: Your hands are freeA rosary hangs around your neck.
action: You put rosary on the door
response: You might as well just drop the rosary.
action: Scream
response: You open your throat, but a warbling moan is all you can produce.
action: Go east
response: A short drive from the southwest leads to this empty parking lot. The mountainside is choked with shrubs, obscuring the view of the road from here.

The windows are smashed, allowing entry to the diner to the west. A paved walk leads northwest around the back of the building.
action: You go west
response: You stumble along, trying to get past the horde. Your dragging foot catches on a rock. With a crack, it snaps right off and you plant your face in the hot asphalt.

The crowd leaps upon you with squeals of anticipation. They crack your skull wide like an egg and suck out the last rotten remains of your brain, as the world swirls into an increasingly painful blur. Your body becomes a plaything for a band of inquisitive little torturers...
action: Go west
response: You climb in the window, and find yourself in a booth.

The Uptown Diner (in the booth)
A long counter divides the dining room from the kitchen entrance to the west. Booths line the east wall. Many of the windows are smashed, including most of the ones on the south wall, which provide an alternative exit to the locked front door. The floor is scattered with broken dishes and window glass.

An old jukebox stands in one corner, lit up and ready to play a tune.

A horde of decaying schoolchildren is wandering around the diner. They don't seem to notice you.

Each booth is a formica table with two bench seats upholstered in ripped and faded red vinyl, with a speaker positioned on the ceiling directly overhead. This booth has a blind covering the window. It's crooked and appears to be jammed, but it covers the glass so that you can't tell whether it's broken or not.

The sound of barking dogs is coming from the kitchen door.
action: Dance
response: You flail around, jumping up and down like a crazy fool. It makes you a little dizzy, but your head doesn't hurt any worse for it.
action: You go west
response: You get out of the booth.

A long counter divides the dining room from the kitchen entrance to the west. Booths line the east wall. Many of the windows are smashed, including most of the ones on the south wall, which provide an alternative exit to the locked front door. The floor is scattered with broken dishes and window glass.

An old jukebox stands in one corner, lit up and ready to play a tune.

A horde of rotting schoolchildren is crowding you in. They're wandering over from the front of the diner.

The sound of barking dogs is coming from the kitchen door.
action: You examine the door
response: A heavy chain wrapped around the chrome bars of the door prevents it from opening. But if you wanted to leave the diner, you could just walk south through the smashed windows.
action: You examine the jukebox
response: The jukebox is powered up, but not playing anything right now. An array of panels list the available songs. There is a button labeled with the disc number and side by each one:

A1: After the Fall - Klaus Nomi
B1: The Voyeur of Utter Destruction - David Bowie

A2: Piggy Smack - Severed Heads
B2: Big Car - Severed Heads

A3: Mad World - Tears for Fears
B3: Everybody Wants to Rule the World - Tears for Fears

A4: Thriller - Michael Jackson
B4: Ghostbusters - Ray Parker Junior

A5: Jerdacuttup Man - The Triffids
B5: The Spinning Top Song - The Triffids

A6: Love Zombie - Sweet Lickin' Honey Babes
B6: I'm Not the Man I Used to Be - Fine Young Cannibals

A7: Omnichrome - Three Hour Detour
B7: Snow Karma - Three Hour Detour

Button B2 looks more worn than the others - you can hardly read the label at all.
action: Go west
response: Some of the children watch distractedly as you leave.

Traces of rust and mysterious stains line the reflective surfaces here, but do little to obscure the reflection of your gruesome appearance. The kitchen door is east, and there is an employee exit to the north.

A massive steel door dominates the west end of the kitchen. It is open and locked.

A steel key hangs from a chain bolted to the wall.

A pack of wild dogs is barking aggressively and hopping around, each one tripping over the others to get at you first.

Muffled music can be heard coming from the jukebox in the dining room.
action: You go east
response: You head for the dining room, pursued by the dogs.

A long counter divides the dining room from the kitchen entrance to the west. Booths line the east wall. Many of the windows are smashed, including most of the ones on the south wall, which provide an alternative exit to the locked front door. The floor is scattered with broken dishes and window glass.

A horde of decaying schoolchildren is dancing to the music in a tight clump around the booth, oblivious to your presence.

The dogs charge in after you and then see the children. For a moment, all creatures are frozen, and then they approach one another with quiet, sideways steps.

When another child enters from outside the front of the diner, you're suddenly pushed aside by a twirling melee of claws, fingernails and teeth. Fresh blood mingles with rotten black ichor like a Paleo smoothie gone wrong. The dogs squeal with surprise and terror as more children arrive, then they bolt from the room. The pile of wounded children struggles to its feet and turns its attention on you.

The jukebox is playing selection B2: 'Big Car' by Severed Heads. A foursquare techno beat.
action: Go west
response: Some of the children watch distractedly as you leave.

Traces of rust and mysterious stains line the reflective surfaces here, but do little to obscure the reflection of your gruesome appearance. The kitchen door is east, and there is an employee exit to the north.

A massive steel door dominates the west end of the kitchen. It is open and locked.

A steel key hangs from a chain bolted to the wall.

Muffled music can be heard coming from the jukebox in the dining room.
action: Go west
response: Pale fluorescent lights illuminate the room. With the power back on, this walk-in freezer is getting cold quite rapidly. For a moment, it offers relief from the summer heat. Then the chill starts to seep in and you feel your body shutting down.

The freezer door is to the east. It is open and locked.
action: You look at the kids
response: They're dancing to the music in a tight clump around the booth, oblivious to your presence.

The jukebox is playing selection B2: 'Big Car' by Severed Heads. A foursquare techno beat.
action: You go west
response: Some of the children watch hungrily as you leave.

Traces of rust and mysterious stains line the reflective surfaces here, but do little to obscure the reflection of your gruesome appearance. The kitchen door is east, and there is an employee exit to the north.

A massive steel door dominates the west end of the kitchen. It is open and locked.

A steel key hangs from a chain bolted to the wall.
action: You wait for a while
response: Time passes.

Undead children follow you from the dining room.
action: Go west
response: Some of the children watch hungrily as you leave.

Pale fluorescent lights illuminate the room. With the power back on, this walk-in freezer is getting cold quite rapidly. For a moment, it offers relief from the summer heat. Then the chill starts to seep in and you feel your body shutting down.

Through the open freezer door you see a gathering crowd of ghoul-children.
action: Wait
response: You freeze, hoping the children will forget you and move on.
action: Wait
response: You keep still, hoping the children will forget you and move on.
action: You go to the east
response: You squeeze in amongst the swelling crowd in the kitchen.

Traces of rust and mysterious stains line the reflective surfaces here, but do little to obscure the reflection of your gruesome appearance. The kitchen door is east, and there is an employee exit to the north.

A massive steel door dominates the west end of the kitchen. It is open and locked.

A steel key hangs from a chain bolted to the wall.

Several rotting schoolchildren are milling around. They're wandering over from the dining room.
action: You go east
response: You squeeze in amongst the swelling crowd in the kitchen.

Traces of rust and mysterious stains line the reflective surfaces here, but do little to obscure the reflection of your gruesome appearance. The kitchen door is east, and there is an employee exit to the north.

A massive steel door dominates the west end of the kitchen. It is open and locked.

A steel key hangs from a chain bolted to the wall.

A small crowd of dead schoolchildren is milling around, some of them eyeing you shyly with a look of predatory curiosity. They're wandering over from the dining room.
action: You go north
response: Some of the children watch hungrily as you leave.

You are standing under an awning that forms a small shed against the back of the diner. A paved walk leads east around the building past the parking lot. Next to the shed, a door marked "EMPLOYEES ONLY" leads south.

A tangle of cables emerges from amid the vents on the wall. The cables snake down to a backup power generator that is chugging away noisily.

The generator makes a really loud noise, and it makes everything shake. You can't even think straight.
action: Go east
response: A short drive from the southwest leads to this empty parking lot. The mountainside is choked with shrubs, obscuring the view of the road from here.

The windows are smashed, allowing entry to the diner to the west. A paved walk leads northwest around the back of the building.

A movement over by the shed catches your attention. The children are coming out the back of the diner towards you.
action: You go northeast
response: A short drive from the southwest leads to this empty parking lot. The mountainside is choked with shrubs, obscuring the view of the road from here.

The windows are smashed, allowing entry to the diner to the west. A paved walk leads northwest around the back of the building.

Over in the back entrance of the diner you see a horde of children shambling your way.

This would be a nice quiet place to hide out, but there's no chance of that now that the kids have seen you going back here.
action: Go south
response: You can't go that way. You can go north to the back entrance of the diner, east to the dining room or west through the freezer door.
action: You go north
response: Some of the children watch hungrily as you leave.

You are standing under an awning that forms a small shed against the back of the diner. A paved walk leads east around the building past the parking lot. Next to the shed, a door marked "EMPLOYEES ONLY" leads south.

A tangle of cables emerges from amid the vents on the wall. The cables snake down to a backup power generator that is chugging away noisily.

The generator makes a really loud noise, and it makes everything shake. You can't even think straight.
action: You close the door
response: That's not something you can close.

The children shamble a little quicker towards you through the employee entrance. Sensing that you're trapped, they surround you, reaching out their puffy little fingers. You're squeezed from all sides, then you're pulled apart in all directions.
action: You go northwest
response: You head towards the crowd...

You are standing under an awning that forms a small shed against the back of the diner. A paved walk leads east around the building past the parking lot. Next to the shed, a door marked "EMPLOYEES ONLY" leads south.

A tangle of cables emerges from amid the vents on the wall. The cables snake down to a backup power generator that is chugging away noisily.

A couple of decaying schoolchildren are gathered here, looking for something with enough brains to eat. More are flooding in through the employee entrance.

The generator makes a really loud noise, and it makes everything shake. You can't even think straight.

A sudden chill comes over the crowd and their attention focuses more sharply on you. As one, they reach out and begin pulling at your clothes, at your flesh. Little fingers pry your skull open wide and little teeth sink into the rotting remainder of your brain. Your body is laid out flat by many hands, and you become a permanent feast.
action: You go to the west
response: You poke your head in the window and lift the blinds - but then you see the dense pack of children poking around the booth, looking for that screaming voice they heard. You back out before they notice you.
action: You go east
response: You push your way through the moving crowd...

The road curves to the north here around a steep cliff. Dead ahead is the scene of a horrific accident - four or five cars are smashed together. Behind the pile-up is another wreck: lying on its side, blocking the entire road, is the carcass of a school bus.

Several more cars seem to have stopped short of the accident scene. Most are stripped-down or rusted beyond recognition, but a large, boxy blue sedan looks more recent.

Sister Christina Therese is sitting on the ground, staring ahead with a pure, empty gaze.

A horde of rotting schoolchildren is shuffling back and forth along the road, some returning to the schoolbus and some wandering off again.

You can also see a siphon pump here.
action: You examine bus
response: The bus rocks back and forth gently from the force of many, many children crawling out from their temporary burial underneath the vehicle.
action: You get in the bus
response: There's too many kids coming out of there for you to get past them.
action: You examine cliff
response: The hills here are steep and treacherous.
action: You examine the cars
response: The cars form an impenetrable mess. That blue Dodge sedan looks like it's in reasonable shape, though.
action: You search nun
response: A peaceful woman in her seventies, Sister Christina Therese looks quite dignified in her purple dress. One eye is missing and a dark purple ooze stains her plain white veil and flows out from where her left ear should be. She's sitting on the ground, staring ahead with a pure, empty gaze.
action: Go north
response: The wreckage of multiple vehicles blocks further passage down the road. The only way back is to the west.
action: You look around
response: The road curves to the north here around a steep cliff. Dead ahead is the scene of a horrific accident - four or five cars are smashed together. Behind the pile-up is another wreck: lying on its side, blocking the entire road, is the carcass of a school bus.

Several more cars seem to have stopped short of the accident scene. Most are stripped-down or rusted beyond recognition, but a large, boxy blue sedan looks more recent.

Sister Christina Therese is sitting on the ground, staring ahead with a pure, empty gaze.

A horde of undead schoolchildren is shuffling back and forth along the road, some returning to the schoolbus and some wandering off again.

You can also see a siphon pump here.
action: You examine the cars
response: The cars form an impenetrable mess. That blue Dodge sedan looks like it's in reasonable shape, though.
action: Hint
response: Inside the Trailer
When Limbs Fall Off
The Pines and the Old Yellow Dog
The Pack of Wild Dogs
The Nun
The Schoolchildren
Cars
Flashbacks
The Diner
What do I do with these items?
Am I stuck?
action: Go north
response: > Inside the Trailer
When Limbs Fall Off
The Pines and the Old Yellow Dog
The Pack of Wild Dogs
The Nun
The Schoolchildren
Cars
Flashbacks
The Diner
What do I do with these items?
Am I stuck?
action: Go north
response: Inside the Trailer
> When Limbs Fall Off
The Pines and the Old Yellow Dog
The Pack of Wild Dogs
The Nun
The Schoolchildren
Cars
Flashbacks
The Diner
What do I do with these items?
Am I stuck?
action: Go north
response: Inside the Trailer
When Limbs Fall Off
> The Pines and the Old Yellow Dog
The Pack of Wild Dogs
The Nun
The Schoolchildren
Cars
Flashbacks
The Diner
What do I do with these items?
Am I stuck?
action: You go north
response: Inside the Trailer
When Limbs Fall Off
The Pines and the Old Yellow Dog
> The Pack of Wild Dogs
The Nun
The Schoolchildren
Cars
Flashbacks
The Diner
What do I do with these items?
Am I stuck?
action: Go north
response: Inside the Trailer
When Limbs Fall Off
The Pines and the Old Yellow Dog
The Pack of Wild Dogs
> The Nun
The Schoolchildren
Cars
Flashbacks
The Diner
What do I do with these items?
Am I stuck?
action: Go north
response: Inside the Trailer
When Limbs Fall Off
The Pines and the Old Yellow Dog
The Pack of Wild Dogs
The Nun
> The Schoolchildren
Cars
Flashbacks
The Diner
What do I do with these items?
Am I stuck?
Select
> How do I escape the schoolchildren?
How do I get past the schoolchildren from the dining room?
How do I get to the generator without getting eaten?
How do I start the generator?
How do I get back inside the diner after I start the generator?
action: You go north
response: Inside the Trailer
When Limbs Fall Off
The Pines and the Old Yellow Dog
The Pack of Wild Dogs
The Nun
The Schoolchildren
> Cars
Flashbacks
The Diner
What do I do with these items?
Am I stuck?
action: You go north
response: Inside the Trailer
When Limbs Fall Off
The Pines and the Old Yellow Dog
The Pack of Wild Dogs
The Nun
The Schoolchildren
Cars
> Flashbacks
The Diner
What do I do with these items?
Am I stuck?
action: Go north
response: Inside the Trailer
When Limbs Fall Off
The Pines and the Old Yellow Dog
The Pack of Wild Dogs
The Nun
The Schoolchildren
Cars
Flashbacks
> The Diner
What do I do with these items?
Am I stuck?
Select
> How do I get inside the diner?
How do I get inside without being eaten by dogs?
I got inside, but I got trapped by children!
How do I get the jukebox to work?
How does the generator work?
How do I get to the generator?
I can't open the back door.
What do I do in the freezer?
How do I keep anyone from following me into the freezer?
How do I get rid of the key?
I'm safe and cold, but what do I do now?
action: Go north
response: You push your way through the moving crowd...

A long counter divides the dining room from the kitchen entrance to the west. Booths line the east wall. Many of the windows are smashed, including most of the ones on the south wall, which provide an alternative exit to the locked front door. The floor is scattered with broken dishes and window glass.

An old jukebox stands in one corner, lit up and ready to play a tune.

A horde of dead schoolchildren is poking around the booth, closely crowded together. Apparently they still haven't figured out where that screaming voice came from.
action: You go west
response: You shuffle along with the moving crowd...

Traces of rust and mysterious stains line the reflective surfaces here, but do little to obscure the reflection of your gruesome appearance. The kitchen door is east, and there is an employee exit to the north.

A massive steel door dominates the west end of the kitchen. It is open and locked.

A steel key hangs from a chain bolted to the wall.

A horde of undead schoolchildren is crowding you in. They're wandering over from the dining room, and moving towards the back entrance of the diner.
action: You go west
response: You push your way through the moving crowd...

Traces of rust and mysterious stains line the reflective surfaces here, but do little to obscure the reflection of your gruesome appearance. The kitchen door is east, and there is an employee exit to the north.

A massive steel door dominates the west end of the kitchen. It is open and locked.

A steel key hangs from a chain bolted to the wall.

A horde of undead schoolchildren is crowding you in, and moving towards the back entrance of the diner.

Muffled music can be heard coming from the jukebox in the dining room.
action: Unlock freezer
response: (with the steel key)
(first taking the steel key)

You take hold of the key at the end of the chain.

You unlock the steel door.

Muffled music can be heard coming from the jukebox in the dining room.
action: You go west
response: As you leave, the chain tugs on the key in your hand. You let go and it dangles towards the floor.

Some of the children watch hungrily as you leave.

Pale fluorescent lights illuminate the room. With the power back on, this walk-in freezer is getting cold quite rapidly. For a moment, it offers relief from the summer heat. Then the chill starts to seep in and you feel your body shutting down.

Through the open freezer door you see a gathering crowd of ghoul-children.
action: You close the door
response: You close the door. The freezer continues getting colder.

Accompanied by treble-voiced grunts and squeals of anticipation, small fingers claw at the freezer door. Slowly it opens to reveal the growing mob of little monsters outside.
action: You examine the door
response: The steel door has a spring latch so it can be locked when it is open. It is currently open and unlocked.

A few small, curious heads poke their way into the cold light, gore and drool mixing as it drips down their chins. Cautiously, the small invaders step into the room and approach you. It's hard to tell if the twitching of their half-fleshed faces expresses terror or glee, but soon their teeth are on you and your eyes are plucked from their sockets. The pain in your head increases as torn fingernails scrape at the inside of your skull...
action: Go east
response: You squeeze in amongst the swelling crowd in the kitchen.

Traces of rust and mysterious stains line the reflective surfaces here, but do little to obscure the reflection of your gruesome appearance. The kitchen door is east, and there is an employee exit to the north.

A massive steel door dominates the west end of the kitchen. It is open.

A steel key hangs from a chain bolted to the wall.

A horde of rotting schoolchildren is crowding you in, a few of them turning your way, making little kiddie moans of murderous hunger, and moving towards the back entrance of the diner.

You hear the music from the jukebox come to an end.
action: You go west
response: You push your way through the moving crowd...

Traces of rust and mysterious stains line the reflective surfaces here, but do little to obscure the reflection of your gruesome appearance. The kitchen door is east, and there is an employee exit to the north.

A massive steel door dominates the west end of the kitchen. It is open and locked.

A steel key hangs from a chain bolted to the wall.

A horde of rotting schoolchildren is crowding you in, and moving towards the back entrance of the diner.

Muffled music can be heard coming from the jukebox in the dining room.
action: You close the door
response: You lock yourself in the freezer. It continues getting colder.

A metallic scratching sound alerts you to some kind of activity outside. You hear the jangle of a chain as the key turns in the lock on the other side of the door.
action: You look at the door
response: The steel door has a spring latch so it can be locked when it is open. It is currently closed and unlocked.

Accompanied by treble-voiced grunts and squeals of anticipation, small fingers claw at the freezer door. Slowly it opens to reveal the growing mob of little monsters outside.
action: You examine the latch
response: The steel door has a spring latch so it can be locked when it is open. It is currently open and unlocked.

A few small, curious heads poke their way into the cold light, gore and drool mixing as it drips down their chins. Cautiously, the small invaders step into the room and approach you. It's hard to tell if the twitching of their half-fleshed faces expresses terror or glee, but soon their teeth are on you and your eyes are plucked from their sockets. The pain in your head increases as torn fingernails scrape at the inside of your skull...
action: You go north
response: Inside the Trailer
When Limbs Fall Off
The Pines and the Old Yellow Dog
The Pack of Wild Dogs
The Nun
> The Schoolchildren
Cars
Flashbacks
The Diner
What do I do with these items?
Am I stuck?
Select
General Questions
Inside the Trailer
When Limbs Fall Off
The Pines and the Old Yellow Dog
The Pack of Wild Dogs
The Nun
The Schoolchildren
> Cars
Flashbacks
The Diner
What do I do with these items?
Am I stuck?
action: P.
response: How do I escape the schoolchildren?
How do I get past the schoolchildren from the dining room?
How do I get to the generator without getting eaten?
How do I start the generator?
How do I get back inside the diner after I start the generator?
action: Go north
response: How do I escape the schoolchildren?
> How do I get past the schoolchildren from the dining room?
How do I get to the generator without getting eaten?
How do I start the generator?
How do I get back inside the diner after I start the generator?
action: P.
response: How do I get inside the diner?
How do I get inside without being eaten by dogs?
I got inside, but I got trapped by children!
How do I get the jukebox to work?
How does the generator work?
How do I get to the generator?
I can't open the back door.
What do I do in the freezer?
How do I keep anyone from following me into the freezer?
How do I get rid of the key?
I'm safe and cold, but what do I do now?
action: You go north
response: How do I get inside the diner?
> How do I get inside without being eaten by dogs?
I got inside, but I got trapped by children!
How do I get the jukebox to work?
How does the generator work?
How do I get to the generator?
I can't open the back door.
What do I do in the freezer?
How do I keep anyone from following me into the freezer?
How do I get rid of the key?
I'm safe and cold, but what do I do now?
action: Go north
response: How do I get inside the diner?
How do I get inside without being eaten by dogs?
> I got inside, but I got trapped by children!
How do I get the jukebox to work?
How does the generator work?
How do I get to the generator?
I can't open the back door.
What do I do in the freezer?
How do I keep anyone from following me into the freezer?
How do I get rid of the key?
I'm safe and cold, but what do I do now?
action: You go north
response: How do I get inside the diner?
How do I get inside without being eaten by dogs?
I got inside, but I got trapped by children!
> How do I get the jukebox to work?
How does the generator work?
How do I get to the generator?
I can't open the back door.
What do I do in the freezer?
How do I keep anyone from following me into the freezer?
How do I get rid of the key?
I'm safe and cold, but what do I do now?
action: Go north
response: How do I get inside the diner?
How do I get inside without being eaten by dogs?
I got inside, but I got trapped by children!
How do I get the jukebox to work?
> How does the generator work?
How do I get to the generator?
I can't open the back door.
What do I do in the freezer?
How do I keep anyone from following me into the freezer?
How do I get rid of the key?
I'm safe and cold, but what do I do now?
Select
How do I get inside the diner?
How do I get inside without being eaten by dogs?
I got inside, but I got trapped by children!
How do I get the jukebox to work?
How does the generator work?
> How do I get to the generator?
I can't open the back door.
What do I do in the freezer?
How do I keep anyone from following me into the freezer?
How do I get rid of the key?
I'm safe and cold, but what do I do now?
action: Go north
response: How do I get inside the diner?
How do I get inside without being eaten by dogs?
I got inside, but I got trapped by children!
How do I get the jukebox to work?
How does the generator work?
How do I get to the generator?
> I can't open the back door.
What do I do in the freezer?
How do I keep anyone from following me into the freezer?
How do I get rid of the key?
I'm safe and cold, but what do I do now?
action: Go north
response: How do I get inside the diner?
How do I get inside without being eaten by dogs?
I got inside, but I got trapped by children!
How do I get the jukebox to work?
How does the generator work?
How do I get to the generator?
I can't open the back door.
> What do I do in the freezer?
How do I keep anyone from following me into the freezer?
How do I get rid of the key?
I'm safe and cold, but what do I do now?
1/8: Have you talked to anyone about what makes the undead peaceful?

Press SPACE to return to the menu or H to reveal another hint.
action: Go north
response: How do I get inside the diner?
How do I get inside without being eaten by dogs?
I got inside, but I got trapped by children!
How do I get the jukebox to work?
How does the generator work?
How do I get to the generator?
I can't open the back door.
> What do I do in the freezer?
How do I keep anyone from following me into the freezer?
How do I get rid of the key?
I'm safe and cold, but what do I do now?
1/8: Have you talked to anyone about what makes the undead peaceful?

Press SPACE to return to the menu or H to reveal another hint.
Select
How do I get inside the diner?
How do I get inside without being eaten by dogs?
I got inside, but I got trapped by children!
How do I get the jukebox to work?
How does the generator work?
How do I get to the generator?
I can't open the back door.
> What do I do in the freezer?
How do I keep anyone from following me into the freezer?
How do I get rid of the key?
I'm safe and cold, but what do I do now?
action: You go north
response: How do I get inside the diner?
How do I get inside without being eaten by dogs?
I got inside, but I got trapped by children!
How do I get the jukebox to work?
How does the generator work?
How do I get to the generator?
I can't open the back door.
What do I do in the freezer?
> How do I keep anyone from following me into the freezer?
How do I get rid of the key?
I'm safe and cold, but what do I do now?
1/9: If the wild dogs followed you into the freezer, you're not ready yet. Get out of the freezer.

Press SPACE to return to the menu or H to reveal another hint.
action: Go east
response: You squeeze in amongst the swelling crowd in the kitchen.

Traces of rust and mysterious stains line the reflective surfaces here, but do little to obscure the reflection of your gruesome appearance. The kitchen door is east, and there is an employee exit to the north.

A massive steel door dominates the west end of the kitchen. It is open.

A steel key hangs from a chain bolted to the wall.

A horde of decaying schoolchildren is crowding you in, a few of them turning your way, making little kiddie moans of murderous hunger, and moving towards the back entrance of the diner.

You hear the music from the jukebox come to an end.
action: You look at the key
response: The key to the steel door is chained to a bolt on the wall. There is no way to get it off - the chain is made of stronger metal than the key itself.
action: You examine the lock
response: The steel door has a spring latch so it can be locked when it is open. It is currently open and unlocked.
action: You lock the door
response: (with the steel key)
(first taking the steel key)

You take hold of the key at the end of the chain.

You lock the freezer door.
action: Break key
response: You stick the key halfway in the lock and push on it with both hands. It flexes slightly. You pull it back the other way and the metal gives, bending so it'll never fit in the lock. The freezer door is now permanently locked.
action: You close the door
response: You lock yourself in the freezer. It continues getting colder.
action: You look around
response: Pale fluorescent lights illuminate the room. With the power back on, this walk-in freezer is getting cold quite rapidly. For a moment, it offers relief from the summer heat. Then the chill starts to seep in and you feel your body shutting down.
action: You wait for a while
response: Time passes.
action: Wait
response: You rest for a while. It's peaceful, but you start to get restless eventually. Perhaps there's something you can do to pass the time.
action: Pray
response: "Hail Mary, full of grace, the Lord is with thee. Blessed art thou among women, and blessed is the fruit of thy womb, Jesus. Holy Mary, mother of God, pray for us sinners now and at the hour of our
death."

Praying relaxes you, but it's over too soon.
action: Pray
response: "Hail Mary, full of grace, the Lord is with thee. Blessed art thou among women, and blessed is the fruit of thy womb, Jesus. Holy Mary, mother of God, pray for us sinners now and at the hour of our
death."

Again the prayer is over too soon, and your peace dissolves.
action: Dance
response: You flail around, jumping up and down like a crazy fool. It makes you a little dizzy, but your head doesn't hurt any worse for it.
action: You examine rosary
response: You're feeling contemplative.

The rosary has a loop of five decades, or sets of of ten beads, with a single bead separating each decade from the next. A string of four more beads hangs from the loop, with a crucifix at the end. Every bead represents a prayer. You know how to pray the rosary, and when you were alive you used one to calm down. This one appears to be made of cavity-riddled teeth hooked together with small pieces of wire.
action: Pray rosary
response: (first taking the rosary)
You hold the rosary in your hands, counting off beads with your fingers. You start with the cross on the end, making the sign of the cross and praying the Apostle's Creed. At the first bead you say the Lord's Prayer, and then a Hail Mary on each of the next three.

The chill of the freezer blankets you comfortably, encouraging you to continue the prayer.
action: Pray rosary
response: You enter the loop, which contains five strings of ten beads, each with a single bead in between. Meditating on the Resurrection, you say an Our Father and ten Hail Marys.

Jim's eyes flicker open and fix your gaze.

"Jesus Christ! He's looking right at me! It's him, Peter! I just
cut my friend's head of with a fucking hacksaw! What do I do now?"

"Bring him along, then." Marie suggests. "We'll have good times."

"No fucking way. I'm sticking him in the fridge."
action: Pray rosary
response: You recite another decade meditating on Christ's ascent into heaven.

"Look out, Jack!" Jim shoves you aside and claws swipe the air by
your ear. Then he stumbles back as two ghouls rip into his chest.
action: Pray rosary
response: You contemplate Pentecost, the time when The Holy Spirit descended on the apostles in tongues of fire. You say an Our Father and ten more Hail Marys.

to shrivel in the heat of the bonfire.
action: Pray rosary
response: You say another Our Father and ten Hail Marys meditating on the mystery of the Assumption, in which the Blessed Virgin Mary is taken up into heaven.

It's got to be around here somewhere.

chill. "You think we'll find it before it reanimates?"

"Maybe not, Jack. There's a lot of places to hide. We might not
find Marie's body at all."
action: Pray rosary
response: You complete the last decade of the rosary. The fifth mystery is the Coronation of Mary, Queen of Heaven. At the end you pray:

"Hail, Holy Queen, mother of mercy,
our life, our sweetness and our hope.
To thee do we cry, poor banished children of Eve
To thee do we send up our sighs, mourning and weeping in this vale
of tears.
Turn then, most gracious advocate, thine eyes of mercy toward
us,
and after this our exile, show us the blessed fruit of thy womb, Jesus.
O clement, O loving, O sweet Virgin Mary.
Pray for us, O Holy Mother of God, that we may be made worthy of
the promises of Christ."

"Amen," Jim says with you. He gets up and scans the ridge ahead.
Then he coughs. "Damn, I'd kill for a cigarette right now."

You and Jim are on a high mountain trail. There's a good view of
the desert in most directions, although you can't see the road anymore. You'd expect it to be quiet out here, even when there were cars that worked. But the quiet here is something else entirely. There's no sign of life anywhere.

Jim is walking ahead of you, searching for Peter and Marie.

You're thinking, "Where'd they go?"
action: Talk
response: "Where'd they go, Jim?"

Jim turns to you reassuringly. "We'll find them, Jack. Don't
worry." Then the motherfucker starts singing.

"One of these mornings, and it won't be long
All men will rise and stand side by side
Then hand in hand, we'll walk to glory
And death will fall before freedom's tide.

I'm going there, to see my father
I'm going there, no more to roam
I'm going there, just over Jordan
I'm going there to my new home."
action: You talk trailer
response: "I got this idea. You know how bad the creatures are at opening
doors? What if we loosen the doorknob on the trailer? We could trap them inside!"

Totally ignoring what you said out loud, Jim turns to you reassuringly. "We'll find them, Jack. Don't worry." Then the motherfucker starts singing.

"One of these mornings, and it won't be long
All men will rise and stand side by side
Then hand in hand, we'll walk to glory
And death will fall before freedom's tide.

I'm going there, to see my father
I'm going there, no more to roam
I'm going there, just over Jordan
I'm going there to my new home."
action: You talk yellow dog
response: "Did you ever see that movie, "Old Yeller?""

Totally ignoring what you said out loud, Jim turns to you reassuringly. "We'll find them, Jack. Don't worry." Then the motherfucker starts singing.

"One of these mornings, and it won't be long
All men will rise and stand side by side
Then hand in hand, we'll walk to glory
And death will fall before freedom's tide.

I'm going there, to see my father
I'm going there, no more to roam
I'm going there, just over Jordan
I'm going there to my new home."
action: You talk marie
response: "What's up with Marie, Jim?"

Totally ignoring what you said out loud, Jim turns to you reassuringly. "We'll find them, Jack. Don't worry." Then the motherfucker starts singing.

"One of these mornings, and it won't be long
All men will rise and stand side by side
Then hand in hand, we'll walk to glory
And death will fall before freedom's tide.

I'm going there, to see my father
I'm going there, no more to roam
I'm going there, just over Jordan
I'm going there to my new home."
action: You go south
response: You wander down the trail, continuing to search for your
friends.

You and Jim are on a high mountain trail. There's a good view of
the desert in most directions, although you can't see the road anymore. You'd expect it to be quiet out here, even when there were cars that worked. But the quiet here is something else entirely. There's no sign of life anywhere.

Jim is walking ahead of you, searching for Peter and Marie.
action: You talk the campfire
response: You bring up the subject of the campfire.

Totally ignoring what you said out loud, Jim turns to you reassuringly. "We'll find them, Jack. Don't worry." Then the motherfucker starts singing.

"One of these mornings, and it won't be long
All men will rise and stand side by side
Then hand in hand, we'll walk to glory
And death will fall before freedom's tide.

I'm going there, to see my father
I'm going there, no more to roam
I'm going there, just over Jordan
I'm going there to my new home."