Lord Bellwater's Secret
by Sam Gordon (2007)
Genres: Historical


action: %
response: As an aspiring groom in Lord Bellwater's household, recklessness has not been one of the qualities for which you, Bert Smith, would wish to be noted. However, desperate times call for desperate measures, and here you are in the early hours of the morning of Saturday 20th June 1863, undertaking the most reckless venture of your life. Instead of retiring to your bed, in your lodgings in the mews at the back of Lord Bellwater's town house, you sneaked into the house and hid in the cellar until the household had gone to bed. You sidled into the butler's pantry and took the key to the master's study and now find yourself creeping about like a common thief. You hear the clock in the hall strike one o'clock as you carefully pull the study door closed behind you.



The study is a well-proportioned, rectangular room. The door, of finely polished oak, leads back onto the landing, to the west; a broad sash window in the opposite wall looks out over Cadogan Square. The heavy velvet curtains are drawn back and a pale moonlight falls into the room, illuminating a heavy mahogany desk in its centre. To the right of the window is a small table.

On the north side of the room is a stone fireplace with a dull red glow still coming from the remains of the coals, burning among the ashes: a shadowy oil painting hangs above it. To the left of the fireplace is a wooden stand, supporting an ornate porcelain pot, in which a leafy plant is growing. The south wall is covered, floor to ceiling, with bookshelves, laden with hundreds, if not thousands, of leather-bound volumes, in neat rows.
action: You check your inventory
response: You are carrying:
a heavy iron key

It has been a difficult time, with the two deaths happening in one week. Old Lord Bellwater had been ill for some time and no-one was really surprised when he passed peacefully away last Friday or even when his son, who had been noticeably absent throughout the old man's illness, suddenly turned up the following day and took over the role of master of the house. Of course he inherits the title, and presumably everything else, as his father's only son.
action: About you
response: You are Bert Smith, a groom in the service of Lord Bellwater. You are currently wearing a brown jacket and corduroy trousers.

The real blow was the tragic death of your sweetheart, Elsie Browning, on Monday. She was one of Lord Bellwater's housemaids, and she inexplicably fell from the study window in broad daylight and landed on the pavement outside. They say she must have died instantly and felt no pain; that it was a terrible accident; that no-one will ever know for sure how she managed to fall out of a window. For you it has just been a terrible shock: you were young and in love, and you planned to marry as soon as you had saved enough money. the strange thing was that you had seen her briefly on the morning of her death. She had been shaking out some dusters in the back garden and whispered to you that she had some important news to tell you, but she'd wait until you were alone. That was the last time you saw her alive.
action: You look at the painting
response: You leave the door and walk towards the fireplace.

You examine the painting carefully. It is a full length portrait of Lord Horace Bellwater in his younger days, depicted as standing in front of this fireplace in his study. A couple of golden retrievers are curled up at his feet. In the background of the picture is some sort of scroll, showing a family pedigree.

Despite all the talk of tragic accidents, you are sure that there is something sinister about Elsie's death. Somehow, it has to be connected with the Bellwaters - either the old man or his son - and if the answer is anywhere, it is probably in this study, the room from which she fell.
action: You look at the scroll
response: (the oil painting)
It is a full length portrait of Lord Horace Bellwater in his younger days, depicted as standing in front of this fireplace in his study. A couple of golden retrievers are curled up at his feet. In the background of the picture is some sort of scroll, showing a family pedigree.
action: You look at the pedigree
response: It is a full length portrait of Lord Horace Bellwater in his younger days, depicted as standing in front of this fireplace in his study. A couple of golden retrievers are curled up at his feet. In the background of the picture is some sort of scroll, showing a family pedigree.
action: Examine books
response: You turn away from the fireplace and walk over to the bookshelves.

The entire wall is lined with floor-to-ceiling shelves, stacked with books - there must be over a thousand volumes here, all arranged neatly on the shelves, in groups of similarly-sized books. Looking along the shelves, you can see that each volume has a tiny hand-written label on its spine, with a number on it. The entire set of books seems to be numbered from 1 to 1200. You could select a particular book - "take volume 200", for instance.
action: You examine the key
response: This is the key that you took from Mr Catchpole's butler's pantry. It was easy to identify because it was hanging on a hook labelled "Study".
action: Examine volume 374
response: You select volume number 374 and carefully take it down from its shelf. It is a book called Pride and Prejudice by Jane Austen.

You open the book and read the first few sentences. A tear comes to your eye as you think of yourself with no fortune and now no prospect of marriage. However, the book does not seem to help with the task in hand and you return it to its place on the shelf.
action: You look behind the painting
response: You turn from the bookshelves and walk towards the fireplace.

You try to move the painting and find that it is hinged to the wall so that it swings out like a door, revealing what is evidently a safe, set into the wall behind it.
action: You examine safe
response: The safe has a heavy iron door. On it is a dial which turns freely either way. As it does so, the numbers engraved around its rim, line up with a pointer. The numbers are from 1 to 100. There is also a brass handle which looks as though it can be turned.
action: You turn the handle
response: The handle begins to turn but seems to meet some resistance.
action: You look at fireplace
response: The fireplace consists of a stone surround, surmounted by a carved family crest of the Bellwaters. In the hearth a few embers glow a dull red amongst the pile of ashes. Above the fireplace hangs a painting of Lord Horace Bellwater.
action: You examine ashes
response: It looks as though someone has been burning papers in the fireplace. However, they are all completely burnt beyond recognition with the exception of a slightly charred printed leaflet, which you rescue from the fire.
action: You examine the leaflet
response: The leaflet is a bit charred, but still readable:

Acme patented wall safe. Instructions for use.

The safe will have been set up with a code consisting of three numbers (each between 1 and 100). These numbers should NEVER be written down but must be committed to memory. When the safe is first installed, it is advisable to select three numbers that are easily memorable. For instance, they might be selected for a memorable date. Someone who remembers the Battle of Waterloo (which took place on 18th June 1815) might choose the numbers 15, 6, 18, which are the year, month and day of the battle.

To open the safe, proceed as follows:

1. Spin the dial so that the mechanism is reset.
2. Turn the dial to the first number (eg 15)
3. Turn the dial to the second number (eg 6)
4. Turn the dial to the third number (eg 18)
5. Turn the handle

The door will now open.

After closing the door, spin the dial once again to ensure that the safe is locked.
action: You turn the dial to 15
response: The dial settles on the number 15 with a slight "clunk!"
action: You turn the dial to 6
response: The dial settles on the number 6 with a slight "clunk!"
action: You turn the dial to 18
response: The dial settles on the number 18 with a slight "clunk!"
action: You turn the handle
response: The handle begins to turn but seems to meet some resistance.
action: Spin dial
response: The dial spins round randomly. Now it points to 86.
action: You look at the painting
response: It is a full length portrait of Lord Horace Bellwater in his younger days, depicted as standing in front of this fireplace in his study. A couple of golden retrievers are curled up at his feet. In the background of the picture is some sort of scroll, showing a family pedigree. The painting is currently hinged out from the wall.
action: You look at the scroll
response: (the oil painting)
It is a full length portrait of Lord Horace Bellwater in his younger days, depicted as standing in front of this fireplace in his study. A couple of golden retrievers are curled up at his feet. In the background of the picture is some sort of scroll, showing a family pedigree. The painting is currently hinged out from the wall.
action: Examine volume 200
response: You turn away from the fireplace and walk over to the bookshelves.

You select volume number 200 and carefully take it down from its shelf. It is a book called Ivanhoe by Sir Walter Scott.

It seems to be a story of love and honour. You feel a sense of pride that you are embarking on a similar adventure. However, the book does not seem to help with the task in hand and you return it to its place on the shelf.
action: You look at the ashes
response: You turn from the bookshelves and walk towards the fireplace.

You reach out to touch the ashes. Although the fire has almost burnt out, the ashes are still too hot to handle.
action: You look at your surroundings
response: The study is a well-proportioned, rectangular room. The door, of finely polished oak, leads back onto the landing, to the west; a broad sash window in the opposite wall looks out over Cadogan Square. The heavy velvet curtains are drawn back and a pale moonlight falls into the room, illuminating a heavy mahogany desk in its centre. To the right of the window is a small table.

On the north side of the room is a stone fireplace with a dull red glow still coming from the remains of the coals, burning among the ashes: a shadowy oil painting hangs above it. To the left of the fireplace is a wooden stand, supporting an ornate porcelain pot, in which a leafy plant is growing. The south wall is covered, floor to ceiling, with bookshelves, laden with hundreds, if not thousands, of leather-bound volumes, in neat rows.
action: You examine the stand
response: It is a simple wooden stand for supporting a plant pot.

On the simple wooden stand is a china pot.
action: You examine the pot
response: It is a china pot, about two feet high, decorated with Chinese designs.

In the china pot is a leafy house plant.
action: You look at the plant
response: The plant consists of a dense clump of dark green, rather fleshy leaves sprouting from a decorative china pot, and reaching almost to your head height. You think it is the sort of house plant known as an aspidistra.
action: You take the pot
response: That's hardly portable.
action: You examine the curtains
response: You turn away from the fireplace and walk over to the window.

The dark blue velvet curtains hang from floor-to-ceiling on either side of the window. They are opened or closed by means of a cord which hangs down at the side of the curtains and passes over a pulley mechanism, incorporated into the curtain rail, above the window.
action: You pull the cord
response: You pull the cord and the heavy curtains draw smoothly across the window, plunging the room into darkness.

It is now pitch dark in here!
action: You pull the cord
response: You pull the cord and draw back the heavy curtains. The room is once again lit by the pale light from outside.

The study is a well-proportioned, rectangular room. The door, of finely polished oak, leads back onto the landing, to the west; a broad sash window in the opposite wall looks out over Cadogan Square. The heavy velvet curtains are drawn back and a pale moonlight falls into the room, illuminating a heavy mahogany desk in its centre. To the right of the window is a small table.

On the north side of the room is a stone fireplace with a dull red glow still coming from the remains of the coals, burning among the ashes: a shadowy oil painting hangs above it. To the left of the fireplace is a wooden stand, supporting an ornate porcelain pot, in which a leafy plant is growing. The south wall is covered, floor to ceiling, with bookshelves, laden with hundreds, if not thousands, of leather-bound volumes, in neat rows.

On the table is a cardboard grocery box with some papers in it.
action: You open the window
response: As cautiously and quietly as you can, you open the window and look out. The sill is quite low - below your waist height - and you suppose it would be possible to fall out. You look down into the street below and are not sure if that is just a shadow on the pavement or is it a dark stain? You give an involuntary shudder.
action: You look at the papers
response: It is an ordinary cardboard box, of the type used by grocers for deliveries. A handwritten scrawl on its side says "Father's old papers - for disposal".

In the cardboard grocery box are a leather-bound diary and an ink bottle.
action: You read the diary
response: You reach out and take the leather-bound diary.

You examine the book. It seems to be a desk diary for the previous year. You flick through and notice that there are occasional entries in it, written in a distinctive, rather scholarly handwriting, and using green ink. The entries all seem to be mundane notes of when bills were paid. You pause for a moment at the entry for Tuesday 21st October 1862, which is heavily ringed in green ink, then you remember, this was old Lord Bellwater's birthday - he always gave each of the servants sixpence on this day.

As you flick through the diary, a newspaper cutting falls out and flutters to the floor.
action: You read the newpaper
response: (the newspaper cutting)
You examine the newspaper cutting - it seems to have been neatly cut from a recent copy of "The Times".

You read it carefully:



Readers of this newspaper will be aware of the recent case in the Court of Chancery, regarding the last will and testament of Sir Archibald Ramswell of Dorchester. We reported yesterday that Sir Archibald's will (in which he divided his entire estate between his housekeeper and his favourite horse) was being contested by his eldest son, the Honourable Percy Ramswell, who was not mentioned in the will.

After due consideration, the judge (Mr Justice Williams) has now delivered his judgement. In summary, he has stated that under English law, a man may leave his property to any living person and is certainly under no obligation to leave anything to his children if he does not wish to do so. However, a horse is not a living person and is ineligible to be a beneficiary of a will. His ruling is therefore that in this case, the entire estate is to be given to the only living person mentioned in the will, namely the housekeeper. The judge informed the housekeeper that she is entitled to use her newly-acquired fortune as she wishes, but that she might see fit to make arrangements for the comfort of the horse. This comment caused a ripple of mirth in the courtroom, shared by all except The Honourable Percy Ramswell.

On a separate legal point which had been raised on behalf of Sir Archibald's son, the judge ruled that the naming of a horse in one's will was not, in itself, evidence of insaninty, and that the terms of the will could not be contested on those grounds. "If everyone who preferred their horse to their son was to be certified insane," declared Judge Williams, "There should not be asylums enough to house them all."

The article has been ringed with green ink and a handwritten note in the margin reads "Capital idea. Maybe leave everything to a horse rather than to James!"
action: Spin dial
response: You leave the window, and walk towards the fireplace.

The dial spins round randomly. Now it points to 4.
action: You turn dial to 62
response: The dial settles on the number 62 with a slight "clunk!"
action: You turn the dial to 10
response: The dial settles on the number 10 with a slight "clunk!"
action: You turn the dial to 21
response: The dial settles on the number 21 with a slight "clunk!"
action: Spin dial
response: The dial spins round randomly. Now it points to 47.
action: You examine bottle
response: You turn away from the fireplace and walk over to the window.

It is an old ink bottle. It looks almost empty, with dried ink caked around the lid. Even in this light, you can see that the ink was green in colour.
action: You examine the desk
response: You leave the window, and walk over to the desk.

The desk is made of a dark wood - perhaps mahogany. It is very solidly built and its surface is polished to a high gloss.

You pause for a moment and wonder how many hours Elsie spent polishing this desk.

On the mahogany desk are an envelope, a copy of "The Times" newspaper and a wooden tray full of cards.
action: You read the diary
response: You examine the book. It seems to be a desk diary for the previous year. You flick through and notice that there are occasional entries in it, written in a distinctive, rather scholarly handwriting, and using green ink. The entries all seem to be mundane notes of when bills were paid. You pause for a moment at the entry for Tuesday 21st October 1862, which is heavily ringed in green ink, then you remember, this was old Lord Bellwater's birthday - he always gave each of the servants sixpence on this day.
action: You examine the envelope
response: You examine the envelope. It is addressed to "George Sutherland Esq., Phillips and Sutherland Merchant bank, Cheapside, London EC." It is freshly written in black ink and in a handwriting which you take to belong to the younger Lord Bellwater. The envelope is not yet sealed.
action: You open the envelope
response: You open the envelope, revealing a letter.
action: You read the letter
response: You cautiously pick up the letter.

Knowing that you are seriously breaching your employer's trust, you read the letter. It says:



Dear Sutherland,
I write with regard to my temporary financial embarrassment and the substantial loan which you have extended to me in recent years.

I now find myself in a position to repay you in full. If you would care to call on me at my residence in Cadogan Square on Friday next at 10:30am I shall have the money ready for your receipt.

I trust that you will now accept that your threats of bailiffs and bancruptcy were somewhat premature and I look forward to your full apology before I consider doing further business with your firm.

Yours sincerely,
action: You look at the cards
response: It is a wooden tray full of index cards. You look through them and see that each card has got details of a book and its author. The cards are in alphabetical order so you could look up the name of a book in the card index.
action: Spin dial
response: You step away from the desk and walk towards the fireplace.

The dial spins round randomly. Now it points to 79.
action: You turn the dial to 91
response: The dial settles on the number 91 with a slight "clunk!"
action: You turn the dial to 10
response: The dial settles on the number 10 with a slight "clunk!"
action: Search desk
response: You turn away from the fireplace and walk over to the desk.

On the mahogany desk are an envelope, a copy of "The Times" newspaper and a card index.
action: Examine index
response: It is a wooden tray full of index cards. You look through them and see that each card has got details of a book and its author. The cards are in alphabetical order so you could look up the name of a book in the card index.
action: You examine table
response: You step away from the desk and walk over to the window.

A heavy oak table stands beside the window. Its surface has been polished to a gleaming finish.

On the table is a cardboard grocery box.
action: Examine box
response: It is an ordinary cardboard box, of the type used by grocers for deliveries. A handwritten scrawl on its side says "Father's old papers - for disposal".

In the cardboard grocery box is an ink bottle.
action: You examine the ink bottle
response: It is an old ink bottle. It looks almost empty, with dried ink caked around the lid. Even in this light, you can see that the ink was green in colour.
action: You take the ink bottle
response: Taken.
action: You put the letter in the envelope
response: You leave the window, and walk over to the desk.

You put the letter to Sutherland the banker into the envelope.
action: You put the envelope in the box
response: You step away from the desk and walk over to the window.

You put the envelope into the cardboard grocery box.
action: You examine sill
response: You examine the window. It is a sash window looking out over Cadogan Square. It is currently open.

This was where Elsie must have been standing and was the last view she saw before....
action: You go outside
response: You climb out through the window onto the sill.

You are standing balanced on the narrow ledge. To keep yourself from falling, you have to cling on to the ivy which grows on the house wall. It is a long way down to the pavement below!
action: You examine the ivy
response: You carefully examine the ivy growing around the window and find a woman's purse, nestling among the leaves. Leaning out cautiously from the ledge, you make a grab for the purse and take it from the ivy.
action: You look at the purse
response: You recognise the purse as one belonging to Elsie. It is about three inches square - just big enough to hold a few coins - and is made of a soft fabric. It is drawn closed by a ribbon around its top edge. Perhaps it was caught in the ivy when Elsie fell from the window!
action: Open purse
response: You open the purse, revealing a shiny silver sixpence, a stubby pencil and a scrap of paper.
action: You examine the scrap
response: You reach for the paper.

With mounting excitement, you carefully smooth out the screwed-up piece of paper. The following is written on it in Elsie's spidery handwriting:

Dear Bert. We may not get a chanse to talk privitly for a few days so Im righting this note and hope to give it to you in the garding. Last week I sined a paper for old lord B. He said you will get a lot of mony when he died. But the new lord B. is very angery about it. I dont now why he is angery with me but i fear he means to do me harm. If you are to get some mony maybe we can get marrid and I can give my notis to leave. I am a bit afrayd of new lord B. Try to meet me in the...

At this point there is a heavy mark as though the pencil broke and, although there are some scratch marks, as though the writer tried to continue, nothing further can be read.
action: You go in
response: You clamber back through the window into the study.

The study is a well-proportioned, rectangular room. The door, of finely polished oak, leads back onto the landing, to the west; a broad sash window in the opposite wall looks out over Cadogan Square. The heavy velvet curtains are drawn back and a pale moonlight falls into the room, illuminating a heavy mahogany desk in its centre. To the right of the window is a small table.

On the north side of the room is a stone fireplace with a dull red glow still coming from the remains of the coals, burning among the ashes: a shadowy oil painting hangs above it. To the left of the fireplace is a wooden stand, supporting an ornate porcelain pot, in which a leafy plant is growing. The south wall is covered, floor to ceiling, with bookshelves, laden with hundreds, if not thousands, of leather-bound volumes, in neat rows.

On the table is a cardboard grocery box (in which is an envelope (in which is a letter to Sutherland the banker)).

You can see a newspaper cutting here.
action: Inventory
response: You are carrying:
a scrap of paper
a purse (open)
a shiny silver sixpence
a stubby pencil
an ink bottle
a leather-bound diary
a slightly charred instruction leaflet
a heavy iron key
action: You examine the pencil
response: It is a stub of a pencil, about an inch long. The point has broken off so it would need sharpening before it could be used.
action: You look at the coal
response: You leave the window, and walk towards the fireplace.

You reach out to touch the ashes. Although the fire has almost burnt out, the ashes are still too hot to handle.
action: You look at the sixpence
response: It is a small silver coin.
action: You examine the stand
response: It is a simple wooden stand for supporting a plant pot.

On the simple wooden stand is a china pot.
action: You take the coin
response: Taken.
action: You open the door
response: You swing the door open and stand on the threshold, peering into the cool darkness of the landing.
action: You go to the west
response: You pause on the threshold and consider abandoning your task. But then you remember Elsie. No, you owe it to her to continue...you turn and step back resolutely into the study.
action: You eat the key
response: That's plainly inedible.
action: You look at the desk
response: You leave the door and walk over to the desk.

The desk is made of a dark wood - perhaps mahogany. It is very solidly built and its surface is polished to a high gloss.

On the mahogany desk are a copy of "The Times" newspaper and a card index.
action: You look behind the sash
response: You step away from the desk and walk over to the window.

You find nothing of interest.
action: You look under the desk
response: You leave the window, and walk over to the desk.

You find nothing of interest.
action: Search ashes
response: You step away from the desk and walk towards the fireplace.

You find nothing of interest.
action: Spin dial
response: The dial spins round randomly. Now it points to 7.
action: Continue
response: The dial spins round randomly. Now it points to 1.
action: You turn the dial to 91
response: The dial settles on the number 91 with a slight "clunk!"
action: You turn the dial to 10
response: The dial settles on the number 10 with a slight "clunk!"
action: You turn the dial to 21
response: The dial settles on the number 21 with a slight "clunk!"
action: Spin dial
response: The dial spins round randomly. Now it points to 59.
action: Spin dial
response: The dial spins round randomly. Now it points to 19.
action: Newspaper
response: Which do you mean, a copy of "The Times" newspaper or the newspaper cutting?
action: Spin dial
response: You step away from the desk and walk towards the fireplace.

The dial spins round randomly. Now it points to 24.
action: You turn the dial to 63
response: The dial settles on the number 63 with a slight "clunk!"
action: You turn the dial to 6
response: The dial settles on the number 6 with a slight "clunk!"
action: Spin dial
response: The dial spins round randomly. Now it points to 44.
action: You look at the diary
response: Restore failed.
action: Inventory
response: You are carrying:
a shiny silver sixpence
a scrap of paper
a purse (open)
a stubby pencil
an ink bottle
a leather-bound diary
a slightly charred instruction leaflet
a heavy iron key
action: You examine diary
response: You examine the book. It seems to be a desk diary for the previous year. You flick through and notice that there are occasional entries in it, written in a distinctive, rather scholarly handwriting, and using green ink. The entries all seem to be mundane notes of when bills were paid. You pause for a moment at the entry for Tuesday 21st October 1862, which is heavily ringed in green ink, then you remember, this was old Lord Bellwater's birthday - he always gave each of the servants sixpence on this day.
action: Spin dial
response: You step away from the desk and walk towards the fireplace.

The dial spins round randomly. Now it points to 86.
action: You turn the dial to 90
response: The dial settles on the number 90 with a slight "click!"
action: You turn the dial to 10
response: The dial settles on the number 10 with a slight "click!"
action: You turn the dial to 21
response: The dial settles on the number 21 with a slight "click!"
action: You turn handle
response: The handle turns smoothly and with a solid "clunk" the safe door swings open.
action: You examine safe
response: The safe has a heavy iron door. On it is a dial which turns freely either way. As it does so, the numbers engraved around its rim, line up with a pointer. The numbers are from 1 to 100. There is also a brass handle which looks as though it can be turned. The safe is open.

In the safe are a sheet of crisp cream paper, a red pocketbook and a leather bag.
action: You eat the paper
response: (the scrap of paper)
That's plainly inedible.
action: You examine paper
response: (the scrap of paper)
The following is written on it in Elsie's spidery handwriting:

Dear Bert. We may not get a chanse to talk privitly for a few days so Im righting this note and hope to give it to you in the garding. Last week I sined a paper for old lord B. He said you will get a lot of mony when he died. But the new lord B. is very angery about it. I dont now why he is angery with me but i fear he means to do me harm. If you are to get some mony maybe we can get marrid and I can give my notis to leave. I am a bit afrayd of new lord B. Try to meet me in the...

At this point there is a heavy mark as though the pencil broke and, although there are some scratch marks, as though the writer tried to continue, nothing further can be read.
action: You examine crisp paper
response: You reach out and take the sheet of crisp cream paper.

You examine the paper - it is a letter. You read it:

Purdy and Jowett (Solicitors)
3 Holborn Court
London WC
16th June 1863

We talked last night over a few brandies at your club about your father's last will and testament.

As we discussed, he asked me to draw up a new (and rather surprising) will, shortly before his sad decease. As I indicated to you, the will was properly drawn up by myself, was signed by your father and was witnessed by his butler and one of his chambermaids. There were two copies, one of which was kept by your father (and therefore came into your possession, as you explained to me) and the other retained by me as an office copy. This new will revoked your father's previous will, made some years ago, in which he had left everything to yourself.

You have made a strong case to me that your father was losing his mind towards the end of his final illness and that this new will was therefore invalid. I have to say that I saw no sign of your father's loss of mental powers when I was with him, but I accept that you have been a good deal closer to him than me and that you are better placed to make that judgement. I also accept that some of the wording of the will could be taken to indicate an unbalanced mind. I fully understand your reluctance to challenge the will through the legal process, which would require giving evidence in court of your father's worsening mental state. I appreciate that you do not wish to dishonour his memory by dragging these details through the courts.

In view of all the above considerations I have decided to accept your account of your father's dementure and that it will be for the best for us to destroy all copies of the recent will and to abide by the terms of the earlier will. I therefore enclose the office copy of the recent will and leave it for you to dispose of it as you see fit. I have no further record of the will and will treat its existence as a matter of client confidentiality between the two of us.

You also mentioned to me that you have some sort of hold over the butler which will guarantee his absolute silence and loyalty. However, I am more concerned about the an unhappy "accident", which occurred to the chambermaid, who was the other witness to the will. You indicated that her fortuitous death was not quite so accidental as you would like people to believe. I cannot help but draw the conclusion that you had some part in her death. Whilst I would find such behaviour personally unacceptable, I shall, of course, be bound by my professional confidentiality in my dealings with you as a client.

On a separate matter, you kindly mentioned in our conversation that I have performed a great many services for your family over the years, often without any direct remuneration from your father and that you intended to pay me a modest sum in recompense for these services. I think you mentioned a sum in the region of 5000 pounds, which I consider to be most generous and look forward to receiving.

Your solicitor and loyal friend.

Although this letter makes mention of an enclosed copy of a will, there is nothing of that sort attached to the letter.
action: You take pocketbook
response: Taken.
action: Examine pocketbook
response: You flick through it and realise it is a diary for this year. A number of the daily entries have been filled in in black ink. You could look up a particular date in the pocketbook. - "Look up dd/mm in the red pocketbook".
action: You take the bag
response: Conscious that you are picking up more money than you have ever seen in your life, you take the leather bag.
action: You open the bag
response: You open the leather bag, revealing a hundred guineas.
action: You look up tristram shandy in index cards
response: You find a card with the entry:

Shelf number: 715.
action: Examine volume 715
response: You step away from the desk and walk over to the bookshelves.

You select volume number 715 and notice that its title is "Tristram Shandy". As you pull the book out from the shelf, you realise that it is connected to some sort of mechanism: there is a mechanical "click" and a part of the shelf swings open to reveal a secret compartment.
action: You examine the compartment
response: A section of the bookshelf has swung open to reveal a secret compartment.

In the secret compartment are a sheet of heavy legal paper and a roll of parchment.
action: You look at the legal paper
response: You reach out for the crisp sheet of paper.

You read the paper:

This is the last will and testament of Lord Horace Bellwater.

I Horace Bellwater of Cadogan Square London hereby revoke all former wills made by me. I appoint the firm of Purdy and Jowett (solicitors) as the executors of this my will. With regards to my wastrel of a son, James Bellwater, he has received a great deal of my fortune during my lifetime and has squandered it on drinking and gambling. It is therefore my wish that he receives a legacy of exactly one penny of English money and I hope he spends it wisely. The entire residue of my property, including real estate, possessions, investments and cash, I leave to my groom Bert Smith on condition that he promises to take good care of my horse. Signed sealed and delivered in the presence of George Dewhurst and Elsie Browning. Signed: Horace Bellwater.
action: You examine the parchment
response: You unroll the parchment and examine it. It loooks like the one depicted in the background of the painting of Lord Bellwater, above the fireplace. At the top is a picture of the coat of arms of Bellwater similar to the one carved above the fire. Below is a brief family tree of the Bellwaters, then a kind of poem:

When the true-hearted lion's hard-pressed;
Twice the same for the star of your dreams;
The bell just once, it is stressed,
And the water the same, as it seems.
The name of Bellwater, under the shield,
Will give way to whatever you must have revealed.
action: You look at the painting
response: You turn from the bookshelves and walk towards the fireplace.

It is a full length portrait of Lord Horace Bellwater in his younger days, depicted as standing in front of this fireplace in his study. A couple of golden retrievers are curled up at his feet. In the background of the picture is some sort of scroll, showing a family pedigree. The painting is currently hinged out from the wall.
action: You look at fireplace
response: The fireplace consists of a stone surround, surmounted by a carved family crest of the Bellwaters. In the hearth a few embers glow a dull red amongst the pile of ashes. Above the fireplace hangs a painting of Lord Horace Bellwater.
action: You look at the crest
response: The coat of arms is carved into the stone lintel above the fireplace. It consists of a shield, divided into four quarters. In the quarters are heraldic depictions of a bell, waves (perhaps representing water), a lion, and a star, respectively. Above the shield is carved a knight's helmet: below, is a carved scroll with the name "Bellwater".
action: Press lion
response: You press the coat of arms and think you might have felt a tiny movement of the stone under your fingers.
action: You press Bellwater
response: (Lord Bellwater's will)
Nothing obvious happens.
action: You press the water
response: As you press the waves, You feel a definite movement of the stone beneath your finger and the scroll section, below the shield springs open, leaving a narrow slot in the stonework.
action: You look at the slot
response: A narrow horizontal slot has opened up in the stone of the fireplace.

In the narrow horizontal slot are a flimsy sheet of paper and a sheet of grey notepaper.
action: You take flimsy
response: A little hesitantly, you take the flimsy sheet of paper.
action: You read the flimsy
response: It appears to be a rough copy of a letter, scribbled in pencil on cheap paper. Presumably a neat copy was later made from it.

Thank you for your letter and your acceptance of our arrangement. I have decided not to destroy the two copies immediately but I have put them where they cannot be found. I have also placed your letter in an extremely safe place. That, too, I am keeping, just in case you should get cold feet about our arrangement. I believe that what we have done is honest and reasonable but, if you should suddenly decide to view it otherwise, the letter would make your part very plain. Once the formalities have been completed for my inheritance and assuming that goes unchallenged, I shall destroy both the letter and the copies of the will.

Regarding my part in the death of the servant, I have to inform you that you are much mistaken. A rogue and a cad I may be, but a murderer I am not. Indeed I fear I may have given you too much of my favourite brandy on Monday evening, leaving you not quite in command of your senses. In case you doubt my veracity, the exact situation is that I entered my study to see Dewhurst, my butler trying to force his attentions on the girl. He had his back to me and didn't see me enter the room. The girl was struggling to get away from him and he seemed to lose his temper and giver her an almightly shove. She fell back against the open window and toppled over the sill.

I was very consoling to poor Dewhurst and agreed that I would not call in the police, so long as he signed a confession, on the undertanding that if I am completely satisfied with his service for the next five years, I shall destroy the confession.

With regard to the other matter that you mention, as soon as I have received the benefit of my inheritance, I shall be in a position to pay you for the past services that we discussed. The sum you mentioned would indeed be generous but I think I can offer something approaching that amount.

James.
action: You read the notepaper
response: It reads as follows:

16th June 1863.

I, Robert William Dewhurst do make this sworn statement to Lord James Bellwater. On 15th June 1863, I came into my Lord's private study, where I found Elsie Browning, a female servant, polishing the windows. I have long held an affection for this girl and I tried to press my attentions on her. She struggled in my arms and I thought she was teasing me and I was all the more keen to embrace her. However, she then proceeded to slap my face, at which point I lost my temper and pushed her away from me. I did not know my own strength and she fell back, against the open window with such force that she lost her balance and fell out. I was filled with remorse and ran downstairs and out of the door to the front steps where she had landed, but it was all in vain, for she was quite dead from the fall.

R. Dewhurst.

Well you think that now you have amassed the evidence to avenge Elsie's murder and inherit a possible fortune for yourself, into the bargain! Scotland Yard is only about a mile away - a brisk walk will get you there in no time, and you can hand over your evidence to the Police.
action: You open the door
response: You turn away from the fireplace and walk over to the door.

In your indignation at the terrible events that you have uncovered, you move across the room rather hastily and somehow manage to barge against the pot with the aspidistra in it. It teeters on its stand...you try to steady it...it slips through your fingers. With a collossal CRASH, the pot smashes on the floor.

There is a distant shout from the direction of Lord Bellwater's bedroom, across the landing and you hear it answered from somewhere else in the house.
action: You go outside
response: There is nowhere to go in that direction.

You can hear the sound of heavy feet hastening up the staircase.
action: You close door
response: That's already closed.

You hear another set of footsteps coming down the staircase from the upper parts of the house, and somebody shouting about a burglar.
action: You lock the door
response: (with the heavy iron key)

The key turns smoothly in the lock and you hear a faint but satisfying click as the lock engages.

The sounds of running footsteps converge outside the door of the study. You recognise Dewhurst's voice saying "He's in there, my Lord."
action: You open the window
response: You leave the door and walk over to the window.

That's already open.

You hear Lord Bellwater's voice, outside the door, saying "Dewhurst, you guard the door! My father used to keep his old service revolver in a drawer in the library. I'll go and get that, then we'll flush the rat out!"
action: You go outside
response: You climb out through the window onto the sill.

You are standing balanced on the narrow ledge. To keep yourself from falling, you have to cling on to the ivy which grows on the house wall. It is a long way down to the pavement below!

You hear the sound of someone rattling the door handle and saying "He's got a key and has locked it from the inside!"
action: You climb the ivy
response: You grab a handful of the ivy in each hand and test its strength. It doesn't feel stong enough to allow you to climb up.

You can hear some muted discussion outside the door.
action: Go downwards
response: You consider trying to climb down the ivy, but you don't think it would take your weight. The only other option is to jump, and you are to scared to do that.

Out on the landing, you hear the sound of footsteps moving briskly away from the door.
action: Go downwards
response: You consider trying to climb down the ivy, but you don't think it would take your weight. The only other option is to jump, and you are to scared to do that.

There is silence from outside the door.
action: You go to the east
response: You can't go that way.

You recognise Mrs Jenkins" voice outside the door, saying "There's nowhere for him to go. We've got him cornered."
action: You go west
response: You clamber back through the window into the study.

The study is a well-proportioned, rectangular room. The door, of finely polished oak, leads back onto the landing, to the west; a broad sash window in the opposite wall looks out over Cadogan Square. The heavy velvet curtains are drawn back and a pale moonlight falls into the room, illuminating a heavy mahogany desk in its centre. To the right of the window is a small table.

On the north side of the room is a stone fireplace with a dull red glow still coming from the remains of the coals, burning among the ashes: a shadowy oil painting hangs above it. The south wall is covered, floor to ceiling, with bookshelves, laden with hundreds, if not thousands, of leather-bound volumes, in neat rows.

On the table is a cardboard grocery box (in which is an envelope (in which is a letter to Sutherland the banker)).

You can see a newspaper cutting here.

You can hear some shuffling of feet and a murmur of voices outside the door.
action: You take the cord
response: You try to take the cord, but it is firmly attached to the curtains, out of reach, above you.

You hear Dewhurst's voice: "We can't go in yet. The burglar might be dangerous. We'll wait for Lord Bellwater to come back with the revolver."
action: You untie the cord
response: What do you want to untie the curtain cord from?
action: Rod
response: You step away from the desk and walk over to the window.

The curtain cord is not tied to the street view so you cannot untie it.

You recognise Dewhurst's voice outside the door, saying "I'm ready with this iron poker. I'll give him a good whack with that."
action: You tie the cord to the desk
response: You cannot tie the curtain cord to the mahogany desk.

There is an eerie silence outside the door.
action: You tell Dewhurst about yourself
response: You can only do that to something animate.
action: You tie cord to sill
response: You cannot tie the curtain cord to the window.

You can hear some whispered conversation outside the study door.
action: You examine the cord
response: A loop of thick cord hangs down at the side of the curtains and passes over a pulley mechanism, incorporated into the curtain rail, above the window.

You hear a shout from somewhere in the depths of the house.
action: You untie the cord from the curtain rail
response: The curtain cord is not tied to the curtain cord so you cannot untie it.

You hear the sound of approaching footsteps outside the door.
action: You untie the cord from the mechanism
response: The curtain cord is not tied to the curtain cord so you cannot untie it.

Through the study door you can hear Lord Bellwater's voice, apparently giving instructions to the others.
action: You remove the cord
response: (first taking the curtain cord)
You try to take the cord, but it is firmly attached to the curtains, out of reach, above you.

You recognise Dewhurst's voice outside the door, but cannot distinguish what he is saying.
action: You take the cord
response: You try to take the cord, but it is firmly attached to the curtains, out of reach, above you.

Through the study door you can hear Lord Bellwater asking, saying "Right then, are we all ready?"
action: You go outside
response: You climb out through the window onto the sill.

You are standing balanced on the narrow ledge. To keep yourself from falling, you have to cling on to the ivy which grows on the house wall. It is a long way down to the pavement below!

You hear a faint rattling of the handle of the study door.
action: You close the curtains
response: That's not something you can close.

You hear a faint rustling sound from outside the study door.
action: You describe your surroundings
response: You are standing balanced on the narrow ledge. To keep yourself from falling, you have to cling on to the ivy which grows on the house wall. It is a long way down to the pavement below!

You can hear some whispered conversation from outside the door.
action: Close window
response: With great care not to make a noise, you close the window and latch it.

There is an eerie silence outside the door.
action: You look at the wall
response: The ivy has grown up over most of the front of the house and clings to the walls around the window.

You hear some muttered discussion out on the landing then the sound of someone trying to burst through the door. However, their attempts are in vain, as the door is currently locked.
action: You examine the ground
response: You can make out some of the details of the facade of the house: the windows of this floor, the two storeys below and the one above; the ivy-clad walls; the portico over the front door; and the steps down to the pavement. Above, is the night sky.

You hear a muttered curse from beyond the study door, and someone says "The blighter's locked it!"
action: You examine the portico
response: You can make out some of the details of the facade of the house: the windows of this floor, the two storeys below and the one above; the ivy-clad walls; the portico over the front door; and the steps down to the pavement. Above, is the night sky.

Low voices on the landing seem to be in deep discussion.
action: You look at the portico
response: You can make out some of the details of the facade of the house: the windows of this floor, the two storeys below and the one above; the ivy-clad walls; the portico over the front door; and the steps down to the pavement. Above, is the night sky.

There is the sound of a gunshot from the landing, followed by a shriek. You hear Mrs Jenkins say, rather loudly, "Oh no, Lord Bellwater, I don't think it's safe to try and shoot the lock!"
action: You examine the steps
response: (the house view)
You can make out some of the details of the facade of the house: the windows of this floor, the two storeys below and the one above; the ivy-clad walls; the portico over the front door; and the steps down to the pavement. Above, is the night sky.

There is a heavy thud as though someone has tried to break the door with their shoulder, but the lock holds fast.
action: You examine the windows
response: You can make out some of the details of the facade of the house: the windows of this floor, the two storeys below and the one above; the ivy-clad walls; the portico over the front door; and the steps down to the pavement. Above, is the night sky.

You recognise Dewhurst's voice saying, "I'll try and prise it open with this poker."
action: You climb the ivy
response: You grab a handful of the ivy in each hand and test its strength. It doesn't feel stong enough to allow you to climb up.

There is a thud as something is being wedged into the door jamb, then a creaking sound as someone levers against the locked door.
action: You examine the portico
response: You can make out some of the details of the facade of the house: the windows of this floor, the two storeys below and the one above; the ivy-clad walls; the portico over the front door; and the steps down to the pavement. Above, is the night sky.

With a splintering sound the lock is torn away from the door, which bursts open with a crash.

Looking through the window into the study, you see the figure of Lord Bellwater appear in the doorway, swathed in a tartan dressing gown and brandishing a revolver. Behind him looms the figure of Dewhurst, who has somehow managed to change into his immaculately cleaned and pressed butler's uniform. At first they look around the apparently empty room in some surprise, but then they spot you silhouetted against the light entering the window. They both dash to the window, flinging it open, and drag you bodily back into the room. Neither of them seems to recognise you in the pale light but, none too gently, they wrestle you to the floor.

Some weeks later, the following item appears in "The Times":

Today at the Old Bailey was concluded the trial which has been called (in the more "popular" press) the "Bellwater burglary case". The curious background to this case is that in the early hours of 20th June a groom, then in the service of Lord James Bellwater, was discovered in his employer's study, in the act of stealing papers and a substantial sum of money from a safe.

During the ensuing trial, the groom, by the name of Smith, has made repeated allegations that a murder had been committed in Lord Bellwater's household and that his employer was trying to subvert the intentions of his late father's will. The trial of Smith has created a degree of public interest because Lord Bellwater himself appeared as a witness for the prosecution: despite his many business comittments and his recent bereavement (the previous Lord Bellwater having passed away a few days before the events of the case), Lord Bellwater stated that he must "do his public duty as a witness and ensure that justice is done".

After retiring for just fifteen minutes, the jury returned a guilty verdict on Smith. In sentencing, the Judge spoke out strongly against this servant who has breached the trust of the noble family of Bellwater. Smith is to be transported, for life, to the penal colony in Western Australia.
action: Tear curtains
response: You leave the door and walk over to the window.

The house is in a deep silence. The sound of your own breathing seems loud and raucous.

You can hear the sound of heavy feet hastening up the staircase.
action: You lock the door
response: You leave the window, and walk over to the door.

(with the heavy iron key)

The key turns smoothly in the lock and you hear a faint but satisfying click as the lock engages.

You hear another set of footsteps coming down the staircase from the upper parts of the house, and somebody shouting about a burglar.
action: Tear curtains
response: You leave the door and walk over to the window.

You can hear a light gust of wind blowing past the window and rattling the ivy leaves against the panes.

The sounds of running footsteps converge outside the door of the study. You recognise Dewhurst's voice saying "He's in there, my Lord."
action: Tear curtains
response: You can hear a light gust of wind blowing past the window and rattling the ivy leaves against the panes.

You hear Lord Bellwater's voice, outside the door, saying "Dewhurst, you guard the door! My father used to keep his old service revolver in a drawer in the library. I'll go and get that, then we'll flush the rat out!"
action: You rip the curtains
response: There's nothing suitable to drink here.

You hear Lord Bellwater's voice, outside the door, saying "Dewhurst, you guard the door! My father used to keep his old service revolver in a drawer in the library. I'll go and get that, then we'll flush the rat out!"
action: You take the pulley
response: You try to take the cord, but it is firmly attached to the curtains, out of reach, above you.

You hear the sound of someone rattling the door handle and saying "He's got a key and has locked it from the inside!"
action: You close the curtains
response: You pull the cord and the heavy curtains draw smoothly across the window, plunging the room into darkness.

You can hear some muted discussion outside the door.

It is now pitch dark in here!
action: You go outside
response: You push your way through the heavy curtains and climb out through the window onto the sill.

You are standing balanced on the narrow ledge. To keep yourself from falling, you have to cling on to the ivy which grows on the house wall. It is a long way down to the pavement below!

Out on the landing, you hear the sound of footsteps moving briskly away from the door.
action: Close window
response: With great care not to make a noise, you close the window and latch it.

There is silence from outside the door.
action: You wait for a while
response: Time passes.

You recognise Mrs Jenkins" voice outside the door, saying "There's nowhere for him to go. We've got him cornered."
action: You wait a while
response: Time passes.

You can hear some shuffling of feet and a murmur of voices outside the door.
action: Wait
response: Time passes.

You hear Dewhurst's voice: "We can't go in yet. The burglar might be dangerous. We'll wait for Lord Bellwater to come back with the revolver."
action: You wait awhile
response: Time passes.

Through the study door you can hear some shuffling of feet and a murmur of voices.
action: You wait
response: Time passes.

You recognise Dewhurst's voice outside the door, saying "I'm ready with this iron poker. I'll give him a good whack with that."
action: You wait for a while
response: Time passes.

There is an eerie silence outside the door.
action: You wait awhile
response: Time passes.

You can hear some whispered conversation outside the study door.
action: You wait a while
response: Time passes.

You hear a shout from somewhere in the depths of the house.
action: You wait a while
response: Time passes.

You hear the sound of approaching footsteps outside the door.
action: You wait
response: Time passes.

Through the study door you can hear Lord Bellwater's voice, apparently giving instructions to the others.
action: You wait awhile
response: Time passes.

You recognise Dewhurst's voice outside the door, but cannot distinguish what he is saying.
action: You wait for a while
response: Time passes.

Through the study door you can hear Lord Bellwater asking, saying "Right then, are we all ready?"
action: Wait
response: Time passes.

You hear a faint rattling of the handle of the study door.
action: Wait
response: Time passes.

You hear a faint rustling sound from outside the study door.
action: Wait
response: Time passes.

You can hear some whispered conversation from outside the door.
action: You wait for a while
response: Time passes.

There is an eerie silence outside the door.
action: Wait
response: Time passes.

You hear some muttered discussion out on the landing then the sound of someone trying to burst through the door. However, their attempts are in vain, as the door is currently locked.
action: You shout geronimo
response: (to yourself)
There is no reply.

You hear a muttered curse from beyond the study door, and someone says "The blighter's locked it!"
action: You wait
response: Time passes.

Low voices on the landing seem to be in deep discussion.
action: Wait
response: Time passes.

There is the sound of a gunshot from the landing, followed by a shriek. You hear Mrs Jenkins say, rather loudly, "Oh no, Lord Bellwater, I don't think it's safe to try and shoot the lock!"
action: You wait
response: Time passes.

There is a heavy thud as though someone has tried to break the door with their shoulder, but the lock holds fast.
action: You wait for a while
response: Time passes.

You recognise Dewhurst's voice saying, "I'll try and prise it open with this poker."
action: You wait
response: Time passes.

There is a thud as something is being wedged into the door jamb, then a creaking sound as someone levers against the locked door.
action: You wait
response: Time passes.

With a splintering sound the lock is torn away from the door, which bursts open with a crash.

Looking through the window into the study, you see the figure of Lord Bellwater appear in the doorway, swathed in a tartan dressing gown and brandishing a revolver. Behind him looms the figure of Dewhurst, who has somehow managed to change into his immaculately cleaned and pressed butler's uniform. At first they look around the apparently empty room in some surprise, but then they spot you silhouetted against the light entering the window. They both dash to the window, flinging it open, and drag you bodily back into the room. Neither of them seems to recognise you in the pale light but, none too gently, they wrestle you to the floor.

Some weeks later, the following item appears in "The Times":

Today at the Old Bailey was concluded the trial which has been called (in the more "popular" press) the "Bellwater burglary case". The curious background to this case is that in the early hours of 20th June a groom, then in the service of Lord James Bellwater, was discovered in his employer's study, in the act of stealing papers and a substantial sum of money from a safe.

During the ensuing trial, the groom, by the name of Smith, has made repeated allegations that a murder had been committed in Lord Bellwater's household and that his employer was trying to subvert the intentions of his late father's will. The trial of Smith has created a degree of public interest because Lord Bellwater himself appeared as a witness for the prosecution: despite his many business comittments and his recent bereavement (the previous Lord Bellwater having passed away a few days before the events of the case), Lord Bellwater stated that he must "do his public duty as a witness and ensure that justice is done".

After retiring for just fifteen minutes, the jury returned a guilty verdict on Smith. In sentencing, the Judge spoke out strongly against this servant who has breached the trust of the noble family of Bellwater. Smith is to be transported, for life, to the penal colony in Western Australia.
action: Look around
response: The study is a well-proportioned, rectangular room. The door, of finely polished oak, leads back onto the landing, to the west; a broad sash window in the opposite wall looks out over Cadogan Square. The heavy velvet curtains are drawn back and a pale moonlight falls into the room, illuminating a heavy mahogany desk in its centre. To the right of the window is a small table.

On the north side of the room is a stone fireplace with a dull red glow still coming from the remains of the coals, burning among the ashes: a shadowy oil painting hangs above it. The south wall is covered, floor to ceiling, with bookshelves, laden with hundreds, if not thousands, of leather-bound volumes, in neat rows.

You can see some broken pottery, a sprinkling of soil and an aspidistra here.

You can hear the sound of heavy feet hastening up the staircase.
action: You lock the door
response: (with the heavy iron key)

The key turns smoothly in the lock and you hear a faint but satisfying click as the lock engages.

You hear another set of footsteps coming down the staircase from the upper parts of the house, and somebody shouting about a burglar.
action: You look at the plant
response: The plant has a dense clump of dark green, rather fleshy leaves and a mass of tiny roots. It doesn't look very healthy now that it is out of its pot.

The sounds of running footsteps converge outside the door of the study. You recognise Dewhurst's voice saying "He's in there, my Lord."
action: You take it
response: Taken.

You hear Lord Bellwater's voice, outside the door, saying "Dewhurst, you guard the door! My father used to keep his old service revolver in a drawer in the library. I'll go and get that, then we'll flush the rat out!"
action: You put it in fireplace
response: You leave the door and walk towards the fireplace.

You put the aspidistra into the fireplace.

You hear the sound of someone rattling the door handle and saying "He's got a key and has locked it from the inside!"
action: You burn it
response: This dangerous act would achieve little.

You can hear some muted discussion outside the door.
action: You tie the cord to yourself
response: You cannot tie the curtain cord to yourself.

You can hear some muted discussion outside the door.
action: You cut cord
response: You turn away from the fireplace and walk over to the window.

You try to cut through the cord with everything at your disposal, but nothing is sharp enough.

Out on the landing, you hear the sound of footsteps moving briskly away from the door.
action: You take the table
response: That's hardly portable.

There is silence from outside the door.
action: You stand on the table
response: You climb up onto the table, bringing your head close to the level of the curtain rail.

You recognise Mrs Jenkins" voice outside the door, saying "There's nowhere for him to go. We've got him cornered."
action: You look at the rail
response: The curtains hang from a metal track which is clearly visible from this position. The cord which opens and closes the curtains passes along the track and is tied to the curtains.

You can hear some shuffling of feet and a murmur of voices outside the door.
action: You untie the cord
response: What do you want to untie the curtain cord from?
action: Rail
response: You undo the knots and release the cord from the curtains. You pull it out from the curtain mechanism and find that you have a considerable length of cord in your hands.

You hear Dewhurst's voice: "We can't go in yet. The burglar might be dangerous. We'll wait for Lord Bellwater to come back with the revolver."
action: You go outside
response: You'll have to get off the table first.

Through the study door you can hear some shuffling of feet and a murmur of voices.
action: You get down
response: You must name something more substantial.

Through the study door you can hear some shuffling of feet and a murmur of voices.
action: You get off the table
response: You get off the table.

On the table is a cardboard grocery box (in which is an envelope (in which is a letter to Sutherland the banker)).

You can see a newspaper cutting here.

You recognise Dewhurst's voice outside the door, saying "I'm ready with this iron poker. I'll give him a good whack with that."
action: You go outside
response: You climb out through the window onto the sill.

You are standing balanced on the narrow ledge. To keep yourself from falling, you have to cling on to the ivy which grows on the house wall. It is a long way down to the pavement below!

There is an eerie silence outside the door.
action: You tie cord to sill
response: Which do you mean, the window or the ledge?
action: Ledge
response: The ledge is not really suitable to tie a cord on to.

You can hear some whispered conversation outside the study door.
action: You tie the cord to the window
response: The window is not really suitable to tie a cord on to.

You hear a shout from somewhere in the depths of the house.
action: You go inside
response: You clamber back through the window into the study.

The study is a well-proportioned, rectangular room. The door, of finely polished oak, leads back onto the landing, to the west; a broad sash window in the opposite wall looks out over Cadogan Square. The heavy velvet curtains are drawn back and a pale moonlight falls into the room, illuminating a heavy mahogany desk in its centre. To the right of the window is a small table.

On the north side of the room is a stone fireplace with a dull red glow still coming from the remains of the coals, burning among the ashes: a shadowy oil painting hangs above it. The south wall is covered, floor to ceiling, with bookshelves, laden with hundreds, if not thousands, of leather-bound volumes, in neat rows.

On the table is a cardboard grocery box (in which is an envelope (in which is a letter to Sutherland the banker)).

You can see a newspaper cutting here.

You hear the sound of approaching footsteps outside the door.
action: Tie cord to table
response: You tie the cord around the table and knot it securely.

Through the study door you can hear Lord Bellwater's voice, apparently giving instructions to the others.
action: You go outside
response: You climb out through the window onto the sill.

You are standing balanced on the narrow ledge. To keep yourself from falling, you have to cling on to the ivy which grows on the house wall. It is a long way down to the pavement below!

You recognise Dewhurst's voice outside the door, but cannot distinguish what he is saying.
action: You go down
response: The cord bites painfully into your hands as you grip it tightly and test it with your weight. Gritting your teeth against the pain, you brace your feet against the wall of the house and begin to release the cord. You manage to lower yourself almost to the ground then drop the last few feet, landing on the pavement in front of the front door.

Armed with the evidence, you set off for Scotland Yard.

Some weeks later, the following item appears in "The Times":

Today at the Old Bailey was concluded the trial which has been called (in the more "popular" press) the "Bellwater burglary case". The curious background to this case is that in the early hours of 20th June a groom, then in the service of Lord James Bellwater, presented himself at Scotland yard, claiming that a murder had been committed and making accusations against his employer. The groom, by the name of Smith, produced a number of documents which he claimed to be "evidence" against those whom he accused. Our trusty police force quickly ascertained that the documents in question had been stolen from Lord Bellwater  and, on further examination of Smith, it was discovered that he was in possession of some one hundred pounds, in coins, stolen from his master's safe. The trial of Smith created a degree of public interest because Lord Bellwater himself appeared as a witness for the prosecution: despite his many business comittments and his recent bereavement (the previous Lord Bellwater having passed away a few days before the events of the case), Lord Bellwater stated that he must "do his public duty as a witness and ensure that justice is done".

After retiring for just fifteen minutes, the jury returned a guilty verdict on Smith. In sentencing, the Judge spoke out strongly against this servant who has breached the trust of the noble family of Bellwater. Smith is to be transported, for life, to the penal colony in Western Australia.
action: You put the money in safe
response: If you go to the safe, the hundred guineas will no longer be within your reach.

You can hear the sound of heavy feet hastening up the staircase.
action: You examine safe
response: You leave the door and walk towards the fireplace.

The safe has a heavy iron door. On it is a dial which turns freely either way. As it does so, the numbers engraved around its rim, line up with a pointer. The numbers are from 1 to 100. There is also a brass handle which looks as though it can be turned. The safe is open.

You hear another set of footsteps coming down the staircase from the upper parts of the house, and somebody shouting about a burglar.
action: You put the money in safe
response: You need to be holding the hundred guineas before you can put it into something else.

The sounds of running footsteps converge outside the door of the study. You recognise Dewhurst's voice saying "He's in there, my Lord."
action: You lock the door
response: You turn away from the fireplace and walk over to the door.

(with the heavy iron key)

The key turns smoothly in the lock and you hear a faint but satisfying click as the lock engages.

You hear Lord Bellwater's voice, outside the door, saying "Dewhurst, you guard the door! My father used to keep his old service revolver in a drawer in the library. I'll go and get that, then we'll flush the rat out!"
action: You get the money
response: You already have that.

You hear the sound of someone rattling the door handle and saying "He's got a key and has locked it from the inside!"
action: You put the leather bag in safe
response: You leave the door and walk towards the fireplace.

You put the leather bag into the safe.

You can hear some muted discussion outside the door.
action: Close safe
response: You swing the heavy door shut and it locks with a satisfying "clunk".

You close the safe.

Out on the landing, you hear the sound of footsteps moving briskly away from the door.
action: Spin dial
response: The dial spins round randomly. Now it points to 1.

There is silence from outside the door.
action: You stand on the table
response: You turn away from the fireplace and walk over to the window.

You climb up onto the table, bringing your head close to the level of the curtain rail.

You recognise Mrs Jenkins" voice outside the door, saying "There's nowhere for him to go. We've got him cornered."
action: Inventory
response: You are carrying:
Dewhurst's confession
a flimsy sheet of paper
Lord Bellwater's will
a red pocketbook
a letter from Roger Jowett the solicitor
a shiny silver sixpence
an Elsie's note
a purse (open)
a stubby pencil
an ink bottle
a leather-bound diary
a slightly charred instruction leaflet
a heavy iron key

You can hear some shuffling of feet and a murmur of voices outside the door.
action: You untie the cord from the curtains
response: You undo the knots and release the cord from the curtains. You pull it out from the curtain mechanism and find that you have a considerable length of cord in your hands.

You hear Dewhurst's voice: "We can't go in yet. The burglar might be dangerous. We'll wait for Lord Bellwater to come back with the revolver."
action: You stand
response: You get off the table.

On the table is a cardboard grocery box (in which is an envelope (in which is a letter to Sutherland the banker)).

You can see a newspaper cutting here.

Through the study door you can hear some shuffling of feet and a murmur of voices.
action: Tie cord to table
response: You tie the cord around the table and knot it securely.

You recognise Dewhurst's voice outside the door, saying "I'm ready with this iron poker. I'll give him a good whack with that."
action: You take cutting
response: Taken.

There is an eerie silence outside the door.
action: You go outside
response: You climb out through the window onto the sill.

You are standing balanced on the narrow ledge. To keep yourself from falling, you have to cling on to the ivy which grows on the house wall. It is a long way down to the pavement below!

You can hear some whispered conversation outside the study door.
action: Go downwards
response: The cord bites painfully into your hands as you grip it tightly and test it with your weight. Gritting your teeth against the pain, you brace your feet against the wall of the house and begin to release the cord. You manage to lower yourself almost to the ground then drop the last few feet, landing on the pavement in front of the front door.

Armed with the evidence, you set off for Scotland Yard.

Some weeks later, the following item appears in "The Times":

Today at the Old Bailey was concluded the trial which has been called (in the more "popular" press) the "Bellwater murder case". Mr George Dewhurst, a butler in the household of Lord Bellwater was charged with the unlawful killing of a house servant, Elsie Browning. The main evidence against Dewhurst was provided by a groom in Lord Bellwater's household, named Bert Smith, who presented himself at Scotland Yard, in the early hours of a day in June this year, with several documents which pointed to Dewhurst's having committed the crime.

After retiring for a short time, the jury found Dewhurst guilty of manslaughter and the judge sentenced him  to be transported, for life, to the penal colony in Western Australia.

The case has raised considerable public attention, not only because the crime took place in the household of a noble lord, but also because of some of the surprising allegations (not directly related to the case) that have been made by the groom, Bert Smith. In particular, Smith has claimed that he is himself the lawful beneficiary of the will of the late Lord Horace Bellwater - a claim ridiculed by the present Lord Bellwater and effectively silenced by a sworn affidavit by the Bellwaters' family solicitor, Roger Jowett Esq, who has declared the supposed will to be a forgery.

We understand that one of the "popular" newspapers, the "Daily News" has championed the cause of Bert Smith, and during the course of the trial, it has been raising a public subscription, amongst its readership, for the benefit of Smith. A considerable sum has been raised, providing Smith with the capital to start his own business, running a livery stable.

In an extraordinary gesture of generosity, and as a personal contribution to this new business venture, it is understood that Lord James Bellwater has presented Smith with the late Lord Bellwater's horse.
action: Examine will
response: You read the paper:

This is the last will and testament of Lord Horace Bellwater.

I Horace Bellwater of Cadogan Square London hereby revoke all former wills made by me. I appoint the firm of Purdy and Jowett (solicitors) as the executors of this my will. With regards to my wastrel of a son, James Bellwater, he has received a great deal of my fortune during my lifetime and has squandered it on drinking and gambling. It is therefore my wish that he receives a legacy of exactly one penny of English money and I hope he spends it wisely. The entire residue of my property, including real estate, possessions, investments and cash, I leave to my groom Bert Smith on condition that he promises to take good care of my horse. Signed sealed and delivered in the presence of George Dewhurst and Elsie Browning. Signed: Horace Bellwater.

You can hear some whispered conversation outside the study door.
action: You examine the letter from Jowett
response: You examine the paper - it is a letter. You read it:

Purdy and Jowett (Solicitors)
3 Holborn Court
London WC
16th June 1863

We talked last night over a few brandies at your club about your father's last will and testament.

As we discussed, he asked me to draw up a new (and rather surprising) will, shortly before his sad decease. As I indicated to you, the will was properly drawn up by myself, was signed by your father and was witnessed by his butler and one of his chambermaids. There were two copies, one of which was kept by your father (and therefore came into your possession, as you explained to me) and the other retained by me as an office copy. This new will revoked your father's previous will, made some years ago, in which he had left everything to yourself.

You have made a strong case to me that your father was losing his mind towards the end of his final illness and that this new will was therefore invalid. I have to say that I saw no sign of your father's loss of mental powers when I was with him, but I accept that you have been a good deal closer to him than me and that you are better placed to make that judgement. I also accept that some of the wording of the will could be taken to indicate an unbalanced mind. I fully understand your reluctance to challenge the will through the legal process, which would require giving evidence in court of your father's worsening mental state. I appreciate that you do not wish to dishonour his memory by dragging these details through the courts.

In view of all the above considerations I have decided to accept your account of your father's dementure and that it will be for the best for us to destroy all copies of the recent will and to abide by the terms of the earlier will. I therefore enclose the office copy of the recent will and leave it for you to dispose of it as you see fit. I have no further record of the will and will treat its existence as a matter of client confidentiality between the two of us.

You also mentioned to me that you have some sort of hold over the butler which will guarantee his absolute silence and loyalty. However, I am more concerned about the an unhappy "accident", which occurred to the chambermaid, who was the other witness to the will. You indicated that her fortuitous death was not quite so accidental as you would like people to believe. I cannot help but draw the conclusion that you had some part in her death. Whilst I would find such behaviour personally unacceptable, I shall, of course, be bound by my professional confidentiality in my dealings with you as a client.

On a separate matter, you kindly mentioned in our conversation that I have performed a great many services for your family over the years, often without any direct remuneration from your father and that you intended to pay me a modest sum in recompense for these services. I think you mentioned a sum in the region of 5000 pounds, which I consider to be most generous and look forward to receiving.

Your solicitor and loyal friend.

Although this letter makes mention of an enclosed copy of a will, there is nothing of that sort attached to the letter.

You hear a shout from somewhere in the depths of the house.
action: You read the book
response: (the leather-bound diary)
You examine the book. It seems to be a desk diary for the previous year. You flick through and notice that there are occasional entries in it, written in a distinctive, rather scholarly handwriting, and using green ink. The entries all seem to be mundane notes of when bills were paid. You pause for a moment at the entry for Tuesday 21st October 1862, which is heavily ringed in green ink, then you remember, this was old Lord Bellwater's birthday - he always gave each of the servants sixpence on this day.

You hear the sound of approaching footsteps outside the door.
action: You look at what you're carrying with you
response: You are carrying:
a cord
Dewhurst's confession
a flimsy sheet of paper
Lord Bellwater's will
a red pocketbook
a letter from Roger Jowett the solicitor
a shiny silver sixpence
an Elsie's note
a purse (open)
a stubby pencil
an ink bottle
a leather-bound diary
a slightly charred instruction leaflet
a heavy iron key

You hear the sound of approaching footsteps outside the door.
action: %
response: As an aspiring groom in Lord Bellwater's household, recklessness has not been one of the qualities for which you, Bert Smith, would wish to be noted. However, desperate times call for desperate measures, and here you are in the early hours of the morning of Saturday 20th June 1863, undertaking the most reckless venture of your life. Instead of retiring to your bed, in your lodgings in the mews at the back of Lord Bellwater's town house, you sneaked into the house and hid in the cellar until the household had gone to bed. You sidled into the butler's pantry and took the key to the master's study and now find yourself creeping about like a common thief. You hear the clock in the hall strike one o'clock as you carefully pull the study door closed behind you.



The study is a well-proportioned, rectangular room. The door, of finely polished oak, leads back onto the landing, to the west; a broad sash window in the opposite wall looks out over Cadogan Square. The heavy velvet curtains are drawn back and a pale moonlight falls into the room, illuminating a heavy mahogany desk in its centre. To the right of the window is a small table.

On the north side of the room is a stone fireplace with a dull red glow still coming from the remains of the coals, burning among the ashes: a shadowy oil painting hangs above it. To the left of the fireplace is a wooden stand, supporting an ornate porcelain pot, in which a leafy plant is growing. The south wall is covered, floor to ceiling, with bookshelves, laden with hundreds, if not thousands, of leather-bound volumes, in neat rows.
action: You look at the ink
response: It is an old ink bottle. It looks almost empty, with dried ink caked around the lid. Even in this light, you can see that the ink was green in colour.

There is an eerie silence outside the door.
action: %
response: As an aspiring groom in Lord Bellwater's household, recklessness has not been one of the qualities for which you, Bert Smith, would wish to be noted. However, desperate times call for desperate measures, and here you are in the early hours of the morning of Saturday 20th June 1863, undertaking the most reckless venture of your life. Instead of retiring to your bed, in your lodgings in the mews at the back of Lord Bellwater's town house, you sneaked into the house and hid in the cellar until the household had gone to bed. You sidled into the butler's pantry and took the key to the master's study and now find yourself creeping about like a common thief. You hear the clock in the hall strike one o'clock as you carefully pull the study door closed behind you.



The study is a well-proportioned, rectangular room. The door, of finely polished oak, leads back onto the landing, to the west; a broad sash window in the opposite wall looks out over Cadogan Square. The heavy velvet curtains are drawn back and a pale moonlight falls into the room, illuminating a heavy mahogany desk in its centre. To the right of the window is a small table.

On the north side of the room is a stone fireplace with a dull red glow still coming from the remains of the coals, burning among the ashes: a shadowy oil painting hangs above it. To the left of the fireplace is a wooden stand, supporting an ornate porcelain pot, in which a leafy plant is growing. The south wall is covered, floor to ceiling, with bookshelves, laden with hundreds, if not thousands, of leather-bound volumes, in neat rows.

>fa
action: Burn confession
response: This dangerous act would achieve little.

There is an eerie silence outside the door.
action: You put the confession in the fireplace
response: You leave the window, and walk towards the fireplace.

You put Dewhurst's confession into the fireplace.

You can hear some whispered conversation outside the study door.
action: Burn confession
response: This dangerous act would achieve little.

You hear a shout from somewhere in the depths of the house.