A Fine Day for Reaping
by James Webb (aka revgiblet) (2007)
Genres: Humor

Step into the bare feet of the Grim Reaper for a day and make sure that five pesky souls keep their appointment with the afterlife.

action: %
response: Loading game...

1 : Read Me First

2 : Credits and Thanks

3 : Begin Reaping

Please Choose an Option.

Ver 1.0 2007.
Written in ADRIFT by James Webb (aka revgiblet)
Please feel free to send any feedback to revgiblet@gmail.com
Any similarities to anything you have witnessed, written or anyone you know is purely coincidental. Frankly I'd find it incredible if you've ever witnessed any of the situations in this game.
action: 1
response: It's a fairly easy life being the Grim Reaper. People often make the mistake of assuming that you appear at every death. Of course, that's a mistake that they only tend to make once. The reality is quite different. Death tends to happen to people whether you are there or not, you actually only show up for the more unusual cases. Every now or then someone will put up a fight and not take death lying down. That's when you show up to make sure that they play by the rules. Essentially, you're a high stakes baliff.

Every day your Supervisors mail you a list of the difficult cases.
You have twelve hours to make sure that souls are reaped and the wages of sin are paid. Welcome to a day in the life of Death.

This will tell you how long you have left before the day ends. You don't want to know what happens if you don't finish reaping the alloted souls within the time limit.

Where 'X' equals your destination. You own a skeletal horse, named Horse (you are not known for your imagination). Tell him/her where you want to go and he/she (it's difficult to sex skeletal horses) will take you there. To return to your home then use the simple command say home to horse

The ultimate command. Provided that you are holding your scythe and can get to your client, this will send the death-shy soul to the afterlife. You must utilise this command on all clients to complete the game.

1 : Read Me First

2 : Credits and Thanks

3 : Begin Reaping

Please Choose an Option.

Ver 1.0 2007.
Written in ADRIFT by James Webb (aka revgiblet)
Please feel free to send any feedback to revgiblet@gmail.com
Any similarities to anything you have witnessed, written or anyone you know is purely coincidental. Frankly I'd find it incredible if you've ever witnessed any of the situations in this game.
action: 2
response: I owe the following people something, so I thought a 'Thank You' here would do. Most of them will probably never read it anyway. Still, it's the thought that counts.

Thanks to...

Campbell Wild for the ADRIFT generator. Now the stories in my head can come to life. And is that your real name? It's kind of cool.

welcome and giving (mostly) good advice.

David Whyld, de budding and Ren for beta testing my first game, The Sisters. The advice they gave and changes they suggested made it ten times better than it originally was (before it was only worth 0.5 out of 10)

All the people who played, reviewed and voted for The Sisters during the 12th Annual IF Competition. The whole experience encouraged me to keep writing. So this game is mostly your fault.

rotter for Unauthorized Termination and inspiration for text formatting.

Lumin for beta testing this game and pointing out my clumsy punctuation skillz.

www.strange-facts.com for giving me some...err...strange facts.
Terry Pratchett for the Discworld books. I could make a convincing case for the fact that my anthropomorphic Death is very different from his anthropomorphic Death, but seeing as I got the idea for this game when I was reading Reaper Man it's a futile exercise.

1 : Read Me First

2 : Credits and Thanks

3 : Begin Reaping

Please Choose an Option.

Ver 1.0 2007.
Written in ADRIFT by James Webb (aka revgiblet)
Please feel free to send any feedback to revgiblet@gmail.com
Any similarities to anything you have witnessed, written or anyone you know is purely coincidental. Frankly I'd find it incredible if you've ever witnessed any of the situations in this game.
action: 3
response: You are standing in your living room. It's quite small and cosy, with panel flooring and painted walls (black, of course). A bookcase stands against one wall. On another is a shelf, on which rests your CD player and collection of CDs. A comfy, well-worn leather armchair lies right bang in the centre of the room facing the only window. You often like to sit on the chair staring out into the empty, black void of time and space that your home backs on to. It's not a great view, but it's something to look at.

Exits: East
action: Inventory
response: You are carrying the Golden Hourglass.
action: You examine Hourglass
response: The grains of sand tell you that you have twelve hours left to complete your contract.
action: About you
response: You are about six foot five inches tall, dressed in the blackest robes anyone has ever seen. Your hairless, so-pale-it's-almost-translucent skin is stretched across your skull like clingfilm on a billiard ball. Your eyes are about the only thing in this reality that are darker than your robes, and your spindly, gaunt hands protrude from your sleeves like a bunch of chopsticks. You secretly think of yourself as 'quite handsome'.
action: You look at the cds
response: You're not sure if two CDs can rightly be called a collection, but if they can then this is your CD collection. You have The Eagles: Greatest Hits 1971-1975 and the CD single of Candle in the Wind 1997 by Elton John.
action: You look at the books
response: You pick up a diary at random and flick to a page.

When I saw that it was Friday the 13th I should have known that I was in for a bad day. I accidentally materialised in the middle of the ladies changing room at a swimming pool. People were throwing things at me and screaming. It doesn't take much to discourage me. Perhaps I'm not cut out for this job after all? Well, I'm sure something good will come along soon. Chin up and all that!

You put the book back on the shelf. You can see no need to take any of them with you.
action: Look around
response: You are standing in your living room. It's quite small and cosy, with panel flooring and painted walls (black, of course). A bookcase stands against one wall. On another is a shelf, on which rests your CD player and collection of CDs. A comfy, well-worn leather armchair lies right bang in the centre of the room facing the only window. You often like to sit on the chair staring out into the empty, black void of time and space that your home backs on to. It's not a great view, but it's something to look at.

Exits: East
action: Go east
response: You move east.

The hallway has thick, plush red carpet which always tickles your toes a little bit. It goes quite well with the black, pannelled walls. At the south end is your imposing front door. There are a series of hooks by the door on which you could hang your coat, if you wore a coat that is. A small bin sits by the door. There is also a full-length mirror on one wall. As you're the last sight some people see, it's quite right that you check that you look presentable.

Exits: East, South and West

You can see some mail.
action: You read the mail
response: You bend down and scoop up your mail. It's one of life's great mysteries. If you have any work that day your Supervisors mail it to you in the morning. In all your time you have never once met the postman. Sometimes you wonder if you should get a dog just to see what would happen. Something big and evil. A hellhound or a pitbull. Something like that.

You have two letters today. The first is a white envelope addressed to a "Mr. G. Raper" and bearing the stamp of "Blackbury Banking Services". Puzzled, you tear it open and read.

Dear Mr GRaper.
Have we got an offer for you!!?? You, and others in your specially selected postcode region, have been chosen to take part in our amazing, introductory offer! We're offering you a free - that's right FREE - credit card with GBP10,000 limit*! ARE WE CRAZY??

At this point you throw the letter in the bin. You live in the darkest, emptiest void of time and space in this reality; you are the only living (using the term loosely) soul in this dimension and yet you still get junk mail. It's enough to make you livid! You turn to the other letter, which comes in the unmarked, large brown envelope that your Supervisors use when they want to contact you. It looks like you've got some work to do today. You open it and begin to read.

You have five clients today. Four standard cases and one administrative error...

You roll your eyes. Administrative errors are the worst. It means that the paperwork has got screwed up somewhere along the line and some poor idiot is not where they should be when they're fated to die. As usual, it's up to you to clear up somebody else's mess. You carry on reading, though you know the words off by heart now.

Please find attached the details of the clients. These clients will die, as fated, but for some reason will refuse or be unable to progress to their destination. Reap their souls to complete the cycle. You must complete this task by the end of the day. Thank you.

You discard the letter and read the attached list.

Lord Nigel McWorthington - Himilayas, Nepal

Ernest Busset - Manchester, England

Jimiyu Wangai - Wajir, Kenya

Agathe Laurent - Paris, France

Splong5b - Nevada, USA

You pocket the list. Let's go to work.
action: You examine bin
response: It's a small, metal bin. Lying in the bin is a letter from Blackbury Banking Services.
action: You look in the mirror
response: You'd be surprised, but being a very tall, very thin, apparition of terror doesn't attract as much attention as you'd think. As most people don't believe in you, the first thought that goes through their heads doesn't tend to be "Is that the Grim Reaper? IT IS THE GRIM REAPER! I'M GOING TO DIE! I'M GOING TO DIE!" but rather something more mundane about a fancy dress party or the current government's lax attitude to mental health care. You tend to move about the world of mortals attracting hardly any attention at all. This perplexes you a little bit.

You give a grunt of approval as you check yourself in the mirror. Looking good!
action: You describe your surroundings
response: The hallway has thick, plush red carpet which always tickles your toes a little bit. It goes quite well with the black, pannelled walls. At the south end is your imposing front door. There are a series of hooks by the door on which you could hang your coat, if you wore a coat that is. A small bin sits by the door. There is also a full-length mirror on one wall. As you're the last sight some people see, it's quite right that you check that you look presentable.

Exits: East, South and West
action: You go east
response: You move east.

You are standing in your kitchen. To this day you can't think why you made this room into a kitchen. You don't actually eat. The back window, over the kitchen sink, looks out into the void. The washing machine sits against one wall and a wooden table in the centre of the room. It has only a single chair. You don't get any visitors. On one wall there is a cork pinboard in the shape of an elephant (with the words Don't Forget! playfully inscribed on it). There are several notes pinned to it.

Exits: West
action: You look at the washing machine
response: You gave up trying to wash your own robes a long time ago. It's just easier to take them to a dry cleaner.
action: You open the washing mashine
response: Open what?
action: You look at the notes
response: You scan the notes. - Remember Horse's birthday present!!! -, - Wrote in wrong diary yesterday! Correct it! -, - Get more paper for notes!!! - and - Out of cheese. -  You don't remember writing that last one. There is also a ticket pinned to the board from the dry cleaners in San Fransisco. You left a robe with them for a clean.
action: You take the ticket
response: You unpin the ticket from the board and put it in your pocket.
action: You look at the window
response: You don't really need a window. A hole in the wall would have done just as well. It's never too cold or too hot and you never get any visitors. It just seemed like a good idea at the time...
action: You examine the sink
response: It's a kitchen sink.
action: You look in the sink
response: It's a kitchen sink.
action: You read ticket
response: It's a small piece of paper informing you that Happy Go Lucky Dry Clean in San Fransisco currently has a black dress belonging to a Mr. G. Reaper. The ticket also says Please present ticket to collect item.
action: Go west
response: You move west.
action: Go south
response: You move south.

You are standing on a garden path. You don't have a garden so technically it should just be called 'a path'. The path leads through the void of emptiness from your house to the stable where Horse lives.

Exits: North and South
action: You examine void
response: You see nothing special. In fact you don't see anything at all.
action: Go south
response: You move south.

You are in your stable. Despite your best efforts, the small, rough wooden structure seems more homely than your own house. Horse doesn't eat (or go to the toilet) but in accordance with universal laws the floor is covered in hay and the place smells of horse poo. In one corner is a large whetstone. Fixed to the north wall are the brackets where you rest your scythe when you're not using it.

Exits: North

You can see The Grim Reaper's Scythe.

Horse waits here, looking quite majestic.
action: You look at the scythe
response: Wickedly sharp and imposing, this is your weapon of choice for reaping souls. It's a metaphor for your ability to harvest people from the land of the living, so it doesn't actually need to be a scythe but you find that people expect it. It's the look of the thing. Your Supervisors have gone to the trouble of making it invisible to mortal eyes after that embarrasing incident at JFK airport six months ago.
action: You take it
response: [take The Grim Reaper's Scythe]
You pick up the Grim Reaper's Scythe.
action: You look at Horse
response: Horse is a skeletal steed. S/He has been your faithful companion from the beginning, whenever that was. It's hard to come across as being noble when you're nothing but a collection of bones held together by some unknown, mysterious force but Horse manages it quite well. An equine skeleton is not something that most people would expect to see, so they don't.
action: You examine the whetstone
response: It's a large whetstone for sharpening blades. You use it to keep your scythe sharp, though you don't really need to bother. It's always as sharp as it needs to be. You just got into the habit of sharpening it every now and then, and you tend to be a very habitual person.
action: You examine Hourglass
response: The grains of sand tell you that you have eleven and a half hours left to complete your contract.
action: Sharpen scythe
response: You check your scythe. It's sharp enough as it is. No need to waste time sharpening it.
action: About you
response: You are about six foot five inches tall, dressed in the blackest robes anyone has ever seen. Your hairless, so-pale-it's-almost-translucent skin is stretched across your skull like clingfilm on a billiard ball. Your eyes are about the only thing in this reality that are darker than your robes, and your spindly, gaunt hands protrude from your sleeves like a bunch of chopsticks. You secretly think of yourself as 'quite handsome'.
action: You examine the list
response: The list of your clients for today. It reads...

Lord Nigel McWorthington - Himilayas, Nepal

Ernest Busset - Manchester, England

Jimiyu Wangai - Wajir, Kenya

Agathe Laurent - Paris, France

Splong5b - Nevada, USA
action: You say nepal to Horse
response: You climb on to Horse's back. He/She climbs into the air and you travel, at an incredible speed, to your destination.

Mountain Pass (Himilayas)

You are standing on a thin path that is winding through the snowy, Himilayan mountain range. The view is lovely, but it isn't half chilly here. Your feet are getting cold and the wind is whipping right up your robe. Right in front of you is a huge snowdrift, under which is buried the body of one of your clients - Lord Nigel McWorthington.

Exits: No Exits

Horse waits here, looking quite majestic.

Lord Nigel McWorthington gazed out over the crisp, snowy scene and smiled. He was glad that he'd decided to do this; that he'd decided to celebrate his sixtieth birthday by trekking through the Himilayas. His family had insisted on a surprise party, despite the fact that his doctor had warned them against giving him any sudden shocks. Then again, his doctor had warned him against mountain climbing too. But he wouldn't trade this for anything. The view was splendid and stretched for miles, and it almost made him shake off the nagging feeling that he really should have been at that surprise party. Sure, the family would be disappointed when he didn't show up, but they should have made a better effort to make sure that he wouldn't find out. He wasn't stupid. Leaving the guest list out where he could find it wasn't too clever for a start. But that didn't really explain the feeling. It wasn't guilt but rather something else. Something he couldn't quite put his finger on.

He pushed the feeling back again and looked into the sunshine, lifting his hands above his head. He felt so alive! He almost let out a cry of triumph, but stopped just in time. There's no telling what might cause an avalanche in this part of the world. Just then he heard a rush of wind behind him, he turned and...

...found himself staring at a skeletal horse, ridden by a tall, ghastly apparition of horror, who seemed to be reading a list...

Lord Nigel McWorthington screamed at the top of his voice and gripped his chest. The scream rebounded off the mountain walls and was suddenly silenced by an ominous rumbling sound from above. He looked up at the avalanche descending rapidly, turned once again to the horrifying apparition and managed the words "You complete and utter..." before he was buried under a crushing weight of snow.

You shrug and climb off Horse. This was clearly Nigel McWorthington, and you suspect that he is (you mean was) the administrative error. Seems that death caught up with him after all. You smile at the double entendre and turn your attention to the scene. To reap his soul you have to get to the body, which is currently under thirty foot of snow. You scratch your head in puzzlement. Why are these things never easy?

Mountain Pass (Himilayas)

You are standing on a thin path that is winding through the snowy, Himilayan mountain range. The view is lovely, but it isn't half chilly here. Your feet are getting cold and the wind is whipping right up your robe. Right in front of you is a huge snowdrift, under which is buried the body of one of your clients - Lord Nigel McWorthington.

Exits: No Exits

Horse waits here, looking quite majestic.
action: You dig the snowdrift
response: With what? Your bare hands? No way.
action: You say homedepot to Horse
response: No-one pays any attention to you.
action: You say the Manchester to Horse
response: You climb on to Horse's back. He/She climbs into the air and you travel, at an incredible speed, to your destination.

Cellar (Manchester)

This is a dark and dank cellar underneath a house in Manchester. The tough, red brick did a good job of containing the blast from the exploded time machine. The remains of said time machine sit in the centre of the cellar, nothing more than a twisted pile of metal and wires. In one corner of the room is a stairwell, in the other a workbench and varied selection of tools and objects that look suspiciously mechanical.

Exits: Up

You can see Ernest Busset's shoe.

Horse waits here, looking quite majestic. Thomas Brewer stands here, looking around the cellar thoughtfully.

"If this works we'll be famous!" chattered Ernest Busset, excitedly.

"That's understating it slightly, Ernest." said Thomas Brewer, sardonically.

"Just think of it, man! Time travel! We'll be...famous!" Ernest Busset could barely contain his excitement.

"Are you sure this will work? I'm not confident myself. I know we've run through the figures a million times but...well, I've just got a bad feeling about this. What if it doesn't work?" Thomas sounded very, very worried.

"Nonsense! This must work! As you said yourself, we've gone through the figures a million times. Now. Stand back."

Ernest sat himself into the contraption. It looked like the cockpit of a glider, surrounded by a mass of wires and bits and pieces of metal. Ernest fiddled with the controls in front of him. They looked like they had been cobbled together from bits and pieces of old games consoles. A digital readout flashed excitedly in front of his eyes.

"Yes, yes. See, that's what I'm talking about. If you're so confident it will work then why are you telling me to 'stand back'?" Thomas did, however, take several large steps backwards as he said this.

"Just in case! Who knows what will happen? Who knows if the field will be purely contained to the machine? I wouldn't want you getting sucked back through time with me! You need to stay here and document our success from this end!" Ernest was idly flipping a switch back and forth.

"See, you're doing it again. 'Who knows what will happen?' Is that supposed to inspire confidence?"

"Just relax, old boy. Think about what you're going to do when we are no longer constrained by time! What will you do with this power?"

"I'm going to go back in time and kill Hitler's parents." Thomas looked grim, his lips set in a firm line. Ernest looked puzzled.

"I wouldn't do that, old boy. That sort of thing would just make Hitler really angry, wouldn't it? I wouldn't have thought he was the sort of fellow you'd want to get on the bad side of."

"No. You've misunderstood." 'Again' Thomas added mentally, "I would kill them before he was born."

"That doesn't make sense, man! I mean, how can they be Hitler's parents until they have had a baby called Hitler? Stands to reason!" said Ernest, cheerfully.

"Never mind," Thomas muttered, "Look. Be careful" he added, surprised at how much he meant it.

"No problem! Just watch this!" Ernest cheered, as he reached out and pushed a button.

There was a whirring noise, which increased in intensity until it ended abruptly in a rather large explosion. Thomas Brewer was thrown back against the far wall, and crumpled to a heap on the floor. He looked up from his prone position to see a tattered, charred shoe fall in front of him.
"Oh dear." he said, with rather considerable constraint.

He then climbed to his feet and turned to find you watching him from the other end of the room.
"Oh dear oh dear." he trembles, "Look. Just tell me. Am I dead?"
You gaze at the List.

"Ith your name Ernetht Buthet?" you intone.

Thomas Brewer looks at you blankly. It's hard enough for a man to be on the verge of humanity's greatest scientific breakthrough and then to suddenly be confronted with the possibility that he might be dead, let alone to find that the Gatekeeper of the Afterlife has a speech impediment.

"I'm sorry, did you say 'Erneth Buffet'? Ummm...Do you mean Ernest Busset?" Thomas brushed himself down. You nod irritably. You've had a lisp for as long as you can remember and it's not your fault. It certainly doesn't make your job any easier. "No. No. I'm Thomas Brewer. Ernest Busset is...oh. Oh no! Oh no! Ernest is dead?" Thomas exclaims, shocked. You nod again.

"Where ith he then?" you ask, looking round the room in annoyance. Thomas grins and points at the charred heap of metal in the centre of the room.

"I think the question really should be 'when is he?' We built a time machine, he and I did. And as there's no sign of a corpse I'm guessing that it worked! It worked! Do you realise what this means?" Thomas was jubilant, forgetting the situation for a moment.

You shrug. You personally suspect that it means that they won't be selling anything other than one-way tickets but you say nothing.

"Ha! He might have survived! You can't know for certain!"

You sigh. You've had to recover your clients from some very strange places in the past, but never a different time. There has to be a way to solve this one.

Cellar (Manchester)

This is a dark and dank cellar underneath a house in Manchester. The tough, red brick did a good job of containing the blast from the exploded time machine. The remains of said time machine sit in the centre of the cellar, nothing more than a twisted pile of metal and wires. In one corner of the room is a stairwell, in the other a workbench and varied selection of tools and objects that look suspiciously mechanical.

Exits: Up

You can see Ernest Busset's shoe.

Horse waits here, looking quite majestic. Thomas Brewer stands here, looking around the cellar thoughtfully.
action: You examine the shoe
response: A single brown shoe. It's seen better days. Namely days when it hasn't been at the heart of a large explosion.
action: You take it
response: [take Ernest Busset's shoe]
You pick up Ernest Busset's shoe.
action: You ask Thomas about the time machine
response: "It worked," Thomas smiles, manically "It really worked! Just like he said it would! We will be famous...when he gets back that is. When I've rebuilt the machine..." He looks worried, as if trying to figure out if this task is beyond him.
action: You examine the tools
response: You've never been one for DIY (other than in the scythe department) so you don't have a clue what most of the tools here are even called, let alone what they do. The only things you have any confidence about are a large roll of masking tape and a small magnet. You decide that the magnet might come in useful and slip it into your robe. As you'll still exist when this building has rotted to ruins, all things - in a metaphorical way - belong to you. At least that's what you tell yourself whenever your rampant kleptomania overtakes you.
action: You take the tape
response: Normally you would, but you decide that stealing a magnet is bad enough. You leave the masking tape where it is. If you ever need it then you know where to find it.
action: Go upwards
response: You move up.

Hallway (Manchester)

You've been in some impressive hallways in your time, but this isn't one of them. It's positively dull, and from someone who has done the same job day after day for millenia that's saying something. It's walls are coated with pink paint, which is in serious need of attention. The flooring is bare wooden boards. There is a telephone table next to the front door, on which is a - shock! - telephone.

Exits: North, South, West and Down
action: You examine the telephone
response: It's a cheap, black plastic telephone with little number buttons that you push.
action: You go to the north
response: You move north.

Bathroom (Manchester)

You have no need of a bathroom so you never feel comfortable about what goes on in one. This means that you never feel comfortable standing in one. The lino under your feet is worn and in need of repair and the tiled walls are covered with mildew and mould. The kindest thing that you could say about the mirror is that it isn't broken, and the sink only has one tap. As for the bath - well, it's a great advert for fitting a shower. And you daren't even look at the toilet...

Exits: South
action: You examine the toilet
response: I said YOU DAREN'T EVEN LOOK AT THE TOILET!
action: You examine the mirror
response: You look into the mirror. In this room, even your reflection looks dirty.
action: Go south
response: You move south.

Hallway (Manchester)

You've been in some impressive hallways in your time, but this isn't one of them. It's positively dull, and from someone who has done the same job day after day for millenia that's saying something. It's walls are coated with pink paint, which is in serious need of attention. The flooring is bare wooden boards. There is a telephone table next to the front door, on which is a - shock! - telephone.

Exits: North, South, West and Down
action: Go south
response: You move south.

Living Room (Manchester)

The living room is as grotty as the rest of the house. The wallpaper and carpets are clearly refugees from the era when flares were fashionable the first time round. The floor is covered in scientific papers and engineering sketches. Two sleeping bags lie, rolled out, in the far corner of the room. A window, with one pane boarded up, gazes out onto a Manchester high street. This is the kind of living room where you could imagine someone sitting and saying "You call this living?".

Exits: North
action: You look at the papers
response: You don't see anything that will help you.

You shuffle through the pages. Some of the papers and drawings make perfect sense to you (such as the angry red bill from the telephone company  threatening to cut off service, or the sketched picture of a man with an arrow through his head) but most of them are gibberish. There are equations and diagrams that you can't even begin to understand. It takes you a few minutes but you eventually sort some of the more important looking ones to one side. They form a small pile of paperwork that seem to detail some of the most significant facts concerning time travel. You include with them several detailed drawings of the machine that Ernest and Thomas built. Having done this you file your collection of paperwork into one of the pockets in your robe. This stuff might help you get your scythe on Ernest's soul.
action: You examine the sleeping bags
response: Sleeping bags that belonged, you guess, to Thomas and Ernest. They don't look like they've been slept in much. They've obviously made a lot of sacrifices in trying to build the machine. You shake your head, wondering if this passion for knowledge was worth it.
action: Go north
response: You move north.

Hallway (Manchester)

You've been in some impressive hallways in your time, but this isn't one of them. It's positively dull, and from someone who has done the same job day after day for millenia that's saying something. It's walls are coated with pink paint, which is in serious need of attention. The flooring is bare wooden boards. There is a telephone table next to the front door, on which is a - shock! - telephone.

Exits: North, South, West and Down
action: Go west
response: You move west.

Kitchen (Manchester)

It's a filthy kitchen, and vastly underequipped for it's purpose.
Your kitchen might be nothing special but at least you keep it clean, and you don't even prepare food in it. The people who use this kitchen are playing the odds. The worksurfaces are covered with dirt and bits of food. There are three rusty old garden chairs against one wall, a cooker and a cupboard against another.

Exits: East
action: You open the cupboard
response: You open the cupboard. Inside is a tin of beans, some rice and a packet of After Eight mints. A varied diet, it seems.
action: You take the mints
response: Compared to the other items in the cupboard, the still-sealed packet of After Eights is a luxury item. You would feel bad about taking them.
action: You take the beans
response: A tin of economy beans. As tempting as it is, you resist the lure of the tin.
action: Go east
response: You move east.

Hallway (Manchester)

You've been in some impressive hallways in your time, but this isn't one of them. It's positively dull, and from someone who has done the same job day after day for millenia that's saying something. It's walls are coated with pink paint, which is in serious need of attention. The flooring is bare wooden boards. There is a telephone table next to the front door, on which is a - shock! - telephone.

Exits: North, South, West and Down
action: Go downward
response: You move down.

Cellar (Manchester)

This is a dark and dank cellar underneath a house in Manchester. The tough, red brick did a good job of containing the blast from the exploded time machine. The remains of said time machine sit in the centre of the cellar, nothing more than a twisted pile of metal and wires. In one corner of the room is a stairwell, in the other a workbench and varied selection of tools and objects that look suspiciously mechanical.

Exits: Up

Horse waits here, looking quite majestic. Thomas Brewer stands here, looking around the cellar thoughtfully.
action: You give the papers to Thomas
response: Give what?
action: Inventory
response: You are carrying the Golden Hourglass, The Grim Reaper's Scythe, The List, the dry cleaning ticket, Ernest Busset's shoe, a small magnet and the time machine plans.
action: You ask Thomas about the time machine
response: "It worked," Thomas smiles, manically "It really worked! Just like he said it would! We will be famous...when he gets back that is. When I've rebuilt the machine..." He looks worried, as if trying to figure out if this task is beyond him.
action: You ask Thomas about Ernest
response: "He's my mentor and friend." Thomas shrugs, "We've done something amazing here. I can't believe he's dead. I won't believe it."
action: You say nevada to Horse
response: You climb on to Horse's back. He/She climbs into the air and you travel, at an incredible speed, to your destination.

Storage Cupboard (Area 51, Nevada)

You are crammed, almost bent double, into a small storage cupboard. With your prefect night vision you can make out several shelves, crammed full of pots and bottles of various fluids. There seems to be a definite cleaning theme to this cupboard. Your foot clatters againt more tins and boxes. Horse shuffles and kicks you in the knee. You think you might have found a new frontrunner in the "Most Uncomfortable I Have Ever Been" stakes.

Exits: East

You can see a shovel blade.

Horse waits here, looking quite majestic.

Private Kline yawned. Guard duty was so unbelievably boring. He knew that he wouldn't have normally pulled this duty for six days in a row but recent events with the General's daughter had resulted in this sorry state of affairs. He didn't regret a thing, but...this was really boring. Nothing ever happened. He was guarding a single door in the most heavily protected military faculty in the United States.

He moved his rifle to the other shoulder and shrugged. Maybe he should play The Game again. His time on guard duty had been spent developing the rules to The Game. It helped pass the time. The Game involved him seeing how many times he could spin his rifle above his head in a minute. It couldn't be any old spin, however, as the rules made quite clear. The gun had to be held a certain distance above his head, at a certain angle. The spin had to be at a certain velocity. It was pretty complicated, which probably explained why - after five days - his personal best was only two. The rules were being reviewed yet again. Maybe version 1.6 of The Game would see some major changes. He didn't want a repeat of version 1.3, where he was very lucky not to have shot himself in the face.

CRASH!

Private Kline stopped in mid-thought. What was that?

CRUNCH!

It sounded like it was coming from the storage cupboard just down the corridor.

"I jutht trod in paint or thomething!" a muffled (but raised) voice sounded. It was definitely coming from the storage cupboard. "Honethtly! You could land anywhere in the whole building and you chooth to land in a cupboard! Thtupid animal!"

"Who's in there!" shouted Kline, his rifle raised. The door opened and out stepped an incredibly tall and gaunt figure...

..You turn and see the young soldier with his gun raised.

"Excuth me, but thouldn't you be pointing the other end at me?" you offer, helpfully. You have no need to be afraid of firearms.

Private Kline hurridly turns his rifle the right way round and looks at you, almost apologetically.

"Identify yourself!" he barks.

"Me? I'm the Grim Reaper," you explain, checking The List, "And you wouldn't happen to be Thplong5b would you?"

"Huh? What?" Private Kline tried to compose himself. He'd wanted some excitement, but this was a lot more confusing than he'd thought it would be.

"No. I gueth not. You don't look like a Thplong5b. I think I need to go through that door behind you." you look up from The List, certain that your Client is in the room that this soldier is guarding.

"The door behind me?" Kline's resolve hardens, "No. No I think not. I've got one job in this place - guard this door. I don't care who you are. You are not getting through."

You sigh, but then look into Kline's face and realise that you've never come across a man with such single-minded determination before. Neither have you ever met someone with such total confidence that whatever he happens to face he can solve it with his gun. Your own conviction wavers. Most people, when faced with the Grim Reaper, simply give up. This is new territory for you.

As a creature formed and given shape by belief you begin to wonder if Kline's faith in his gun is so great that it might actually cause you a problem were you to try and force your way past him. You're not certain, but neither are you prepared to take the risk. You didn't get this far by taking risks. This really is very annoying, but you're going to have to find a way past Private Kline.

Corridor (Area 51, Nevada)

A very plain military corridor, lacking any redeeming features. It seems that after having spent the budget on laser guns and mind control devices there's only enough money left for "Hospital White" paint. There is a door to the west labelled Storage, and the corridor continues to the north. At the south end is a set of unmarked double doors.

Exits: North, South and West

Private Kline stands in front of the double doors, blocking your way. He looks determined to keep you out.
action: You go west
response: You move west.

Storage Cupboard (Area 51, Nevada)

You are crammed, almost bent double, into a small storage cupboard. With your prefect night vision you can make out several shelves, crammed full of pots and bottles of various fluids. There seems to be a definite cleaning theme to this cupboard. Your foot clatters againt more tins and boxes. Horse shuffles and kicks you in the knee. You think you might have found a new frontrunner in the "Most Uncomfortable I Have Ever Been" stakes.

Exits: East

You can see a shovel blade.

Horse waits here, looking quite majestic.
action: You take the blade
response: You pick up the shovel blade.
action: You examine it
response: [examine a shovel blade]

This is the blade from a shovel. There's a clean break where the handle has been snapped or sawn off, but the blade is dented as though it's seen a fair amount of service. It's unusable in this state.
action: You examine the bottles
response: You read the labels of some of the objects in the cupboard. Cleaning fluids, powders, plastic bags and all kinds of things to make sure that this base is kept very, very clean. It's almost as if the most terrible thing that the US Military could imagine was for the base to be attacked and the invaders to say "Look at this place, will you. It's disgusting!"
action: You go to the east
response: You move east.

Corridor (Area 51, Nevada)

A very plain military corridor, lacking any redeeming features. It seems that after having spent the budget on laser guns and mind control devices there's only enough money left for "Hospital White" paint. There is a door to the west labelled Storage, and the corridor continues to the north. At the south end is a set of unmarked double doors.

Exits: North, South and West

Private Kline stands in front of the double doors, blocking your way. He looks determined to keep you out.
action: Go north
response: You move north.

Corridor (Area 51, Nevada)

Another featureless military corridor. This time you really do see nothing special. The corridor stretches back south, the way that you came from. There are doors in the other walls. The north door has a sign that reads Security, the east door reads Barracks and the west door says Laboratory. Nice of them to label the doors for you.

Exits: North, South, East and West
action: You ask Kline about the doors
response: Use the format "ask [character] about [subject]".
action: Go west
response: You try the door but it refuses to open. It's locked and you can't see a lock or any obvious way of unlocking it.
action: Go east
response: You move east.

Barracks (Area 51, Nevada)

You are in a barracks. The room, despite being a place where people are expected to relax and sleep, is as bleak and clinical as the rest of the compound. At least an effort has been made and one wall is covered with posters. Rows and rows of bunk beds fill the room, a few of which are being used by off-duty and snoozing soliders. They seem to be sleeping very well, despite the beeping noise coming from an air duct in the corner of the room.

Exits: West
action: You look at the duct
response: The air duct is covered by a thick mesh which could be easily removed by the right tool. It would be a tight squeeze but you could fit inside it if you had to. A beeping noise emanates from the duct.
action: You remove the mesh
response: You lack the right tool to open the air duct.
action: You listen
response: There is definitely a beeping coming from the air ducts.
action: You examine the posters
response: There are a variety of posters, only one of which catches your attention (it would be more, but you lack some of the same basic urges as the common military man). It's a large poster of the Golden Gate Bridge, with a comment written beneath it.

Stuck in a rut? Don't know what your next step should be? Simply just bored?

Some things will become a lot clearer...
action: Go west
response: You move west.

Corridor (Area 51, Nevada)

Another featureless military corridor. This time you really do see nothing special. The corridor stretches back south, the way that you came from. There are doors in the other walls. The north door has a sign that reads Security, the east door reads Barracks and the west door says Laboratory. Nice of them to label the doors for you.

Exits: North, South, East and West
action: Go north
response: You move north.

Security Room (Area 51, Nevada)

You are standing in a darkened room with one wall totally given over to monitors, computers and various dials, switches and buttons. This seems to be some kind of surveillance room. There is also a noticeboard on another wall with pieces of paper stuck to it, a variety of obviously important comments circled and underlined in red pen. To the east of the room is a heavy door marked Armory.

Exits: South and East

You can see the cigarette lighter.
action: You examine the noticeboard
response: A very plain and unimpressive noticeboard. Not like the elephant one in your kitchen. That's classy.
action: You take lighter
response: You pick up the cigarette lighter.
action: You take the postcard
response: Take what?
action: You look at the monitors
response: The displays flicker between a selection of images from security cameras set up over the site. Big Brother is watching you indeed.
action: You examine buttons
response: An assortment of things to turn, flick and press. You don't know what any of them do, but they look tempting.
action: You press the button
response: You begin to fiddle with the various controls on the panel. Nothing particularly interesting happens until you press one button and a message flickers on one of the computer screens briefly - LABORATORY DOOR UNLOCKED
action: Go east
response: The door is locked by a keypad, swipe card, fingerprint scanner and deadbolt. You try it anyway. Nope. It's definitely locked. You'll need a special key to get in here.
action: Go south
response: You move south.

Corridor (Area 51, Nevada)

Another featureless military corridor. This time you really do see nothing special. The corridor stretches back south, the way that you came from. There are doors in the other walls. The north door has a sign that reads Security, the east door reads Barracks and the west door says Laboratory. Nice of them to label the doors for you.

Exits: North, South, East and West
action: You go to the west
response: Laboratory (Area 51, Nevada)

You are standing in a large spotless room. The first thing you notice is a huge, strange, complex machine in the middle of the room. You've never seen anything like it before. It's surrounded by a work surface, on which are scattered various papers and notes. One wall is lined with computer terminals. There are also shelves, loaded with bottles and tools and around the room seem to be one or two unfinished experiments.

Exits: East
action: Examine experiments
response: There are a couple of basic looking experiments that, according to the attached notes, seem to be releated to the mechanics of time travel. Further paperwork seems to identify one other experiment that is currently (and thankfully) only at the theoretical stage. It's seems to be about finding out what would happen if you stapled a piece of toast (butter side up) to the back of a cat and then threw it out of a window.
action: You look at machine
response: You look at it. It seems to be all angles and gleaming metal surfaces in the shape of a sphere. It looks like an orange that's been passed through a pencil sharpener. You've never seen anything like it before, but you instinctively recognise it as some kind of machine for travelling through time. You shrug. It doesn't surprise you that an eternal being would recognise that. Some wag has hung a sign over the machine that says Out of Order. There is some kind of entrance in the side. Maybe you could tell more about it from the inside.
action: You examine Hourglass
response: The grains of sand tell you that you have ten hours left to complete your contract.
action: You enter the Time Machine
response: You awkwardly clamber inside the time machine.

Inside Time Machine (Area 51, Nevada)

The time machine is clearly meant for someone a lot shorter than you. You feel like a pen in a matchbox. From the outside the machine looked complicated, but from the inside the task of understanding what's going on is positively herculean. You can see a large number of lights and dials, none of which you can understand. It doesn't help that any instructions written in the machine are in some kind of alien dialect. The things that you think might be significant are a digital readout which says '2007', the buttons next to this readout, an open panel revealing a mix of wires and a pile of paper which is chained to the inside of the machine, clearly to avoid theft.

Exits: Exit
action: You examine paper
response: There are two sets of documents here. The first is entirely in an alien language and you cannot read it, but it appears to be some kind of set of instruction manual for using the time machine. You can guess at this because the second set of papers appears to be an unfinished English translation of the alien manual. They've been chained to the machine to stop people walking off with them.
action: You read paper
response: You begin reading the translation...

CONGRATULATIONS ON PURCHASING THE CHRONOMATIC 3500!

We are confident that you will not regret your purchase. Please take the time to read this instruction manual and familiarise yourself with all of the features offered by this new model of an old favourite.

NEW FEATURES INCLUDE...

- FREE 'and space' upgrade. That's right! Your Chronomatic 3500 is able to move not just through time, but through time AND space!

- Failsafe Homing Feature. Your Chronomatic will automatically return you to your starting destination when you have finished your business in other time zones

- New Leather Interior. Time Travel in comfort!

- 3 Year Warranty.

(Please note - warranty immediately becomes invalid in the following cases.

- If the owner tries to use an expired warranty machine to travel back in time to a year when the warranty is valid.

- If the owner allows this technology to fall into the hands of humanity.)

QUICKSTART:

For those of you who just want to get on with the fun business of time travel you can simply begin your experience with the following simple combination of instructions...

Step 1)  If appropriate select the time era you wish to visit using the RED BUTTON.

Step 2) Simply enter the year that you wish to visit (no need to use any combination of commands such as 'type year' or 'enter year  into machine' - simply type the year that you wish to visit!)

...and that's it! The machine will do the rest!

We hope that you have a GREAT time and many happy years with the Chronomatic 3500. Remember - Have the time of your life!

(and we really mean it about not letting the humans get their hands on this technology. Seriously.)

You also notice that someone has scrawled '5500 AD' at the bottom of the translation. You put the manual down. The original has many, many more pages but clearly the translators haven't got around to working on that yet. Still, it seems that you have enough to actually use the machine - if you can get it working.
action: 5500
response: Nothing happens. The time machine isn't working.
action: You press the red button
response: Nothing happens. The machine is not working properly.
action: You look at the wires
response: You don't have a clue what all the inner workings of the time machine are. The fact that there are at least twelve different colours of wire is enough to make you break out into a cold sweat. Oh, all right, make you think about breaking out into a cold sweat.
action: Inventory
response: You are carrying the Golden Hourglass, The Grim Reaper's Scythe, The List, the dry cleaning ticket, Ernest Busset's shoe, a small magnet, the time machine plans, a shovel blade and the cigarette lighter.
action: You exit the Time Machine
response: You manage, with some difficulty, to extract yourself from the time machine.

Laboratory (Area 51, Nevada)

You are standing in a large spotless room. The first thing you notice is a huge, strange, complex machine in the middle of the room. You've never seen anything like it before. It's surrounded by a work surface, on which are scattered various papers and notes. One wall is lined with computer terminals. There are also shelves, loaded with bottles and tools and around the room seem to be one or two unfinished experiments.

Exits: East
action: You examine the tools
response: A variety of scientific instruments and tools are on the shelves.
Some of them have wires coming out of them and everything. You haven't a clue what purposes they would serve.
action: You look at the bottles
response: Chemical compounds and stuff like that. Your knowledge of science is limited enough for you to lose interest quickly.
action: Go east
response: You move east.

Corridor (Area 51, Nevada)

Another featureless military corridor. This time you really do see nothing special. The corridor stretches back south, the way that you came from. There are doors in the other walls. The north door has a sign that reads Security, the east door reads Barracks and the west door says Laboratory. Nice of them to label the doors for you.

Exits: North, South, East and West
action: You go south
response: You move south.

Corridor (Area 51, Nevada)

A very plain military corridor, lacking any redeeming features. It seems that after having spent the budget on laser guns and mind control devices there's only enough money left for "Hospital White" paint. There is a door to the west labelled Storage, and the corridor continues to the north. At the south end is a set of unmarked double doors.

Exits: North, South and West

Private Kline stands in front of the double doors, blocking your way. He looks determined to keep you out.
action: You examine Kline
response: Private Kline is a young Hispanic man with a crew cut, dressed in uniform and carrying an M-16 assault rifle. He has a look of steely-eyed determination on his face, as though he's willing to give up everything to make up for some past indiscretion. This would be admirable were it not directed against you. That just makes it really annoying.
action: You talk to Kline
response: No-one pays any attention to you.
action: Go south
response: Private Kline blocks your approach.

"I'm sorry but you may not pass."
action: You look at the door
response: Your considerable detective skills suggest to you that things are stored behind this door.
action: You reap Kline
response: No. You only usher the already dead into the next world. You are forbidden to make new Clients. Besides, Kline is only doing his duty and you can understand that.
action: Go west
response: You move west.

Storage Cupboard (Area 51, Nevada)

You are crammed, almost bent double, into a small storage cupboard. With your prefect night vision you can make out several shelves, crammed full of pots and bottles of various fluids. There seems to be a definite cleaning theme to this cupboard. Your foot clatters againt more tins and boxes. Horse shuffles and kicks you in the knee. You think you might have found a new frontrunner in the "Most Uncomfortable I Have Ever Been" stakes.

Exits: East

Horse waits here, looking quite majestic.
action: You say wajir to Horse
response: You climb on to Horse's back. He/She climbs into the air and you travel, at an incredible speed, to your destination.

Village (Near Wajir, Kenya)

You are standing in the middle of a cluster of buildings denoting this to be a settlement of some kind. The ground under your feet is dry and dusty. Children run through the streets, shouting and laughing. Men go about their business. Women stand and gossip, occasionally breaking into laughter. No-one pays you much attention. They're all having too much fun to pay any mind to death at the moment. A path winds east out of the village. You can see Jimiyu's hut to the north, and to the west the open doorway of another hut invites you in.

Exits: North, East and West

Horse waits here, looking quite majestic.

Jimiyu Wangai sat at the table, a thoughtful look on his face. He was dead. He wasn't surprised by this - in fact he'd been fairly certain it was going to happen anytime soon. He enjoyed being proved right. Well, he'd lived a long and full life but had no intention of giving it up quite yet. His youngest granddaughter was getting married in two weeks and he had been looking forward to that for ages. So he'd decided that he wasn't going to go, and had made arrangements accordingly. It had been surprisingly easy to work out. He'd found the answer in a book in a library in Nairobi. He'd spent the past few weeks at this table, waiting. Now he was nearly there. He looked at the entrance to his hut...

...and as if right on cue, you stride in.

"Jimiyu Wangai?" you ask

Jimiyu laughs. "Do you really need to ask? Has anyone ever said, 'No. That's someone else?'"

You nod. "They do. It never workth."

"I suppose not." Jimiyu laughs again. You're torn between two emotions - gratitude that he has yet to point out that you have a lisp, and confusion. Most people aren't really that happy to see you. You sigh. Time to see what he's got up his sleeve.

"Your time ith up, Jimiyu."

"What's the rush? Haven't we time for a quick game first..." Jimiyu's grin is really beginning to get on your nerves. He gestures at the table in front of him. You notice, for the first time, that he is sitting in front of a chess set.

"Oh...bother," you mutter.

It's the rules. If they challenge you, you have to play. If they win then you've got to leave them alone. If you win they have to come quietly. It's the rules. The universe likes rules. The problem is that you're not actually much good at chess. It's never really been a problem before. Most people don't even think of it, let alone being foresighted enough to make sure that they die sitting at a chess set. You possess a little more foresight however, and have a contingency plan. You committed to memory a failsafe way of winning a chess match, an unbeatable strategy, a foolproof way to victory. With just one potential flaw...

"Bagthy being white then," you offer, trying not to sound too nervous.

"Ha! I'm sitting at the white pieces. I'm going first. You can play as the black pieces."

"Oh...bother." you mutter again. Your strategy all hinged on going first. You knew that you should have asked Samuel Reshevsky more questions when you met him.

"Come on. I haven't got all day...oh wait. I have." Jimiyu laughs again "I have two weeks actually! My granddaughter is due to get married and I'm not missing it for anything - not even death."

You don't have two weeks. You have until the end of the day. If you lose, or if you don't play then it's all over. You'll have failed. And you can't have that.

Hut (Near Wajir, Kenya)

It's a fairly bare hut, lived in by someone who has learnt the hard lesson that true happiness is not found in possessions. The bare, dusty floor is going to leave its mark under your toenails for days. Jimiyu Wangai sits on a rickety wicker chair, facing a squat, uncomfortable-looking stool. Between the two seats is a frail table, on which sits a chess board.

Exits: South

Jimiyu Wangai is grinning at you from his chair.
action: You look at Jimiyu
response: Jimiyu is an elderly, white-haired Kenyan man whose weather-beaten face tells a story. Probably one about how some young fellow gets tricked out of everything he owns by a wise, elderly man. The teeth that aren't missing are crooked and yellow. You can tell this because he's grinning at you.
action: You examine stool
response: You look suspiciously at the uneven, wooden stool that Jiniyu intends you to sit on. It looks like a sure way to get cramp in your back muscles.
action: Go south
response: You move south.

Village (Near Wajir, Kenya)

You are standing in the middle of a cluster of buildings denoting this to be a settlement of some kind. The ground under your feet is dry and dusty. Children run through the streets, shouting and laughing. Men go about their business. Women stand and gossip, occasionally breaking into laughter. No-one pays you much attention. They're all having too much fun to pay any mind to death at the moment. A path winds east out of the village. You can see Jimiyu's hut to the north, and to the west the open doorway of another hut invites you in.

Exits: North, East and West

Horse waits here, looking quite majestic.
action: Go west
response: You move west.

Large Hut (Near Wajir, Kenya)

You are standing in a large hut which seems to double as a place of worship. There are mats on the floor, presumably for sitting on and at the end of the hut is a lectern. A wooden cross is attached to one of the walls.

Exits: East

Abuya Wangai is standing here, looking thoughtful.
action: You examine Abuya
response: Abuya is a young women in, you would guess, her late teens or young twenties. She wouldn't catch your attention if it weren't for the sparkling eyes and cheeky grin that identifies her as Jimiyu's granddaughter.
action: You ask Abuya about the wedding
response: Abuya looks at you, perhaps wondering why such a strange-looking man would show an interest in her wedding.

"I would marry this very hour if only I could arrange two things. I would want a beautiful wedding dress like the ones that I have seen in the magazines. And I would want a gift for my future husband. He doesn't like my cooking so perhaps I could give him something so that he wouldn't have to eat it..."

She has a twinkle in her eye, suggesting that perhaps she knows that you have a vested interest in this wedding...
action: You look at the lectern
response: It's a fragile wooden stand for the preacher to put his sermon notes on. You wobble it back and forth, wondering if even the extra weight of paper would be enough to topple it over.
action: You look at the cross
response: A large, lovingly crafted wooden cross. It's nailed to the wall opposite the doorway. It's been designed and placed to draw your attention as soon as you enter the building.
action: Go east
response: You move east.

Village (Near Wajir, Kenya)

You are standing in the middle of a cluster of buildings denoting this to be a settlement of some kind. The ground under your feet is dry and dusty. Children run through the streets, shouting and laughing. Men go about their business. Women stand and gossip, occasionally breaking into laughter. No-one pays you much attention. They're all having too much fun to pay any mind to death at the moment. A path winds east out of the village. You can see Jimiyu's hut to the north, and to the west the open doorway of another hut invites you in.

Exits: North, East and West

Horse waits here, looking quite majestic.
action: You go to the east
response: You move east.

By a Lake (Near Wajir, Kenya)

You are standing in a grassy clearing at the end of a winding path that has climbed slowly out of the village. Right in front of you is a large lake of dirty water.

Exits: West

You can see a sturdy branch.
action: You examine the branch
response: The branch has clearly been snapped from a tree. It's a good branch, long and sturdy. A prince amongst tree flotsam.
action: You get the branch
response: You pick up the sturdy branch.
action: You look at Lake
response: It's water. You've seen plenty of it before. Usually when you meet someone who really shouldn't have answered "Yes" to the question "Fancy a swim?" This is not the cleanest water that you've seen but it's far from the dirtiest either.
action: Swim
response: The Grim Reaper? Go swimming? That's a good one!
action: You look in Lake
response: It's water. You've seen plenty of it before. Usually when you meet someone who really shouldn't have answered "Yes" to the question "Fancy a swim?" This is not the cleanest water that you've seen but it's far from the dirtiest either.
action: Go west
response: You move west.

Village (Near Wajir, Kenya)

You are standing in the middle of a cluster of buildings denoting this to be a settlement of some kind. The ground under your feet is dry and dusty. Children run through the streets, shouting and laughing. Men go about their business. Women stand and gossip, occasionally breaking into laughter. No-one pays you much attention. They're all having too much fun to pay any mind to death at the moment. A path winds east out of the village. You can see Jimiyu's hut to the north, and to the west the open doorway of another hut invites you in.

Exits: North, East and West

Horse waits here, looking quite majestic.
action: You sit
response: You're not going to sit on the ground. It's hard enough keeping these robes clean as it is.
action: Go east
response: (Standing up first)
You move east.

Village (Near Wajir, Kenya)

You are standing in the middle of a cluster of buildings denoting this to be a settlement of some kind. The ground under your feet is dry and dusty. Children run through the streets, shouting and laughing. Men go about their business. Women stand and gossip, occasionally breaking into laughter. No-one pays you much attention. They're all having too much fun to pay any mind to death at the moment. A path winds east out of the village. You can see Jimiyu's hut to the north, and to the west the open doorway of another hut invites you in.

Exits: North, East and West

Horse waits here, looking quite majestic.
action: Go north
response: You move north.

Hut (Near Wajir, Kenya)

It's a fairly bare hut, lived in by someone who has learnt the hard lesson that true happiness is not found in possessions. The bare, dusty floor is going to leave its mark under your toenails for days. Jimiyu Wangai sits on a rickety wicker chair, facing a squat, uncomfortable-looking stool. Between the two seats is a frail table, on which sits a chess board.

Exits: South

Jimiyu Wangai is grinning at you from his chair.
action: You ask Jimiyu about the chess
response: "Do you want me to tell you the rules?" laughs Jimiyu.
action: You go south
response: (Standing up first)
You move south.

Village (Near Wajir, Kenya)

You are standing in the middle of a cluster of buildings denoting this to be a settlement of some kind. The ground under your feet is dry and dusty. Children run through the streets, shouting and laughing. Men go about their business. Women stand and gossip, occasionally breaking into laughter. No-one pays you much attention. They're all having too much fun to pay any mind to death at the moment. A path winds east out of the village. You can see Jimiyu's hut to the north, and to the west the open doorway of another hut invites you in.

Exits: North, East and West

Horse waits here, looking quite majestic.
action: You say the Manchester to Horse
response: You climb on to Horse's back. He/She climbs into the air and you travel, at an incredible speed, to your destination.

Cellar (Manchester)

This is a dark and dank cellar underneath a house in Manchester. The tough, red brick did a good job of containing the blast from the exploded time machine. The remains of said time machine sit in the centre of the cellar, nothing more than a twisted pile of metal and wires. In one corner of the room is a stairwell, in the other a workbench and varied selection of tools and objects that look suspiciously mechanical.

Exits: Up

Horse waits here, looking quite majestic. Thomas Brewer stands here, looking around the cellar thoughtfully.
action: You fix the shovel
response: You have a crazy idea. They're often the best kind. Reaching into your robe you pull out the shovel blade and the sturdy branch.
Placing the items on the workbench you grab the masking tape and begin work.

In a few minutes you have firmly attached the shovel blade to the branch with masking tape. You examine your work and grunt in approval. Not a bad job if you do say so yourself. Of course, it looks like an ancient torture device but at least it should work.
action: You say himalayas to Horse
response: You climb on to Horse's back. He/She climbs into the air and you travel, at an incredible speed, to your destination.

Mountain Pass (Himilayas)

You are standing on a thin path that is winding through the snowy, Himilayan mountain range. The view is lovely, but it isn't half chilly here. Your feet are getting cold and the wind is whipping right up your robe. Right in front of you is a huge snowdrift, under which is buried the body of one of your clients - Lord Nigel McWorthington.

Exits: No Exits

Horse waits here, looking quite majestic.
action: You check your inventory
response: You are carrying the Golden Hourglass, The Grim Reaper's Scythe, The List, the dry cleaning ticket, Ernest Busset's shoe, a small magnet, the time machine plans, the shovel and the cigarette lighter.
action: Dig
response: You roll up your sleeves and grab your shovel.

"Don't thay anything," you speak sternly to Horse, who you suspect is laughing at you.

After half an hour of hard work you've managed to pile away most of the snow and revealed the body of Lord Nigel McWorthington. As an administration error, Nigel is dead but needs to be reaped to ensure that the passage of his soul continues.

Mountain Pass (Himilayas)

You are standing on a thin path that is winding through the snowy, Himilayan mountain range. The view is lovely, but it isn't half chilly here. Your feet are getting cold and the wind is whipping right up your robe. In front of you is a snowdrift, most of which has been dug away to reveal a body.

Exits: No Exits

Horse waits here, looking quite majestic. Lord Nigel McWorthington is here, lying on the rocky ground.
action: Reap soul
response: You swing your scythe in a downward arc, slicing through Lord Nigel McWorthington. There is a tinkling noise in the background and the departed soul of Lord McWorthington rises from his body. He stands and looks down at his feet.

"Oh. So you killed me then?" he asks.

"Actually, the thnow killed you," you object, but the shade of Nigel vanishes. It really annoys you when people blame you for their death. Maybe in this case Lord McWorthington had a point, but still. You're just doing your job. And now you're one soul closer to finishing for the day.
action: You read List
response: Lord Nigel McWorthington - Himilayas, Nepal

Ernest Busset - Manchester, England

Jimiyu Wangai - Wajir, Kenya

Agathe Laurent - Paris, France

Splong5b - Nevada, USA
action: You say the san francisco to Horse
response: You climb on to Horse's back. He/She climbs into the air and you travel, at an incredible speed, to your destination.

High Street (San Francisco)

In front of you is a busy high street, swarming with citizens on a shopping spree. Shops line the street on both sides, and were you much of a consumer then you would be in paradise. You are, however, not much of a consumer, so the only shop that really attracts your attention is on the south side of the street and named Drop and Give Me Fifty Dress Ups. Perhaps it's the Grim Reaper costume in the window.

Exits: East and South

Horse waits here, looking quite majestic.

Horse touches down on a grubby San Francisco sidewalk, crowded with people. That would be the sort of thing that usually draws attention to itself but seeing as no-one particularly wants to be the first person to say "Did you just see a flying horse?" it seems to pass by unnoticed.

As you clamber down from Horse you look from side to side, wary of all the people milling about. No-one seems to be paying any attention to you and once again you wonder how it's possible for humanity to be so blatant about ignoring the issues of cosmic significance right on their doorstep. Still, this is a commercial centre and that tends to have a lot to do with it.

You look at the various shops around you. There must be some here that can help you with your task...

High Street (San Francisco)

In front of you is a busy high street, swarming with citizens on a shopping spree. Shops line the street on both sides, and were you much of a consumer then you would be in paradise. You are, however, not much of a consumer, so the only shop that really attracts your attention is on the south side of the street and named Drop and Give Me Fifty Dress Ups. Perhaps it's the Grim Reaper costume in the window.

Exits: East and South

Horse waits here, looking quite majestic.
action: Go south
response: You move south.

Costume Shop (San Francisco)

You are standing in a costume shop, knee deep in discarded masks, costumes and various disguise related items. The walls are mostly bare, except for a few items still hanging up on hooks and racks that scatter the store. This shop is clearly undergoing some kind of stock take, either that or the owner has strangely decided that the floor is the best place to showcase his wares.

Exits: North

The owner of the shop is here, rummaging through various piles of clothing and checking them against a list.
action: You examine the costumes
response: There are only a few scattered costumes hanging from the walls and in the shop window. Other than the Grim Reaper costume the only one that catches your attention appears to be a simple brown courdroy suit combination.
action: You look at suit
response: A plaque by the suit informs you that it's a genuine "Mad Professor Outfit". You notice that one of the shoes is missing.
action: You ask the owner about the suit
response: The man looks up from his stock taking and glances at a brown suit in the wall. A look of annoyance crosses his face.

"The last person to borrow that costume returned it with one shoe missing! Can you believe the nerve of some people."

You empathise with his anger. You often feel like your whole life is spent chasing up shoes that someone else has lost.

"I can't rent out the costume like that," the man continues "It was highly popular as well. If only I could find a shoe that matched the feel of the costume."

He sighs and returns to his list.
action: You give the shoe
response: Without saying a word you pull out the shoe that you found in Manchester and offer it to the shop owner. He looks up from his list and pauses. Slowly he reaches out and takes the shoe from you.

"Why," he peers at the shoe over the top of his glasses "this shoe is remarkable! "

You smile and nod. Your smile freezes awkwardly as you watch the owner smell the shoe.

"This is incredible," a huge grin bursts on to his features "this even smells like I'd expect a mad professor's shoe to smell! How did you do it?"

Before you can answer (which is good because you weren't sure how to answer anyway) the shop owner wades through piles of costume items and places the shoe very carefully by the brown suit hanging on the wall.

"Yes, yes. This completes the costume once again!" he exclaims, happily, "How can I repay you? I have a couple of surplus items that I would be very happy to give you in exchange for the shoe."

"Itemth?" you ask, interested despite yourself.

"Why yes. I could let you have either...hmmm...here, this alien mask or...or...aha...here we are. Yes, this lovely white wedding gown. Would you like the mask or the gown?" the man asks.
action: You say the gown
response: The costume shop owner smiles and hands you a neatly folded wedding dress.
action: You examine the dress
response: It's a beautiful white wedding dress. There's lace and velvet and all kinds of things. It seems an unlikely thing to find in a costume shop, but in your experience unlikely things often turn up in the unlikeliest of places.
action: You examine Hourglass
response: The grains of sand tell you that you have eight hours left to complete your contract.
action: Go north
response: You move north.

High Street (San Francisco)

In front of you is a busy high street, swarming with citizens on a shopping spree. Shops line the street on both sides, and were you much of a consumer then you would be in paradise. You are, however, not much of a consumer, so the only shop that really attracts your attention is on the south side of the street and named Drop and Give Me Fifty Dress Ups. Perhaps it's the Grim Reaper costume in the window.

Exits: East and South

Horse waits here, looking quite majestic.
action: You say kenya to Horse
response: You climb on to Horse's back. He/She climbs into the air and you travel, at an incredible speed, to your destination.

Village (Near Wajir, Kenya)

You are standing in the middle of a cluster of buildings denoting this to be a settlement of some kind. The ground under your feet is dry and dusty. Children run through the streets, shouting and laughing. Men go about their business. Women stand and gossip, occasionally breaking into laughter. No-one pays you much attention. They're all having too much fun to pay any mind to death at the moment. A path winds east out of the village. You can see Jimiyu's hut to the north, and to the west the open doorway of another hut invites you in.

Exits: North, East and West

Horse waits here, looking quite majestic.
action: You give the gown to Abuya
response: Abuya's eyes light up as you pass the wedding dress to her.

"This is perfect! Just what I've always wanted! Thank you!"
action: You say the san francisco to Horse
response: You climb on to Horse's back. He/She climbs into the air and you travel, at an incredible speed, to your destination.

High Street (San Francisco)

In front of you is a busy high street, swarming with citizens on a shopping spree. Shops line the street on both sides, and were you much of a consumer then you would be in paradise. You are, however, not much of a consumer, so the only shop that really attracts your attention is on the south side of the street and named Drop and Give Me Fifty Dress Ups. Perhaps it's the Grim Reaper costume in the window.

Exits: East and South

Horse waits here, looking quite majestic.
action: You go east
response: You move east.

High Street (San Francisco)

The street continues along, leading the weak-willed mortals to even more ways to lose their money. Again, there is little here that captures your interest. People swarm around you, the same oblivious looks on their faces. To the north, almost swallowed up between huge department stores, is a tiny hardware store called I Came, I Sawed, I Conquered. The street veers sharply to the east and jutting out onto the pavement is a book shop called Reader's Digestion. You are also well aware of Happy Go Lucky Dry Clean to the south, as you've recently started using their services.

Exits: East, West, South and North
action: You go to the south
response: You move south.

Dry Cleaners (San Francisco)

You are standing in a very dirty looking dry cleaning shop, which is somewhat ironic. The wallpaper is faded and the carpet badly worn. Around the walls are various photos of famous people who have, allegedly, had clothes dry-cleaned here in the past. There is a counter at the wall furthest from the door.

Exits: North

An elderly Chinese lady gives you a toothless grin and nods at you from behind the counter. An attractive woman is reclining against the counter, with a bored look in her eyes. She is clearly a customer, waiting for an item.
action: You give the ticket
response: Give the dry cleaning ticket to who?
action: You give the ticket to lady
response: You hand over the dry cleaning ticket without a word. The elderly lady squints at the ticket and shouts into the dark recesses of a back room "Dress for Mr Reaper!"

"It'th not a dreth!" you hiss loudly, conscious of the other customer's amused glance in your direction, "It'th a robe!"

The elderly lady looks at you, nods and grins, as though you had just paid her a compliment. This is usually how this particular exchange goes.

After about a minute of awkward waiting a hand appears from the doorway of darkness clutching a large plastic dry cleaning bag. The elderly lady takes the bag, squints at the attached ticket and finally passes the bag over the to the female customer. She takes the dry cleaning, turns on her heels and marches out of the shop into the crowd.

A further minute passes before the hand appears again, this time clutching a smaller dry cleaning bag, which the lady takes and offers to you. It's with grim inevitability that you receive the bag. You know how this goes. The universe is once again having a laugh with you, it's own personal whipping boy. You sigh as, sure enough, you look at the attached ticket and see that you have the dry cleaning that belongs to a Ms. Victoria Salmon - probably the customer who had just left.

"You've given me the wrong item," you thunder at the lady behind the counter. She grins and nods.

"That lady hath my black robe. Thith ith herth!" You wave the plastic bag in anger. The lady grins and nods.

"I...I...I thall thmite you! Thmite you mightily!" you holler in frustration. Grins and nods.

This is going nowhere. With another sigh you open the bag to see what items Victoria Salmon had been expecting to pick up. To your surprise there is a full U.S. military uniform in the bag. You remove it from the dry cleaning sack and give it the once over. It looks very clean. Boy, is Ms. Salmon going to be angry when she opens her bag and finds your black robe instead of her uniform. You look meaningfully at the elderly lady behind the counter who surely now must see the mix up. She just grins. And nods.
action: You examine the uniform
response: The uniform belonging to a female Captain in the United States Armed Forces. A feeling of dread descends over you as you realise that, at some point today, you're probably going to have to wear it.
action: Go north
response: You move north.

High Street (San Francisco)

The street continues along, leading the weak-willed mortals to even more ways to lose their money. Again, there is little here that captures your interest. People swarm around you, the same oblivious looks on their faces. To the north, almost swallowed up between huge department stores, is a tiny hardware store called I Came, I Sawed, I Conquered. The street veers sharply to the east and jutting out onto the pavement is a book shop called Reader's Digestion. You are also well aware of Happy Go Lucky Dry Clean to the south, as you've recently started using their services.

Exits: East, West, South and North
action: You go to the east
response: You move east.

Book Shop (San Francisco)

You can tell from the books gathered around you that the book shop obviously specialises in second-hand goods. It follows the basic laws of second-hand bookshops in that shelves and shelves of books tower over you, hemming you in and creating the impression that you are actually standing at the entrance to a maze. You peer around but see no sign of anything or anyone except dark corners and bookcases. You dare not try and navigate this shop for fear of getting lost forever. You'll have to be content with examining the books that you can see.

Exits: West
action: Examine books
response: You can see countless old books scattered around the shelves. Some of them, by their condition, seem to be just hanging in there as far as this life is concerned. Others are in better condition, but there's certainly nothing that you could class as new - or even nearly new. The books are also dusty, suggesting that no-one has looked at them for a long time, except for two. One is a thick encyclopedia, sitting on one shelf. By the look of it it's been well-thumbed pretty recently. The other book is a thin paperback called The Ombudsman Guide to Chess Mastery (Sponsored by George W. Bush).
action: You look at the encyclopedia
response: You reach out and pull the encylopedia from the shelf. Turning to a random page you read...

In 2004 archaeologists found a strange set of human footprints outside a cave in Follina, northern Italy. The footprints date back about 12,000 years. What makes it strange is that the footprints seemed to belong to a person who was wearing socks and only one shoe! The prints led to a cave, the entrance blocked by a rockfall. The archaeologists have yet to obtain permission to open the cave.
Imagine what you could find in there, eh? In the cave in Follina.

Hmmm. Interesting. You return the book to the shelf. You don't want to take it with you.
action: You look at Guide
response: You pick up the chess guide and flick through the pages. It only takes about five minutes to read the entire pamphlet but after having done so you feel that you've got a much better grasp of the game of chess. You feel confident about your ability to play the game and win, even as black...
action: Go west
response: You move west.

High Street (San Francisco)

The street continues along, leading the weak-willed mortals to even more ways to lose their money. Again, there is little here that captures your interest. People swarm around you, the same oblivious looks on their faces. To the north, almost swallowed up between huge department stores, is a tiny hardware store called I Came, I Sawed, I Conquered. The street veers sharply to the east and jutting out onto the pavement is a book shop called Reader's Digestion. You are also well aware of Happy Go Lucky Dry Clean to the south, as you've recently started using their services.

Exits: East, West, South and North
action: You go north
response: You move north.

Hardware Store (San Francisco)

You enter the hardware shop, your feet thudding against the cold tiled floor. The store is divided into different sections, each section containing a display of appropriate tools. You feel lost. In the middle of the store is a large drum which appears to be full of thousands of the tiny polystyrene chips that breed in appliance boxes. Written on the drum in large red letters is "Lucky Dip. Ask a staff member for details". At the far end of the store is a counter.

Exits: South

Standing behind the counter is a fat bearded man wearing overalls.
action: You ask the Man about the lucky Dip
response: The hardware store owner explains that all customers are allowed one free turn at the lucky dip. He invites you to go ahead and have a go.
action: You look in the drum
response: A large, old oil drum that has been roped into service as a makeshift lucky dip. It seems to be a bit rusty and might contain the odd sharp edge inside. It certainly seems like a proper lucky dip, as in "You put your hand in that? My goodness, you were lucky not to get tetanus!".
action: You take from the drum
response: Take what?
action: You use the drum
response: You wander over to the drum and roll-up your sleeve, trying not to look too excited about the prospect. After a second composing yourself you reach into the drum and begin feeling around.

"Hmmmmm," you mutter. It's at times like this that your unusually long arms come into their own. After all, everyone knows the universal law of the lucky dip. The best prizes are at the bottom.

After about thirty seconds of scraping around your fingertips reach the bottom of the drum and you begin sweeping left and right. You glance over at the counter to see the store owner looking at you as though you were some kind of lunatic. Ignoring him you turn your attention back to the task at hand, and are rewarded by coming across a reasonably sized wrapped parcel. After a second's reflection on whether or not to continue searching you decide to take what you've found and you haul the package out of the drum, sending polystyrene chips all over the floor. The store owner tuts loudly.

"Thory," you apologise before examining your prize. With a thrill of anticipation you tear the paper off the parcel to reveal...a blunt saw.

"Ith thith it?" you turn to the man behind the counter. "Thith thaw ith blunt," you exclaim, wondering if there was a way of making that statement without using so many 's'es.

"That's why it's called a lucky dip, sir," the man shrugs. "Luck as in 'bad'."

Yes. Of course. For you there is no other type of luck. You sigh as you put the blunt saw away in your robe. Maybe it will come in use somewhere down the line.
action: Go south
response: You move south.

High Street (San Francisco)

The street continues along, leading the weak-willed mortals to even more ways to lose their money. Again, there is little here that captures your interest. People swarm around you, the same oblivious looks on their faces. To the north, almost swallowed up between huge department stores, is a tiny hardware store called I Came, I Sawed, I Conquered. The street veers sharply to the east and jutting out onto the pavement is a book shop called Reader's Digestion. You are also well aware of Happy Go Lucky Dry Clean to the south, as you've recently started using their services.

Exits: East, West, South and North
action: Go west
response: You move west.

High Street (San Francisco)

In front of you is a busy high street, swarming with citizens on a shopping spree. Shops line the street on both sides, and were you much of a consumer then you would be in paradise. You are, however, not much of a consumer, so the only shop that really attracts your attention is on the south side of the street and named Drop and Give Me Fifty Dress Ups. Perhaps it's the Grim Reaper costume in the window.

Exits: East and South

Horse waits here, looking quite majestic.
action: You say nevada to Horse
response: You climb on to Horse's back. He/She climbs into the air and you travel, at an incredible speed, to your destination.

Storage Cupboard (Area 51, Nevada)

You are crammed, almost bent double, into a small storage cupboard. With your prefect night vision you can make out several shelves, crammed full of pots and bottles of various fluids. There seems to be a definite cleaning theme to this cupboard. Your foot clatters againt more tins and boxes. Horse shuffles and kicks you in the knee. You think you might have found a new frontrunner in the "Most Uncomfortable I Have Ever Been" stakes.

Exits: East

Horse waits here, looking quite majestic.
action: You wear the uniform
response: You take a look at the uniform. You come to the conclusion that it's just not enough by itself. If you want to use it as a disguise you'll need something form of identification to go with it.
action: You go to the east
response: You move east.

Corridor (Area 51, Nevada)

A very plain military corridor, lacking any redeeming features. It seems that after having spent the budget on laser guns and mind control devices there's only enough money left for "Hospital White" paint. There is a door to the west labelled Storage, and the corridor continues to the north. At the south end is a set of unmarked double doors.

Exits: North, South and West

Private Kline stands in front of the double doors, blocking your way. He looks determined to keep you out.
action: Go north
response: You move north.

Corridor (Area 51, Nevada)

Another featureless military corridor. This time you really do see nothing special. The corridor stretches back south, the way that you came from. There are doors in the other walls. The north door has a sign that reads Security, the east door reads Barracks and the west door says Laboratory. Nice of them to label the doors for you.

Exits: North, South, East and West
action: Go east
response: You move east.

Barracks (Area 51, Nevada)

You are in a barracks. The room, despite being a place where people are expected to relax and sleep, is as bleak and clinical as the rest of the compound. At least an effort has been made and one wall is covered with posters. Rows and rows of bunk beds fill the room, a few of which are being used by off-duty and snoozing soliders. They seem to be sleeping very well, despite the beeping noise coming from an air duct in the corner of the room.

Exits: West
action: You say home to Horse
response: You climb onto Horse's back and mutter the words. Horse stamps his/her foot and then, without a sound, leaps into the air. There is a rush of air, a moment of dizziness and then with a bump Horse lands in the stable. You climb down.

You are in your stable. Despite your best efforts, the small, rough wooden structure seems more homely than your own house. Horse doesn't eat (or go to the toilet) but in accordance with universal laws the floor is covered in hay and the place smells of horse poo. In one corner is a large whetstone. Fixed to the north wall are the brackets where you rest your scythe when you're not using it.

Exits: North

Horse waits here, looking quite majestic.
action: Sharpen saw
response: You try the blunt saw against the whetstone. As you know what you are doing, (and are using the finest whetstone in existence) it only takes about a minute to wear the saw blades to extreme sharpness. Nicely done.
action: You look at the saw
response: The blades on this saw have been sharpened on the whetstone of Death. As a result it's pretty sharp. OK. It's really sharp.
action: You say nevada to Horse
response: You climb on to Horse's back. He/She climbs into the air and you travel, at an incredible speed, to your destination.

Storage Cupboard (Area 51, Nevada)

You are crammed, almost bent double, into a small storage cupboard. With your prefect night vision you can make out several shelves, crammed full of pots and bottles of various fluids. There seems to be a definite cleaning theme to this cupboard. Your foot clatters againt more tins and boxes. Horse shuffles and kicks you in the knee. You think you might have found a new frontrunner in the "Most Uncomfortable I Have Ever Been" stakes.

Exits: East

Horse waits here, looking quite majestic.
action: Go east
response: You move east.

Corridor (Area 51, Nevada)

A very plain military corridor, lacking any redeeming features. It seems that after having spent the budget on laser guns and mind control devices there's only enough money left for "Hospital White" paint. There is a door to the west labelled Storage, and the corridor continues to the north. At the south end is a set of unmarked double doors.

Exits: North, South and West

Private Kline stands in front of the double doors, blocking your way. He looks determined to keep you out.

You move north.

Corridor (Area 51, Nevada)

Another featureless military corridor. This time you really do see nothing special. The corridor stretches back south, the way that you came from. There are doors in the other walls. The north door has a sign that reads Security, the east door reads Barracks and the west door says Laboratory. Nice of them to label the doors for you.

Exits: North, South, East and West

You move east.

Barracks (Area 51, Nevada)

You are in a barracks. The room, despite being a place where people are expected to relax and sleep, is as bleak and clinical as the rest of the compound. At least an effort has been made and one wall is covered with posters. Rows and rows of bunk beds fill the room, a few of which are being used by off-duty and snoozing soliders. They seem to be sleeping very well, despite the beeping noise coming from an air duct in the corner of the room.

Exits: West
action: You open the duct
response: You lack the right tool to open the air duct.
action: Go west
response: You move west.

Corridor (Area 51, Nevada)

Another featureless military corridor. This time you really do see nothing special. The corridor stretches back south, the way that you came from. There are doors in the other walls. The north door has a sign that reads Security, the east door reads Barracks and the west door says Laboratory. Nice of them to label the doors for you.

Exits: North, South, East and West

You move south.

Corridor (Area 51, Nevada)

A very plain military corridor, lacking any redeeming features. It seems that after having spent the budget on laser guns and mind control devices there's only enough money left for "Hospital White" paint. There is a door to the west labelled Storage, and the corridor continues to the north. At the south end is a set of unmarked double doors.

Exits: North, South and West

Private Kline stands in front of the double doors, blocking your way. He looks determined to keep you out.

You move west.

Storage Cupboard (Area 51, Nevada)

You are crammed, almost bent double, into a small storage cupboard. With your prefect night vision you can make out several shelves, crammed full of pots and bottles of various fluids. There seems to be a definite cleaning theme to this cupboard. Your foot clatters againt more tins and boxes. Horse shuffles and kicks you in the knee. You think you might have found a new frontrunner in the "Most Uncomfortable I Have Ever Been" stakes.

Exits: East

Horse waits here, looking quite majestic.
action: You say paris to Horse
response: You climb on to Horse's back. He/She climbs into the air and you travel, at an incredible speed, to your destination.

Second Floor Corridor (Paris)

You are standing outside room 247 in a well-lit corridor on the second floor of a high-class Parisian hotel. Light fittings line the ceiling. Splendid looking doors are scattered along both sides of the wall to the north and to the south. The fluffy beige carpet tickles your feet. There is a button on the east wall, next to which is a opening where the lift arrives. Imposing, closed metallic doors inform you that the lift is at a different floor.

Exits: West

Horse waits here, looking quite majestic.

Agathe Laurent lay on the bed, smiling to herself. Death hadn't been as unpleasant as she'd feared, but she would still rather cling on to life. She knew where she was with life. If there was one thing that Agathe had always been afraid of it was the unknown. Well, perhaps afraid was too strong a word. Agathe was loathe to admit that anything frightened her, but she was sufficiently troubled to be moved to action.

It had cost her a lot to get to this stage, but she thought it would all be worth it if it worked. She'd have done something that - as far as she knew - no-one had ever done before. She'd have cheated death.

Standing in the doorway was an impossibly tall and lanky figure, wreathed in black and as pale as boiled rice.

"Come in," said Agathe...

..you enter the hotel room, bending to get through the door as you go. You give Agathe a nod out of professional courtesy and stride forward towards her. She is still smiling. You wish that people wouldn't do that. It really unnerves you. You are a few feet from the bed when THUD! You stagger back, rubbing your nose.

"Ouch!" you exclaim. That hurt! Gingerly, you reach out and find your hand pressing against some kind of invisible barrier.

"It works! Ha!" Agathe gives a delighted little squeal and claps her hands together. You gaze down to the floor and see, etched on the wooden floor in a circle around the bed, a white chalk line. It seems to mark the location of the transparent wall.

"What the Dickenth ith thith?" you demand, gesturing at the floor.

"Pardon? I'm sorry? What did you say?" Agathe screams, staring at you with wide mouth. You stay silent, your face burning with embarrassment (or at least it would be if your body had the circulation and blood to perform such a function).

"I demand to know what thi...what i...what you have done."

"You have a lisp?" Agathe cackles, "Oh this is just wonderful! It gets better and better! Death has a lisp! The Grim Reaper has a speech impediment! How perfect!"

"I haven't got all day, you know."

"Is that your horse?" Agathe is leaning off the bed, peering through the doorway into the corridor outside, where Horse stands to attention. You stay silent. She'll explain eventually. They always do. When people think they've actually got one over you they can't help but crow about it.

"You've got a proper skeletal horse. That's amazing. A skeletal steed. Can you say that? Skeletal steed. Let me hear you say that." There is a glint in her eye.

This is not going well. In fact, you think that this is one of the the worst things that's ever happened to you, and you've got a long memory.

"Well, I may as well tell you. It took me long enough to find out about it, after all." Agathe shrugs "I've spent most of my time and not inconsiderable fortune trying to find out how to cheat you. I built up a library of old, forgotten and - in at least two cases - forbidden books, pooling the knowledge of the centuries. I pieced together in several tomes the answer. Have you ever met Andre Theras, the man who wrote How to Avoid Death?"

"That joker?" You roll your eyes "Jutht the onth. He got it wrong it seemth." You don't take much pleasure in your work but you'd quite enjoyed that day.

"Well, it turns out that he was partly right. And so was Dr. Ulan Buntil. And so was Madame Elizabeth Fairy. They all had bits and pieces of it right. I put it together and voila! I have created a barrier around myself that you cannot pass! And it works! So you can just sit on your skeletal steed and scram, sir!" Agathe is enjoying herself immensely.

"Are you planning to thi...thpen...wait here on your bed for eternity?"

"I can think of worse places to be." Agathe twinkles, winking at you.

So. What now? You can't reap her soul until you can get past the invisible barrier - or convince her to leave it. This is definitely one of your worst days ever.

Room 247 (Paris)

You are in a hotel room in a luxurious Parisian hotel. The decor is of the usual standard expected by those who have plenty of money but no class. Gold trim and regal, red wallpaper with extravagant, crystal light fittings and a white smoke alarm that looks out of place. The floor is polished oak, or some other kind of luxury wood. There is a four-poster double bed against the far wall, which is circumferenced by a thick, chalk line.

Exits: East

Agathe Laurent lounges on the bed, pouting playfully at you.
action: You examine the alarm
response: A bulky white box that clashes with the room decor. The alarm has a blinking red light which lets you know that it's fully functioning.
action: You check your inventory
response: You are carrying the Golden Hourglass, The Grim Reaper's Scythe, The List, a small magnet, the time machine plans, the military uniform, the shovel, the cigarette lighter and the saw.
action: Light lighter
response: You casually move over to the smoke alarm while Agathe watches you like a hawk.

"What are you doing?" she asks, but you don't answer.

You reach out for a wad of tissues from a desk and then use the lighter to set them on fire. Within seconds smoke is billowing into the alarm, which a few moments later is beeping like R2-D2 trapped in a washing machine spin cycle.

"What? WHAT?" Agathe screams as the sprinkler system in the room kicks into life. Water gushes from the ceiling in thick streams and splatters all over the room - including the chalk circle around the bed.

Agathe realises with horror that her work is being washed away and she screams in frustration as you discard the lighter.

It doesn't take long for the chalk circle to be totally erased, and as the sprinkler suddenly ceases its job Agathe looks terrified. You are grinning.
action: Reap soul
response: You swing your scythe through the screaming Agathe Laurent. Her lifeless body falls back onto the bed and leaves her departed soul standing behind. She looks at you in terror as she vanishes.

Another soul reaped and one step closer to the end of the job.
action: Go east
response: You move east.

Second Floor Corridor (Paris)

You are standing outside room 247 in a well-lit corridor on the second floor of a high-class Parisian hotel. Light fittings line the ceiling. Splendid looking doors are scattered along both sides of the wall to the north and to the south. The fluffy beige carpet tickles your feet. There is a button on the east wall, next to which is a opening where the lift arrives. Imposing, closed metallic doors inform you that the lift is at a different floor.

Exits: West

Horse waits here, looking quite majestic.
action: You press the button
response: Type either 0,1,2 or 3 depending on whether you want to go to the lobby, first or second floor or simply exit the lift at the floor you are already on.
action: 1
response: You press the button to move to the first floor. The lift jolts and moves down.

The lift stops, the doors open and you step out on to the first floor.

First Floor Corridor (Paris)

You are standing outside room 147 in a well-lit corridor on the first floor of a high-class Parisian hotel. Light fittings line the ceiling. Splendid looking doors are scattered along both sides of the wall to the north and to the south. The fluffy beige carpet tickles your feet. There is a button on the east wall, next to which is a opening where the lift arrives. Imposing, closed metallic doors inform you that the lift is at a different floor.

Exits: West
action: You go west
response: You try the handle but the door is locked. You need a keycard to get in. People are so suspicious these days.
action: You examine the receptionist
response: A young man with short black hair, small glasses, a thin moustache and a severe look gazes out over the hotel lobby looking for trouble like an old-time sheriff. His almost-militaristic features are in total contrast to his hideous fluorescent uniform, making him look like the grim veteran from several campaigns of leading a circus clown militia.
action: You examine the plaques
response: The plaques tell you that this hotel has won awards for being generally excellent and has provided a bed for many different famous people and members of various royal families. People all end up the same way to you.
action: You go to the south
response: You move south.

Dining Room (Paris)

An elegant room is spread before you. A large mirror fills one entire wall, creating the impression of a room twice as big as it actually is. Soft, plush scarlet carpet softens the floor, and the high ceiling is painted black with white specks to resemble a night sky. Dining tables laid for use fill the room. A few kitchen staff are milling around, but other than that the room is very quiet compared to the relative busyness of the lobby.

Exits: North
action: You get the cutlery
response: You never cease to be surprised by how many of your Clients, when faced with the news of their own demise, find nothing more pressing than their concern about which relative is going to steal their silverware. Since having heard such vitriol directed at family members you've taken a personal vow never to steal cutlery.
action: Examine menu
response: You risk flicking through the menu (and attached wine list). As the living embodyment of entropy you don't have a need for food, but this menu looks so good that even you feel a little hungry.
action: You sit
response: You're not going to sit on the ground. It's hard enough keeping these robes clean as it is.
action: You order the food
response: I don't understand what you want me to do with the dining tables.

That didn't make any sense to me.
action: You read the menu
response: You risk flicking through the menu (and attached wine list). As the living embodyment of entropy you don't have a need for food, but this menu looks so good that even you feel a little hungry.
action: You get menu
response: You take one of the table menus.
action: Go north
response: (Standing up first)
You move north.

Hotel Lobby (Paris)

You are standing in a busy, very expensive looking hotel lobby. It's a large room, with pillars propping up the high ceiling every few metres. One wall is lined with decorative plaques detailing awards and commendations, and right in the middle of the lobby is a selection of comfy-looking chairs. Everything is made out of marble or some other very shiny rock. In the distance you see large revolving doors leading out onto the streets of Paris and by the doors is a reception desk, manned by a person wearing a garish uniform seemingly pieced together from individual items salvaged from a fight between a cinema usher and an ice cream salesman. A lot of people seem to be milling about aimlessly. There is an archway to the south. The only other way out of here is to press the button that summons the lift.

Exits: South

You can see the hotel receptionist, his hawk-like gaze asserting his authority over everything that he can see.
action: You say the blue sparrow
response: No-one pays any attention to you.
action: You ask the receptionist about Room 147
response: The receptionist looks at you with disgust.

"As much as we'd love to have you as a guest at this hotel, sir, we only have one room available - room 147 - and I am not sure that you have the resources to meet our exclusive prices. In fact...yes...yes, while I have been talking to you the price of one night in room 147 has just tripled. Have a nice day."

The man's gaze moves beyond you to the lobby behind you.
action: You examine the revolving doors
response: You have only ever used revolving doors once before. It had pretty much the same effect as trying to use a whisk on a chopstick. They had to call the fire brigade to get you out. These are certainly very fine revolving doors but you have no intention of using them.
action: You examine the people
response: Young and old, male and female. Much like everywhere that you go, these people seem to be willing to do anything to ignore you. More so than usual, because these people are clearly from the higher echelons of society and have much more to lose.
action: You press the button
response: You press the silver button, which yields gently under your finger.

After a few seconds the doors slide open and you are standing in front of an empty lift. You step inside.

Lift (Paris)

You are standing in a claustrophobic metal box, each and every surface is shining unmarked silver. The doors have shut in front of you and, adjacent to them, is a panel at waist height on which you can see four buttons. Three of the buttons are marked for the second, first and ground floor. The fourth button displays two arrows heading away from each other, suggesting that pressing this might either split the lift in half or open the doors. You'd wager it's the second.

The lift is currently on the ground floor.
action: 2
response: You press the button to move to the second floor. The lift jolts and moves up.

The lift stops, the doors open and you step out on to the second floor.

Second Floor Corridor (Paris)

You are standing outside room 247 in a well-lit corridor on the second floor of a high-class Parisian hotel. Light fittings line the ceiling. Splendid looking doors are scattered along both sides of the wall to the north and to the south. The fluffy beige carpet tickles your feet. There is a button on the east wall, next to which is a opening where the lift arrives. Imposing, closed metallic doors inform you that the lift is at a different floor.

Exits: West

Horse waits here, looking quite majestic.
action: 3
response: You press the button to open to the door and step out in to the lobby.

Hotel Lobby (Paris)

You are standing in a busy, very expensive looking hotel lobby. It's a large room, with pillars propping up the high ceiling every few metres. One wall is lined with decorative plaques detailing awards and commendations, and right in the middle of the lobby is a selection of comfy-looking chairs. Everything is made out of marble or some other very shiny rock. In the distance you see large revolving doors leading out onto the streets of Paris and by the doors is a reception desk, manned by a person wearing a garish uniform seemingly pieced together from individual items salvaged from a fight between a cinema usher and an ice cream salesman. A lot of people seem to be milling about aimlessly. There is an archway to the south. The only other way out of here is to press the button that summons the lift.

Exits: South

You can see the hotel receptionist, his hawk-like gaze asserting his authority over everything that he can see.
action: You say the Follina to Horse
response: You climb on to Horse's back. He/She climbs into the air and you travel, at an incredible speed, to your destination.

Outside a Cave (Follina, Italy)

Around you, in every direction, stretches fields, hills and beautiful countryside. In the distance you can see picturesque red brick walls and a farmhouse. Right beside you, however, is a large pile of rocks rolled up against the side of a hill. It looks like the rocks are blocking the entrance to a cave.

Exits: No Exits

Horse waits here, looking quite majestic.

Horse skids to a halt on a rocky field, his boney hooves churning up small stones and pebbles. One hits you on the side of the head, which makes you curse. Horse neighs in apology or so you guess.

You climb down from Horse and check your surroundings. It doesn't take too long. You're standing in a barren Italian field, the nice view spoilt by the huge pile of rocks right in front of you.

Outside a Cave (Follina, Italy)

Around you, in every direction, stretches fields, hills and beautiful countryside. In the distance you can see picturesque red brick walls and a farmhouse. Right beside you, however, is a large pile of rocks rolled up against the side of a hill. It looks like the rocks are blocking the entrance to a cave.

Exits: No Exits

Horse waits here, looking quite majestic.
action: You examine the rocks
response: Hundreds of mishapen rocks form a pile by the hill. They were clearly formed by some kind of rockfall and it's going to take more than a rock..err...rise to clear them.
action: You move the rocks
response: Maybe, just maybe, if you had an unlimited army of trained monkeys you could clear this cave before the end of the day. But you don't. So there. You'll have to think of something else.
action: You give the menu
response: Give the hotel menu to who?
action: You ask Abuya about the wedding
response: Abuya looks at you, perhaps wondering why such a strange-looking man would show an interest in her wedding.

"I would marry this very hour if only I could arrange two things. I would want a beautiful wedding dress like the ones that I have seen in the magazines. And I would want a gift for my future husband. He doesn't like my cooking so perhaps I could give him something so that he wouldn't have to eat it..."

She has a twinkle in her eye, suggesting that perhaps she knows that you have a vested interest in this wedding...
action: You play the Chess
response: "I'm ready. Let'th play," you take your seat behind the black pieces.

Jimiyu makes his first move. You mentally cycle through the pages of the chess guide in your head and the respond. Jimiyu nods and makes his second move. Once again you recall what you have read and make a move. A frown crosses Jimiyu's face as he makes a third move. You respond appropriately. This is going well...

Half an hour later the game moves to its completion. As Jimiyu knocks his king over he looks up at you. Then in a split second his frown transforms into a huge grin.

"I really thought that would work," he laughs.

"If it'th any contholation, you're the betht opponent that I've ever had," you say graciously, hoping that he doesn't ask you how many opponents you've ever had.

"I've been ready for you for a while," he sighs, "It was just a shame that I couldn't see my granddaughter finally wed."

You nod in sympathy but say nothing. You've never really understood human affection for these rites of passage, but you like to make people feel like you care.

"I'm ready then. Let us do this." Jimiyu smiles again.
action: Examine magnet
response: It's a small metal magnet.

You are carrying the Golden Hourglass, The Grim Reaper's Scythe, The List, a small magnet, the time machine plans, the hotel menu, the military uniform, the shovel and the saw.
action: Go south
response: You move south.

Village (Near Wajir, Kenya)

You are standing in the middle of a cluster of buildings denoting this to be a settlement of some kind. The ground under your feet is dry and dusty. Children run through the streets, shouting and laughing. Men go about their business. Women stand and gossip, occasionally breaking into laughter. No-one pays you much attention. They're all having too much fun to pay any mind to death at the moment. A path winds east out of the village. You can see Jimiyu's hut to the north, and to the west the open doorway of another hut invites you in.

Exits: North, East and West

Horse waits here, looking quite majestic.
action: You say nevada to Horse
response: You climb on to Horse's back. He/She climbs into the air and you travel, at an incredible speed, to your destination.

Storage Cupboard (Area 51, Nevada)

You are crammed, almost bent double, into a small storage cupboard. With your prefect night vision you can make out several shelves, crammed full of pots and bottles of various fluids. There seems to be a definite cleaning theme to this cupboard. Your foot clatters againt more tins and boxes. Horse shuffles and kicks you in the knee. You think you might have found a new frontrunner in the "Most Uncomfortable I Have Ever Been" stakes.

Exits: East

Horse waits here, looking quite majestic.
action: You go to the east
response: You move east.

Corridor (Area 51, Nevada)

A very plain military corridor, lacking any redeeming features. It seems that after having spent the budget on laser guns and mind control devices there's only enough money left for "Hospital White" paint. There is a door to the west labelled Storage, and the corridor continues to the north. At the south end is a set of unmarked double doors.

Exits: North, South and West

Private Kline stands in front of the double doors, blocking your way. He looks determined to keep you out.
action: Go west
response: You move west.

Corridor (Area 51, Nevada)

Another featureless military corridor. This time you really do see nothing special. The corridor stretches back south, the way that you came from. There are doors in the other walls. The north door has a sign that reads Security, the east door reads Barracks and the west door says Laboratory. Nice of them to label the doors for you.

Exits: North, South, East and West
action: You go to the west
response: Laboratory (Area 51, Nevada)

You are standing in a large spotless room. The first thing you notice is a huge, strange, complex machine in the middle of the room. You've never seen anything like it before. It's surrounded by a work surface, on which are scattered various papers and notes. One wall is lined with computer terminals. There are also shelves, loaded with bottles and tools and around the room seem to be one or two unfinished experiments.

Exits: East
action: You examine papers
response: You sift through the various papers. It appears that they all relate to the curious machine in the middle of the room. It seems that it's some kind of time travel device salvaged from alien technology. There are pencil notes in the margins and everything. The hand-writing seems to be that of someone who is intensely frustrated, and you can see why. The notes tell you that no-one can seem to get the machine working.
action: You enter the Machine
response: You awkwardly clamber inside the time machine.

Inside Time Machine (Area 51, Nevada)

The time machine is clearly meant for someone a lot shorter than you. You feel like a pen in a matchbox. From the outside the machine looked complicated, but from the inside the task of understanding what's going on is positively herculean. You can see a large number of lights and dials, none of which you can understand. It doesn't help that any instructions written in the machine are in some kind of alien dialect. The things that you think might be significant are a digital readout which says '2007', the buttons next to this readout, an open panel revealing a mix of wires and a pile of paper which is chained to the inside of the machine, clearly to avoid theft.

Exits: Exit
action: You read the papers
response: You begin reading the translation...

CONGRATULATIONS ON PURCHASING THE CHRONOMATIC 3500!

We are confident that you will not regret your purchase. Please take the time to read this instruction manual and familiarise yourself with all of the features offered by this new model of an old favourite.

NEW FEATURES INCLUDE...

- FREE 'and space' upgrade. That's right! Your Chronomatic 3500 is able to move not just through time, but through time AND space!

- Failsafe Homing Feature. Your Chronomatic will automatically return you to your starting destination when you have finished your business in other time zones

- New Leather Interior. Time Travel in comfort!

- 3 Year Warranty.

(Please note - warranty immediately becomes invalid in the following cases.

- If the owner tries to use an expired warranty machine to travel back in time to a year when the warranty is valid.

- If the owner allows this technology to fall into the hands of humanity.)

QUICKSTART:

For those of you who just want to get on with the fun business of time travel you can simply begin your experience with the following simple combination of instructions...

Step 1)  If appropriate select the time era you wish to visit using the RED BUTTON.

Step 2) Simply enter the year that you wish to visit (no need to use any combination of commands such as 'type year' or 'enter year  into machine' - simply type the year that you wish to visit!)

...and that's it! The machine will do the rest!

We hope that you have a GREAT time and many happy years with the Chronomatic 3500. Remember - Have the time of your life!

(and we really mean it about not letting the humans get their hands on this technology. Seriously.)

You also notice that someone has scrawled '5500 AD' at the bottom of the translation. You put the manual down. The original has many, many more pages but clearly the translators haven't got around to working on that yet. Still, it seems that you have enough to actually use the machine - if you can get it working.
action: You examine the panel
response: You look behind the panel. You then pull out the wad of papers you borrowed from the house in Manchester. A quick comparison between the papers and the workings behind the panel tells you that there's something missing from the time machine - which is probably why it isn't working. You think there's a gap in here where a small coil of wire should be inserted.
action: You examine the readout
response: Either the aliens lack imagination or the local scientists here have rewired this readout to display numeric characters. Either way, you feel confident about guessing that this tells you what year you are in or are planning to visit.
action: You examine the surface
response: It's a plain, metallic surface for carrying out experiments on. Easy to wipe clean. At the moment it's covered in papers, notes and diagrams.
action: You look at the terminals
response: The machines are all switched off, except one  - which seems to be running a game of Adventure.
action: You play Game
response: Oh wouldn't that be very post-modern and ironic. One game at a time please.
action: Go north
response: You move north.

You are standing on a garden path. You don't have a garden so technically it should just be called 'a path'. The path leads through the void of emptiness from your house to the stable where Horse lives.

Exits: North and South
action: You go to the north
response: You move north.

The hallway has thick, plush red carpet which always tickles your toes a little bit. It goes quite well with the black, pannelled walls. At the south end is your imposing front door. There are a series of hooks by the door on which you could hang your coat, if you wore a coat that is. A small bin sits by the door. There is also a full-length mirror on one wall. As you're the last sight some people see, it's quite right that you check that you look presentable.

Exits: East, South and West
action: You get the letter
response: You bend down and scoop the letter from Blackbury Banking Services out of the bin. This might come in useful.
action: Go west
response: You move west.

You are standing in your living room. It's quite small and cosy, with panel flooring and painted walls (black, of course). A bookcase stands against one wall. On another is a shelf, on which rests your CD player and collection of CDs. A comfy, well-worn leather armchair lies right bang in the centre of the room facing the only window. You often like to sit on the chair staring out into the empty, black void of time and space that your home backs on to. It's not a great view, but it's something to look at.

Exits: East
action: You sit in the armchair
response: You sit down on your leather armchair.
action: You look at armchair
response: You've had this for about forty years. It is, without a shadow of a doubt, the comfiest chair that you have ever owned. And you should know. You had to sit on the floor until someone got around to inventing the chair.
action: You examine void
response: You see nothing special. In fact you don't see anything at all.
action: You get the cds
response: If you wanted to listen to music on the go you would have bought yourself an iPod.
action: You examine the bookcase
response: The bookcase is full of diaries. Your diaries. Early on you decided that you would keep a record of your duties. There are hundreds of volumes here.
action: You get the diary
response: You pick up a diary at random and flick to a page.

Materialised at a fancy dress party today. It hardly ever happens but it's really nice when it does. I'd only been there three seconds before someone pushed a drink into my hand and a girl tried to kiss me. It was a shame that I was only there because the host was due to fall out of a window.

You put the book back on the shelf. You can see no need to take any of them with you.
action: You get the diary
response: You pick up a diary at random and flick to a page.

Thursday 18th July 956 (BC)
Horse's birthday. I had two jobs to do. On the way home I accidently dropped my scythe into the sea. Have to get a new one now, which means filling out the relevant forms. I was so annoyed about it that I forgot to wish Horse a happy birthday until the evening, and now I feel really guilty. Will apologise tomorrow.

You put the book back on the shelf. You can see no need to take any of them with you.
action: You examine Hourglass
response: The grains of sand tell you that you have four and a half hours left to complete your contract.
action: You examine the player
response: Your CD player. It's fully working despite not being plugged in. The flashing LED display blinks '----' at you. You've lost the instruction manual and have no idea how to set the time.
action: Play cd
response: You are not in the mood for music right now. You tend to listen to it at the end of the day, when you want to unwind a bit.
action: Go east
response: (Getting off your leather armchair first)
You move east.

The hallway has thick, plush red carpet which always tickles your toes a little bit. It goes quite well with the black, pannelled walls. At the south end is your imposing front door. There are a series of hooks by the door on which you could hang your coat, if you wore a coat that is. A small bin sits by the door. There is also a full-length mirror on one wall. As you're the last sight some people see, it's quite right that you check that you look presentable.

Exits: East, South and West
action: Go south
response: You move south.

You are standing on a garden path. You don't have a garden so technically it should just be called 'a path'. The path leads through the void of emptiness from your house to the stable where Horse lives.

Exits: North and South
action: You go to the south
response: You move south.

You are in your stable. Despite your best efforts, the small, rough wooden structure seems more homely than your own house. Horse doesn't eat (or go to the toilet) but in accordance with universal laws the floor is covered in hay and the place smells of horse poo. In one corner is a large whetstone. Fixed to the north wall are the brackets where you rest your scythe when you're not using it.

Exits: North

Horse waits here, looking quite majestic.
action: You check what you're carrying
response: You are carrying the Golden Hourglass, The Grim Reaper's Scythe, The List, the credit card letter, a small magnet, the time machine plans, the hotel menu, the military uniform, the shovel and the saw.
action: You take the hay
response: No.
action: You read the letter
response: Dear Mr GRaper.
Have we got an offer for you!!?? You, and others in your specially selected postcode region, have been chosen to take part in our amazing, introductory offer! We're offering you a free - that's right FREE - credit card with GBP10,000 limit*! ARE WE CRAZY?? To claim your FREE Credit Card simply turn up at our NEW Swindon branch and present this letter! That's it! That's all you have to do! No strings attached!**

We look forward to meeting you!

Mr. B. Jones (Manager)

* 67.5% APR may apply

** Strings attached
action: You say the Swindon to Horse
response: You climb on to Horse's back. He/She climbs into the air and you travel, at an incredible speed, to your destination.

Outside Blackbury Bank (Swindon)

You are standing in a brand new but mostly empty carpark outside Blackbury Bank (Swindon Branch). Horse has settled in to a carparking space beside a black BMW and a red Mazda. As Horse shifts slightly you can see the word 'MANAGER' written in white paint beneath his/her feet. Over to your left, sitting on a brick wall, you can see two employees who are busy smoking cigarettes and trying to pretend that you are not there. To your north you can see a few steps, which lead right up to and inside Blackbury Bank.

Exits: North

Horse waits here, looking quite majestic.

Horse descends from the clouds and makes a perfect landing in the carpark of the new Blackbury Bank in Swindon, attracting brief attention from two employees who are on a smoking break. The human survival instinct kicks in and they soon turn their focus back to happier things, such as filling their lungs with tar. You clamber down from Horse, accidently kicking the door of a black BMW in the process. It hurts a lot, but if people don't pay much attention to the sight of a skeletal horse descending from the heavens then they're not likely to care at all if they happen to see the Grim Reaper hopping on one foot and cursing like a trooper.

After taking a few deep breaths you compose yourself and turn your attention to the task at hand.

Outside Blackbury Bank (Swindon)

You are standing in a brand new but mostly empty carpark outside Blackbury Bank (Swindon Branch). Horse has settled in to a carparking space beside a black BMW and a red Mazda. As Horse shifts slightly you can see the word 'MANAGER' written in white paint beneath his/her feet. Over to your left, sitting on a brick wall, you can see two employees who are busy smoking cigarettes and trying to pretend that you are not there. To your north you can see a few steps, which lead right up to and inside Blackbury Bank.

Exits: North

Horse waits here, looking quite majestic.
action: Go north
response: You move north.

Inside Blackbury Bank (Swindon)

You are standing inside the brand new Blackbury Bank branch. The plush red carpet tickles your feet and the air conditioning makes you feel cold even under your robe. You don't often get to visit the bank, so there's not much here that interests you.

Exits: South

A female bank clerk stares at you from behind a counter, shielded by protective glass.
action: You give the letter to the clerk
response: The bank clerk's face lights up as she sees the letter. You slide it under the glass and she reads it.

"That's fine, Mr...Raper." she says.

"Reaper." you correct her, "Grim Reaper."

She looks at you for a second and then grabs a pen, with which she makes a note on the letter that you received. She then slides you a form and the pen.

"Please fill this in, Mr. Reaper." she smiles at you.

You stare at the form for a minute. It simply asks you to sign if you are happy with the terms and conditions. The terms and conditions include graphic threats about what Blackbury Bank will do to you if you don't keep up with the card repayments, but seeing as pretty much all of the threats don't affect you (except possibly the one about the branding iron and the glue) you feel no reason to be concerned. You sign the form and slide it back under the glass.

"Thank you Mr..." the bank clerk studies your signature for a second, "Mr. Groper?"

"Reaper!" you state again, more firmly this time

"But you've signed it..." the woman shows you the form through the glass.

"No! That thayth Mr. G. Reaper, not Mr. Groper!"

The bank clerk looks at you as though you're the crazy one and then taps away on her computer for a second. A few minutes later she presents you with a credit card in your name. She passes you the pen and the sign the back of the card, feeling a wave of pride in your new possession and statue as bank customer.

"Thank you." you say, turning to leave.

"Ah, Mr. Reaper?" the bank clerk waves her hand at you, "My pen?"

"Ah, thorry." you respond meekly, returning her pen to her.
action: You examine clerk
response: The young, spectacled woman looks a little nervous. I imagine that you're not the usual type of customer that she deals with.
action: You look at Card
response: The credit card is marked BLACKBURY TITANIUM CUSTOMER CARD. There is a hologram on the bottom which informs you that you have a ten thousand pound credit limit. You have signed the rear of the card with your name.
action: You go south
response: You move south.

Outside Blackbury Bank (Swindon)

You are standing in a brand new but mostly empty carpark outside Blackbury Bank (Swindon Branch). Horse has settled in to a carparking space beside a black BMW and a red Mazda. As Horse shifts slightly you can see the word 'MANAGER' written in white paint beneath his/her feet. Over to your left, sitting on a brick wall, you can see two employees who are busy smoking cigarettes and trying to pretend that you are not there. To your north you can see a few steps, which lead right up to and inside Blackbury Bank.

Exits: North

Horse waits here, looking quite majestic.
action: You look at the employees
response: There is a smartly-dressed man sitting on the wall with a cigarette in his hand, trying to look casual. A business woman stands next to him, standing and sitting as though she cannot decide what to do. She is smoking too. Neither of them pay you any notice.
action: Examine bmw
response: The red Mazda looks pretty new and shiny. The license plate says "BANK 1". The black BMW also looks impressive, but one of the doors has a dent from where something struck it hard. Coincidentally, your foot also has a dent in it from where it struck something hard.
action: You say paris to Horse
response: You climb on to Horse's back. He/She climbs into the air and you travel, at an incredible speed, to your destination.

Second Floor Corridor (Paris)

You are standing outside room 247 in a well-lit corridor on the second floor of a high-class Parisian hotel. Light fittings line the ceiling. Splendid looking doors are scattered along both sides of the wall to the north and to the south. The fluffy beige carpet tickles your feet. There is a button on the east wall, next to which is a opening where the lift arrives. Imposing, closed metallic doors inform you that the lift is at a different floor.

Exits: West

Horse waits here, looking quite majestic.
action: Go west
response: You move west.

Room 247 (Paris)

You are in a hotel room in a luxurious Parisian hotel. The decor is of the usual standard expected by those who have plenty of money but no class. Gold trim and regal, red wallpaper with extravagant, crystal light fittings and a white smoke alarm that looks out of place. The floor is polished oak, or some other kind of luxury wood. There is a four-poster double bed against the far wall. Everything is very wet from the sprinkler, and the chalk-line has been erased.

Exits: East

Agathe Laurent's corpse lies on the bed.
action: You examine corpse
response: Now that life has left her she looks like she died a long time ago and was only holding on to this life through sheer willpower.
action: Go east
response: You move east.

Second Floor Corridor (Paris)

You are standing outside room 247 in a well-lit corridor on the second floor of a high-class Parisian hotel. Light fittings line the ceiling. Splendid looking doors are scattered along both sides of the wall to the north and to the south. The fluffy beige carpet tickles your feet. There is a button on the east wall, next to which is a opening where the lift arrives. Imposing, closed metallic doors inform you that the lift is at a different floor.

Exits: West

Horse waits here, looking quite majestic.
action: You press the button
response: You press the silver button, which yields gently under your finger.

After a few seconds the doors slide open and you are standing in front of a bald man wearing a long, black jacket and sunglasses. He conveys the air of one who is desperately trying to avoid looking suspicious and failing miserably. He nods at you in greeting as you step inside the lift.

Lift (Paris)

You are standing in a claustrophobic metal box, each and every surface is shining unmarked silver. The doors have shut in front of you and, adjacent to them, is a panel at waist height on which you can see four buttons. Three of the buttons are marked for the second, first and ground floor. The fourth button displays two arrows heading away from each other, suggesting that pressing this might either split the lift in half or open the doors. You'd wager it's the second.

The lift is currently on the ground floor.

There is a bald man in a black coat and sunglasses in the lift with you. He hops from foot to foot nervously.
action: 1
response: You press the button to move to the first floor. The lift jolts and moves up.

The lift stops, the doors open and you step out on to the first floor.

The man nods at you as you leave the lift.

First Floor Corridor (Paris)

You are standing outside room 147 in a well-lit corridor on the first floor of a high-class Parisian hotel. Light fittings line the ceiling. Splendid looking doors are scattered along both sides of the wall to the north and to the south. The fluffy beige carpet tickles your feet. There is a button on the east wall, next to which is a opening where the lift arrives. Imposing, closed metallic doors inform you that the lift is at a different floor.

Exits: West
action: You press the button
response: You press the silver button, which yields gently under your finger.

After a few seconds the doors slide open and you are standing in front of an empty lift. You step inside.

Lift (Paris)

You are standing in a claustrophobic metal box, each and every surface is shining unmarked silver. The doors have shut in front of you and, adjacent to them, is a panel at waist height on which you can see four buttons. Three of the buttons are marked for the second, first and ground floor. The fourth button displays two arrows heading away from each other, suggesting that pressing this might either split the lift in half or open the doors. You'd wager it's the second.

The lift is currently on the first floor.
action: Look around
response: Lift (Paris)

You are standing in a claustrophobic metal box, each and every surface is shining unmarked silver. The doors have shut in front of you and, adjacent to them, is a panel at waist height on which you can see four buttons. Three of the buttons are marked for the second, first and ground floor. The fourth button displays two arrows heading away from each other, suggesting that pressing this might either split the lift in half or open the doors. You'd wager it's the second.

The lift is currently on the ground floor.

There is a bald man in a black coat and sunglasses in the lift with you. He hops from foot to foot nervously.
action: You look at Man
response: He looks about mid-thirties and seems to be very self-conscious. He's clearly worried but trying not to look like he's worried. Also, he's wearing a black trenchcoat and sunglasses indoors so he's clearly an idiot.
action: You say the blue sparrow
response: The man looks at you, scrutinising your face. He nods, seeming satisfied.

"You are thinner and taller than I remember. And you were wearing shoes last time we met. Still, it's good to meet you again Agent Fellows."

"Ummm..." you say

"This should be all that you need to get into the base. You know what to do," the man explains, thrusting a brown envelope into your hand.

You slowly open the envelope and peer inside. It appears to be full of false identification documents. The man nods.

"It should all be there. I will see you again when the time is right. Perhaps we could go on another date?"

"Thank you," you say. There is not much else to be said.
action: 1
response: You press the button to move to the first floor. The lift jolts and moves up.

The lift stops, the doors open and you step out on to the first floor.

The man nods at you as you leave the lift.

First Floor Corridor (Paris)

You are standing outside room 147 in a well-lit corridor on the first floor of a high-class Parisian hotel. Light fittings line the ceiling. Splendid looking doors are scattered along both sides of the wall to the north and to the south. The fluffy beige carpet tickles your feet. There is a button on the east wall, next to which is a opening where the lift arrives. Imposing, closed metallic doors inform you that the lift is at a different floor.

Exits: West
action: You go to the west
response: You use your key to open the door and enter room 147.

Room 147 (Paris)

You are standing inside a hotel room. This room is identical to room 247. So identical, in fact, that you might as well reuse the room description. You are in a hotel room in a luxurious Parisian hotel. The decor is of the usual standard expected by those who have plenty of money but no class. Gold trim and regal, red wallpaper with extravagant, crystal light fittings and a white smoke alarm that looks out of place. The floor is polished oak, or some other kind of luxury wood. There are two large single beds against one wall.

Exits: East
action: You lie on the beds
response: They're immaculately made. You can't bring yourself to disturb that - you'd feel like you were walking over someone's grave.
action: You examine the alarm
response: A bulky white box that clashes with the room decor. The alarm has a small dull red bulb that isn't doing anything. This alarm isn't working.
action: You open it
response: [open the smoke alarm]
You can't open the smoke alarm!
action: You unscrew the bulb
response: [fix the smoke alarm]
I don't think you can fix the smoke alarm.

That didn't make any sense to me.
action: You look at the fittings
response: Hideous. And seeing as how you've got the taste of a smoked mackeral that's saying something.
action: You check your inventory
response: You are carrying the Golden Hourglass, The Grim Reaper's Scythe, The List, a small magnet, the time machine plans, some false ID papers, the keycard for room 147, a credit card, the hotel menu, the military uniform, the shovel and the saw.
action: You examine the keycard
response: A keycard with a magnetic strip that allows you access to room 147.
action: You examine wallpaper
response: Hideous. And seeing as how you've got the taste of a hatstand that's saying something.
action: You look at your surroundings
response: Room 147 (Paris)

You are standing inside a hotel room. This room is identical to room 247. So identical, in fact, that you might as well reuse the room description. You are in a hotel room in a luxurious Parisian hotel. The decor is of the usual standard expected by those who have plenty of money but no class. Gold trim and regal, red wallpaper with extravagant, crystal light fittings and a white smoke alarm that looks out of place. The floor is polished oak, or some other kind of luxury wood. There are two large single beds against one wall.

Exits: East
action: You look at the beds
response: The beds are well-made and in pristine condition. This room is waiting for a guest (or two).
action: Go east
response: You move east.

First Floor Corridor (Paris)

You are standing outside room 147 in a well-lit corridor on the first floor of a high-class Parisian hotel. Light fittings line the ceiling. Splendid looking doors are scattered along both sides of the wall to the north and to the south. The fluffy beige carpet tickles your feet. There is a button on the east wall, next to which is a opening where the lift arrives. Imposing, closed metallic doors inform you that the lift is at a different floor.

Exits: West
action: You wear the uniform
response: You dress yourself in the military uniform. It doesn't even pretend to fit, but you're hoping that this - coupled with the identity papers that you have - will be enough to fool Private Kline.

After taking a few deep breaths you stroll casually along the corridor and end up outside the autopsy room with Private Kline. He looks at you, as though he can't believe what he's seeing.

"At eath...I mean at eath private," you try to sound like a female captain in the United States Army. Your impression isn't bad, even if you do so yourself.

"Captain?" Kline seems a little unsure.

"Yeth. Ahem. Private Kline, why don't you take a break. You've been doing a good job at...what ith it you're doing?"

"Guarding this door, ma'am." Kline stands to attention.

"Yeth. Guarding thith door. You've done a good job. Take a break for the retht of the day."

"Are you sure that you're Captain Salmon?" Kline seems unconvinced.

You pull out the false ID papers and wave them at him. Private Kline takes one look and his eyes open wide. You can see the process of the military brain behind his stare.

"Yes ma'am," he eventually says, "Thank you."

He casually strolls off, probably thinking of ways to improve on The Game as he goes. You wait for him to disappear out of view before you hastily remove the uniform (which was really uncomfortable) and discard it and the papers.
action: Look around
response: Corridor (Area 51, Nevada)

A very plain military corridor, lacking any redeeming features. It seems that after having spent the budget on laser guns and mind control devices there's only enough money left for "Hospital White" paint. There is a door to the west labelled Storage, and the corridor continues to the north. At the south end is a set of unmarked double doors.

Exits: North, South and West
action: About you
response: You are about six foot five inches tall, dressed in the blackest robes anyone has ever seen. Your hairless, so-pale-it's-almost-translucent skin is stretched across your skull like clingfilm on a billiard ball. Your eyes are about the only thing in this reality that are darker than your robes, and your spindly, gaunt hands protrude from your sleeves like a bunch of chopsticks. You secretly think of yourself as 'quite handsome'.
action: Go south
response: Autopsy Room (Area 51, Nevada)

You are in a gleaming metallic room. Various computers and pieces of equipment beep loudly at you, as if they were offended by your presence. Low, subdued light flows from a single, large fitting in the middle of the ceiling. In the middle of the room is a single low metal table, beside which is a trolley on which lie a selection of medical instruments. High in the ceiling you can see the opening of an air duct.

Exits: North

Splong5b lies on the table in a pool of yellow blood, totally still.
action: You examine Splong5b
response: There's something unusual about Splong5b. It's not the fact that he's lying on a table with a single incision from chin to groin, his internal organs exposed for all to see - you've seen some ripe old things in your days. It's something else. Maybe it's the yellow blood, the pale grey skin, stumpy body, big black bulbous eyes, elongated head or the fact that he seems to have at least three hearts (as well as a whole bunch of organs that you don't recognise).
action: You examine the instruments
response: A selection of stainless steel medical instruments. There are items for grabbing, prodding and pointing but there definitely seems to be a bias towards 'cutting'. Most of the instruments are coated with thick, yellow blood.
action: You take them
response: [take the medical instruments]
You can't take the medical instruments!
action: You clean them
response: [clean the medical instruments]
You can't clean the medical instruments.
action: You look at the trolley
response: A gleaming metal trolley which can be wheeled around the room at will. It's much like an air hostess' trolley, but a little more macabre.
action: Reap soul
response: You bring your Scythe round in a sweep and slice through Splong5b's corpse. There is the usual tinkling sound that you associate with the task, and then silence.

Turning round you see the shade of Splong5b standing behind you. You give him a friendly nod. He waves back.

"Cheers mate," he says, before vanishing into the ether.

Another name to be crossed off the list.
action: You look around
response: Autopsy Room (Area 51, Nevada)

You are in a gleaming metallic room. Various computers and pieces of equipment beep loudly at you, as if they were offended by your presence. Low, subdued light flows from a single, large fitting in the middle of the ceiling. In the middle of the room is a single low metal table, beside which is a trolley on which lie a selection of medical instruments. High in the ceiling you can see the opening of an air duct.

Exits: North

Splong5b's corpse lies on the medical table, his soul having departed.
action: You examine equipment
response: You've never really got on with technology. They seem to be processing biochemical data. You press a couple of buttons at random but all you succeed in doing is making the room light change in intensity for a few seconds.
action: You examine the fitting
response: The light seems to be able to fluctuate between intense and dim. I guess it depends on whether you really want to see what's happening on the table or not.
action: Examine duct
response: The opening in the ceiling leads into an air duct. It's too high up for you to reach, so don't even try.
action: You examine Splong5b
response: Splong5b's soul is no longer in this body. It's just a corpse.
action: Go north
response: You move north.

Corridor (Area 51, Nevada)

A very plain military corridor, lacking any redeeming features. It seems that after having spent the budget on laser guns and mind control devices there's only enough money left for "Hospital White" paint. There is a door to the west labelled Storage, and the corridor continues to the north. At the south end is a set of unmarked double doors.

Exits: North, South and West
action: Go north
response: You move north.

Corridor (Area 51, Nevada)

Another featureless military corridor. This time you really do see nothing special. The corridor stretches back south, the way that you came from. There are doors in the other walls. The north door has a sign that reads Security, the east door reads Barracks and the west door says Laboratory. Nice of them to label the doors for you.

Exits: North, South, East and West
action: You go to the north
response: You move north.

Security Room (Area 51, Nevada)

You are standing in a darkened room with one wall totally given over to monitors, computers and various dials, switches and buttons. This seems to be some kind of surveillance room. There is also a noticeboard on another wall with pieces of paper stuck to it, a variety of obviously important comments circled and underlined in red pen. To the east of the room is a heavy door marked Armory.

Exits: South and East
action: Go east
response: The door is locked by a keypad, swipe card, fingerprint scanner and deadbolt. You try it anyway. Nope. It's definitely locked. You'll need a special key to get in here.
action: You swipe the keycard
response: I don't understand what you want me to do with the small magnet.

I don't understand what you want me to do with the keycard for room 147.
action: You wake soldier
response: No. That wouldn't be a good idea.
action: You examine soldier
response: Several men are sleeping soundly. It would probably be in your best interest to not wake them,
action: You say paris to Horse
response: You climb on to Horse's back. He/She climbs into the air and you travel, at an incredible speed, to your destination.

Second Floor Corridor (Paris)

You are standing outside room 247 in a well-lit corridor on the second floor of a high-class Parisian hotel. Light fittings line the ceiling. Splendid looking doors are scattered along both sides of the wall to the north and to the south. The fluffy beige carpet tickles your feet. There is a button on the east wall, next to which is a opening where the lift arrives. Imposing, closed metallic doors inform you that the lift is at a different floor.

Exits: West

Horse waits here, looking quite majestic.
action: Go south
response: You move south.

Dining Room (Paris)
action: You look at your surroundings
response: Dining Room (Paris)

An elegant room is spread before you. A large mirror fills one entire wall, creating the impression of a room twice as big as it actually is. Soft, plush scarlet carpet softens the floor, and the high ceiling is painted black with white specks to resemble a night sky. Dining tables laid for use fill the room. A few kitchen staff are milling around, but other than that the room is very quiet compared to the relative busyness of the lobby.

Exits: North
action: You get the menu
response: You can't sit on that.

You've already got the hotel menu!
action: You read the menu
response: You risk flicking through the menu (and attached wine list). As the living embodyment of entropy you don't have a need for food, but this menu looks so good that even you feel a little hungry.
action: You examine the staff
response: I don't think that is for sale.

A handful of smartly dressed men and women are scurrying around making sure that this room is presentable and that the cutlery and tables are spotless. They're too busy to pay much attention to you.
action: You give Credit Card to the staff
response: Give the credit card to who?
action: Go north
response: (Standing up first)
You move north.

Hotel Lobby (Paris)
action: You say the Manchester to Horse
response: You climb on to Horse's back. He/She climbs into the air and you travel, at an incredible speed, to your destination.

Cellar (Manchester)

This is a dark and dank cellar underneath a house in Manchester. The tough, red brick did a good job of containing the blast from the exploded time machine. The remains of said time machine sit in the centre of the cellar, nothing more than a twisted pile of metal and wires. In one corner of the room is a stairwell, in the other a workbench and varied selection of tools and objects that look suspiciously mechanical.

Exits: Up

Horse waits here, looking quite majestic. Thomas Brewer stands here, looking around the cellar thoughtfully.
action: You examine the wires
response: You rummage through the destroyed time machine. The only thing of note that turns up is the digital readout, which remains - surprisingly - undamaged. It is blinking 10,097 BC at you.
action: You take the readout
response: That didn't make any sense to me.

Take what?
action: You examine the workbench
response: You've never been one for DIY (other than in the scythe department) so you don't have a clue what most of the tools here are even called, let alone what they do. You guess that these were used to build the time machine. There's a large roll of masking tape here.
action: Go upward
response: You move up.

Hallway (Manchester)
action: You look around
response: Hallway (Manchester)

You've been in some impressive hallways in your time, but this isn't one of them. It's positively dull, and from someone who has done the same job day after day for millenia that's saying something. It's walls are coated with pink paint, which is in serious need of attention. The flooring is bare wooden boards. There is a telephone table next to the front door, on which is a - shock! - telephone.

Exits: North, South, West and Down
action: You examine the telephone
response: You lift the phone and listen for a dialing tone. There isn't one. Either the phone is broken or it's been cut off. Either way it's useless to you, so you put it back on the table.

It's a cheap, black plastic telephone with little number buttons that you push.
action: You get the telephone
response: You lift the phone and listen for a dialing tone. There isn't one. Either the phone is broken or it's been cut off. Either way it's useless to you, so you put it back on the table.
action: You look at the table
response: It's a small, sturdy table. It has no purpose in life other than to provide a place for you to put a telephone, but it does that very well.
action: Examine cooker
response: An old gas cooker. A quick check of the oven reveals it to be empty. You are thankful.
action: You examine the chairs
response: The material that forms the seat of these chairs is dirty and almost worn through. At some time in their distant past you used to be able to fold these chairs up for easy storage. The accumulated rust looks like it would make that a herculean task now.
action: You examine the worksurfaces
response: You don't want to touch them so you look at them from a distance.
It's probably a nice worksurface, but you can't tell under the stains and crumbs.
action: You examine the stains
response: The worksurfaces are covered with the ghosts of old food. You feel quesy just looking at them - and you don't even know what it's like to feel quesy.
action: Go east
response: You move east.

Hallway (Manchester)

You've been in some impressive hallways in your time, but this isn't one of them. It's positively dull, and from someone who has done the same job day after day for millenia that's saying something. It's walls are coated with pink paint, which is in serious need of attention. The flooring is bare wooden boards. There is a telephone table next to the front door, on which is a - shock! - telephone.

Exits: North, South, West and Down
action: You go to the north
response: You move north.

Bathroom (Manchester)

You have no need of a bathroom so you never feel comfortable about what goes on in one. This means that you never feel comfortable standing in one. The lino under your feet is worn and in need of repair and the tiled walls are covered with mildew and mould. The kindest thing that you could say about the mirror is that it isn't broken, and the sink only has one tap. As for the bath - well, it's a great advert for fitting a shower. And you daren't even look at the toilet...

Exits: South
action: You examine the sink
response: The sink is actually hanging away from the wall slightly. A stream of limescale marks the path of water from the dripping tap.
action: You go to the east
response: You move east.

By a Lake (Near Wajir, Kenya)

You are standing in a grassy clearing at the end of a winding path that has climbed slowly out of the village. Right in front of you is a large lake of dirty water.

Exits: West
action: You look at Lake
response: It's water. You've seen plenty of it before. Usually when you meet someone who really shouldn't have answered "Yes" to the question "Fancy a swim?" This is not the cleanest water that you've seen but it's far from the dirtiest either.
action: You go to the north
response: You move north.

Hut (Near Wajir, Kenya)

It's a fairly bare hut, lived in by someone who has learnt the hard lesson that true happiness is not found in possessions. The bare, dusty floor is going to leave its mark under your toenails for days. Jimiyu Wangai sits on a rickety wicker chair, facing a squat, uncomfortable-looking stool. Between the two seats is a frail table, on which sits a chess board.

Exits: South

Jimiyu Wangai is sitting on a chair, looking thoughtfully at you.
action: Reap soul
response: You swing the scythe and it cleaves through Jimiyu Wangai. He is still smiling as his body crumples to the floor, leaving behind the shade of his soul.

"Is that it?" he asks.

You nod.

He begins to fade out of sight, gives one last laugh and waves at you. You wave back. Another soul reaped.
action: You look at the body
response: Now that Jimyu is divested of his vigour he seems very, very old indeed. There is a smile on his face. You appreciate that. You don't meet too many people who leave you with a smile on their faces.
action: You look around
response: Hut (Near Wajir, Kenya)

It's a fairly bare hut, lived in by someone who has learnt the hard lesson that true happiness is not found in possessions. The bare, dusty floor is going to leave its mark under your toenails for days. Jimiyu Wangai sits on a rickety wicker chair, facing a squat, uncomfortable-looking stool. Between the two seats is a frail table, on which sits a chess board.

Exits: South

Jimiyu Wangai's empty body is lying on the ground.
action: You examine the Chess
response: The board is old and has clearly seen a lot of use. The pieces have all been lovingly carved from wood by someone of moderate skill. It's far from polished or elaborate, but it has in abundance the charm possessed by such hand-carved object d'art. None of this information is going to prevent you from getting your bottom kicked though.
action: You ask Abuya about Jimiyu
response: "You know Grandfather Wangai? He is ill and I am not sure that he will live to see my wedding," she seems crestfallen.
action: You look at Hourglass
response: The grains of sand tell you that you have just over one hour left to complete your contract.
action: You look at Costume
response: It's not very realistic. You have never, for example, needed to wear a mask.
action: You look at the mask
response: [x -> examine]
action: You ask the owner about Costume
response: You don't see anything that will help you.

The costume shop owner does not respond to your question.
action: You go south
response: You move south.

Dry Cleaners (San Francisco)

You are standing in a very dirty looking dry cleaning shop, which is somewhat ironic. The wallpaper is faded and the carpet badly worn. Around the walls are various photos of famous people who have, allegedly, had clothes dry-cleaned here in the past. There is a counter at the wall furthest from the door.

Exits: North

An elderly Chinese lady gives you a toothless grin and nods at you from behind the counter.
action: You look at the photos
response: You look at the various photos somewhat dubiously. At first you were really impressed by the photo wall, and it was one of the reasons why you decided to give this dry cleaners a try in the past. On reflection you have come to the conclusion that you would be very surprised if, for example, Tom Hanks really had had some dry cleaning done here. You are, however, prepared to believe that maybe, just maybe Tom Selleck has.

You feel a pang of annoyance that the owners have never asked to put a photo of you on the wall, despite the fact that every single man, woman and child in the world has been told all about you.
action: You examine the notepad
response: The notepad is a collection of dry cleaning tickets. You give your order, someone writes it down on the pad and then hands you the ticket. This high-tech system is supposed to limit the chances of you picking up someone else's laundry.
action: You get the notepad
response: You have no reason to take the notepad or any of the individual tickets. So you don't.
action: You examine till
response: A till, which probably contains some money or something.
action: You open till
response: You aren't really interested in the till or its contents. It's bad enough that you go around ensuring that people die at the right time, you wouldn't want to start depriving people of their livliehood as well. Your reputation is poor enough as it is.
action: You ask the lady about the woman
response: The dry cleaning lady grins at you, nods, ignores your question and says "You got ticket? You got item?"
action: You remove cloak
response: Remove what?
action: Inventory
response: You are carrying the Golden Hourglass, The Grim Reaper's Scythe, The List, a small magnet, the time machine plans, the keycard for room 147, a credit card, the hotel menu, the shovel and the saw.
action: You look at Scythe
response: Wickedly sharp and imposing, this is your weapon of choice for reaping souls. It's a metaphor for your ability to harvest people from the land of the living, so it doesn't actually need to be a scythe but you find that people expect it. It's the look of the thing. Your Supervisors have gone to the trouble of making it invisible to mortal eyes after that embarrasing incident at JFK airport six months ago.
action: Hints
response: There are no hints available for this adventure.
You're just going to have to work it out for yourself...
action: You get the wire
response: For some reason you feel a strong urge to take the coil of wire, as though some sixth sense is warning you that you might need it later on. A cunning plan formulates in your mind.

"What'th that? Over there?" You point to a random space behind the counter, relying on the fact that everyone is always telling you that the old ones are the best,

"What?" says the store owner, turning round and proving once again that people can be really stupid.

Whilst the store owner is turned you scoop up the coil of wire and put it in your robe.

"I don't see anything." says the man, turning back. He doesn't even notice that the wire is gone.

"Never mind. It wath nothing." You feel very pleased with yourself. You shouldn't. That whole thing was lame.
action: You examine the tools
response: One part of the shop is given over to paint, another to tools and so on. You can't really be bothered to spend too much time looking through the items in the store, especially as you have no money.
action: You look at the counter
response: The counter, like all counters everywhere, is home to a till. As well as the till you can see a sign which says "CASH ONLY. NO CREDIT CARDS OR OTHER FORMS OF ELECTRONIC PAYMENTS ACCEPTED".
action: Go south
response: You move south.

High Street (San Francisco)

The street continues along, leading the weak-willed mortals to even more ways to lose their money. Again, there is little here that captures your interest. People swarm around you, the same oblivious looks on their faces. To the north, almost swallowed up between huge department stores, is a tiny hardware store called I Came, I Sawed, I Conquered. The street veers sharply to the east and jutting out onto the pavement is a book shop called Reader's Digestion. You are also well aware of Happy Go Lucky Dry Clean to the south, as you've recently started using their services.

Exits: East, West, South and North
action: Go west
response: You move west.

High Street (San Francisco)

In front of you is a busy high street, swarming with citizens on a shopping spree. Shops line the street on both sides, and were you much of a consumer then you would be in paradise. You are, however, not much of a consumer, so the only shop that really attracts your attention is on the south side of the street and named Drop and Give Me Fifty Dress Ups. Perhaps it's the Grim Reaper costume in the window.

Exits: East and South

Horse waits here, looking quite majestic.
action: You go east
response: You move east.

Corridor (Area 51, Nevada)

A very plain military corridor, lacking any redeeming features. It seems that after having spent the budget on laser guns and mind control devices there's only enough money left for "Hospital White" paint. There is a door to the west labelled Storage, and the corridor continues to the north. At the south end is a set of unmarked double doors.

Exits: North, South and West
action: You look at buttons
response: The buttons next to the digital readout are all blue except for the red one. Above the red one are two lights, one lit and one not. Next to the lights are, scrawled in biro on the machine itself, are the initials 'BC' and 'AD'. The light that is currently lit is the one next to 'AD'.
action: 10097
response: The time machine hums but nothing happens. You must have selected the wrong era.
action: 10097
response: The lights inside the machine dim, the door slides closed and something inside the machine begins to hum. There is a flash of light, a momentary sensation of movement and then silence. The door slides open and you step out of the time machine into the past...

10,097 BC (A jungle or something somewhere)

In the distance you hear the roar of some angry beast. Flies buzz around you. Thick jungle threatens to  crush you from every side. Still, it could be worse. The time machine sits in a pile of crushed vegetation beside you, and a man appears to be examining some of the native plant life just in front of you.

Exits: No Exits

Ernest Busset is standing, marvelling at the sights and sounds around him. He doesn't seem at all worried.

You clamber from the time machine, feeling like a stick insect escaping from a tennis ball. Only when you've stretched and composed yourself do you look at where the machine has sent you. You appear to be in the middle of a sweltering jungle somewhere. You're no expert on time travel but you think that this probably is about 10,097 BC.

10,097 BC (A jungle or something somewhere)

In the distance you hear the roar of some angry beast. Flies buzz around you. Thick jungle threatens to  crush you from every side. Still, it could be worse. The time machine sits in a pile of crushed vegetation beside you, and a man appears to be examining some of the native plant life just in front of you.

Exits: No Exits

Ernest Busset is standing, marvelling at the sights and sounds around him. He doesn't seem at all worried.
action: Reap soul
response: You swing the scythe in a circular motion, slicing right through Ernest Busset. He looks down at himself and then crumples to the ground in a heap. The shade of Ernest Busset remains behind, looking first down at his body and then at you.

"At least I saw my time machine work before I died," he reasons, "Not many men get to see the result of their life's work."

"On the contrary," you state. "Everyone theeth the rethulth of their life before they die."

"Good point," says the ghost of Ernest, thoughtfully, as he vanishes before your eyes.

Another soul reaped. Another soul closer to finishing work.

Sir Allan Jones looked at the document again and coughed nervously.

"Um, yes, Lady McWorthington I have the final report on your husband's death right here. It's been compiled from all of the evidence we found at the scene and...ummm...it makes for interesting reading. I'm not sure if it would help for you to know what it says."

"Please. I have to know," says Lady McWorthington.

"Well. OK." Sir Allan Jones coughed again, wishing he could be anything other than the British diplomat to Nepal right now. "We've constructed the last moments of your husband and it seems that...that...that he was climbing the mountain and had reached the pass. And he died there."

"I know this," Lady McWorthington is annoyed, "Tell me what happened!"

"From what we can tell, he...he...appeared to have taken off his boots and socks and wondered around in bare, size fifteen feet. Then...then a horse came along and stood for a while near him. Then it appears that he put his socks and boots back on and there was an avalanche. Which killed your husband..."

"Oh." Lady McWorthington gasps, "Wait. What was that about his size fifteen feet?"

"Ummm. It doesn't quite finish there. It appears that after that...he...he...he dug himself out of the snowdrift and then lay down again. Errrrr. So. That's what happened."

There is silence. A clock ticks in the background. Sir Allan coughs again and waits. Suddenly Lady McWorthington breaks the silence.

"Size fifteen feet?"

Thomas Brewer sat in the office of the university, his palms sweating nervously. Professor Johnson peered at him over the rim of his glasses.

"You must understand that while we are all very sorry to hear about the death..."

"He's simply missing at this point." Thomas stressed.

"...death of Doctor Busset," stressed Johnson "I must insist that you return to the university and resume teaching. This whole notion of a time machine must be put behind you."

"It works! I was there! And so was..." Brewer stood and gestured wildly.

"And so was who?" Professor Johnson sounded curious.

"Ummm..." Thomas sat down again, remembering the tall stranger who had appeared at the cellar "Nobody. No. It was just me."

"Hmmmm..." said Johnson, unconvinced "Still. I must insist..."

At that moment they were interrupted by a student barging into the office.

"Professor Johnson! Professor Johnson! Quick! Turn on the television!" the young man shouted, breathless.

"What is the meaning of this?" Professor Johnson intoned.

"Oh...let me!" the student stumbled across the room and flicked on the television sitting on a shelf. The 'BBC' news logo flashed across the bottom of the screen along with the scrolling words BREAKING NEWS.

The reported was speaking animatedly, his microphone shaking with barely contained excitement.

"...the most amazing thing is, despite these human bones being over ten thousand years old, the fact that this man had glass ionomer cement fillings in his teeth! Scientists are baffled by modern composite being found in ancient teeth and have refused to make any further comment at the moment - other than to confirm that the skeleton has been christened 'Ernest'..."

Professor Johnson turned and simply stared at Thomas Brewer, who was grinning from ear to ear...

"So how's it going?" the girl asked.

"Pretty good. Pretty good." the man replied, looking up from his laptop computer.

"So what are you writing now?" the girl responded after a pause which suggested that she was going to have do all the work in this conversation.

"I'm writing a guide to Battleships." the man didn't even look up from the screen.

"What, like warships you mean?"

"No, the game 'Battleships'. Oh no! You sunk my battleship. That kind of thing."

"Is there strategy for that game? I thought it was just random guessing until you got lucky." the girl didn't really seem that interested.

"Luck?" the man looked up from his computer for the first time in the conversation "Luck doesn't come into it. It's all about the strategy. Do I pick this coordinate, do I pick that coordinate? It's the ultimate game of cat and mouse."

"That's what you said about chess when you were writing your chess guide," the girl objected, examining her fingernails.

"So. What's your point?"

"Are you going to pretend that it's sponsored by the President again?" the girl looked out of the window.

"What? I never said it was sponsored by the President," the man seemed offended by the suggestion.

"It's kind of misleading though. You definitely imply that the President is behind your guides," the girl sounded disapproving.

"It's all totally above board. I'm not breaking any laws," said the man, who happened to be called George W. Bush.

"Still, I suppose this one's different anyway," the girl looked at him.

"Why?" the man had gone back to typing away.

"At least you actually know the rules of 'Battleship'."

"As long as people keep buying my guides, I'm happy baby," the man concluded, as he switched his laptop off.

"One of your systems went off and contacted us." the fire officer explained again to the manager of the hotel.

"A malfunction. Nothing more." the manager assured the fireman, escorting him to the door. This was not going so well. It was only the sprinkler going off that had alerted him to the fact that one of his guests had died in the room. It was going to take ages to clean up the mess and deal with this unfortunate incident. And he had absolutely no clue why the corridor outside room 247 smelt of horses.

"Can we at least check?" the fireman objected as he was pushed through the revolving door.

"No need, I assure you." the manager grinned and waved at the firemen gathered outside the hotel. One of them gave him a two-fingered wave back. Passers-by were stopping to look at the fire engine. The manager clicked his fingers and one of the staff came running.

"I need you to clear up room 247." he barked.

"...yes sir." said the staff member without much enthusiasm. He had seen what had happened in room 247.

"I'm going to call the police. Ms. Laurent was a valued customer." he sounded almost sad, which he was - especially because the bit of Ms. Laurent that he valued most was her seemingly limitless credit card.

"Yes sir." sighed the staff member, shuffling off to undertake the thankless task. To think that he'd given up a promising career at McDonald's for this...

The manager turned his attention back to the situation outside the hotel.

"At least the sprinklers work." he mused, waving again to the firemen - who seemed to be arguing amongst themselves. Honestly. Who'd be a hotel manager?

Victoria Salmon stood in front of the Major, inwardly seething.

"There is no doubt that the uniform found was yours, Captain, and the papers - though a forgery - were very convincing." the Major was reading from a report.

"Yes sir," snarled Salmon.

"The papers seem to bear all the hallmarks of being a forgery by Agent Sunglasses and the uniform...you say that there was a mix-up at the dry cleaners?"

"That's right sir." Salmon snapped.

'Well. I think that the combination of uniform and papers would clearly have been enough to fool Private Kline - he's hardly the sharpest tool in the box, is he?" the Major chuckled. Salmon said nothing.

"So, I think that wraps it up. It appears that nothing was sabotaged or stolen, so I assume that the only reason the spy was here was to find out what was in the autopsy room. No surprise there - you can read all about what we're up to here on the Internet anyway can't you, Captain?" the Major smiled.

"Yes sir." growled Victoria.

"You're dismissed Captain. Thank you for your time."

Victoria Salmon didn't move. The Major didn't notice for a minute or two, but he eventually did. He looked up and read the look on Captain Salmon's face.

"Is something wrong Captain?" he asked.

"Sir. I read Private Kline's report. How could he think that it was me?" she fumed.

"I thought we'd cleared that up, Captain. The spy was in your uniform and with some convincing papers."

'It's not that sir. His report..." she recalled from memory "...described the person he spoke to as a ghastly apparition from the pits of hell  Freakishly sized, terrifyingly pale and with the breath of a hellhound. How can he confuse me with that?"

The Major thought for a while.

"Maybe he thought you'd forgotten to put your make-up on?" he ventured.

Victoria Salmon screamed, turned on her heels and stormed out of the room. The Major waited for a minute and then picked up the phone and made a call.

"Yes, yes. Hello. Yes. It's me. Look - you need to be more careful. You gave the papers to the wrong person it seems. Yes.
Yes. No. I managed to clear it all up. OK. Goodbye." the Major put the phone down. Honestly, he had enough on his plate without clearing up other people's mess. Who'd be a double agent?

"There's no future in it," he muttered under his breath.

You stare at the void outside, relaxing in your favourite armchair.
In the background The Eagles are instructing you to Take it to the Limit One More Time. You sigh. Today has been an interesting day, no doubt about that, but not one that you'd wish to repeat.

You slowly stand up and wander over to the bookcase, where you pull out your current diary and think about how to record today's events. You smile as you recall some of the situations that today brought you face-to-face with. You suppose that it wasn't the worst day that you've ever had - not by a long shot - and it's only going to make tomorrow's jobs seem that bit easier. The more you think about it, the more pride you feel in a job well done and the less and less terrible today seems to be. You sit back down in the armchair and turn to a blank page.

Life is good for Death. Today has, all things considered, been a fine day for reaping.

Thank you for playing.
Congratulations!
action: You examine Hourglass
response: [x -> examine]
action: You look at Hourglass
response: The grains of sand tell you that you have half an hour left to complete your contract.

The grains of sand tell you that you have half an hour left to complete your contract.
action: You wait for a while
response: You wait. Time passes. It's what time does.