Sam Fortune - Private Investigator
by Steve Blanding (2009)
Genres: Mystery

The IBS Radio Network presents... Sam Fortune - Private Investigator A transcribed drama filled with suspense and adventure broadcast weekly over this IBS affiliate. Tonight's drama: The Case of the Missing Playboy! Sponsored by Muskrat Cigarettes. NOTE This game is told in a series of scenes, just like a radio drama. Each scene is independent from the one before in the sense that it is impossible to put the game in an unwinnable state by not having done something in an earlier scene. There are several ways to lose this game and there are a few timed puzzles. Saving when advised should avoid undue frustration. UNDO is always an option. Feel free to use it liberally. Small parts of this game deliberately rank "Nasty" on the Zarfian scale but this is only true within each self-contained scene, not for the game at large, and a full in-game HELP system is available should you get stuck.

action: %
response: The IBS Radio Network presents...

(You may type "HELP" at any time for hints, credits or just general information about this game.)

Tonight's drama: The Case of the Missing Playboy!

Sponsored by Muskrat Cigarettes.

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And now for Act I of tonight's drama....

It was an afternoon much like any other afternoon. I was alone in my office. It seems I was always alone.

Business had been slow. I was reduced to practicing my witty banter with my friends Jack and Daniel. Unfortunately for me, they weren't very much for conversation. We'd been conversing just long enough that I was beginning to feel that my banter really WAS witty. But not so much that I was beginning to think they'd talk back.

You are Sam Fortune, a private investigator who, at the moment, has very little to investigate. Your office is on the fifth floor of a crummy old office building in the lower east side.

There is a single dingy window in the west wall, directly opposite the only door.

The sun streaming throught the Venetian blinds traces bars across the desk that sits in the middle of the room. Bars like the bars of a prison cell.

On the wooden desk are a bottle of whiskey and a telephone.

A battered old filing cabinet stands in the corner.

An old desk chair sits behind the desk.

A plain guest chair is strategically placed in front of the desk.
action: About yourself
response: Sam Fortune, private investigator and all American sap, is a pretty nice specimen if you do say so yourself. Six feet tall with broad shoulders and a jaw that could have been cut from a block of stone. It's no wonder that the dames go for you. If you were a dame, you would too.
action: You look through the window
response: Peering through the filthy grime reveals very little. Just the same old lonely street in the same old lonely part of town.
action: You examine bottle
response: Tennessee's finest. Comfort in a bottle.
action: Exits
response: The obvious exits are east and outside.

(Use EXITS ON to enable the status line exit lister and EXITS OFF to turn it off.)
action: You look at the desk
response: (the wooden desk)
It's a very plain wooden desk with a single shabby drawer. Someday perhaps you'll be able to afford mahogany.
action: You open the drawer
response: (the desk drawer)
It's locked. Now if only you could remember where you put that key.
action: You look under desk
response: (the wooden desk)
You find nothing of interest.
action: You look at the cabinet
response: (the filing cabinet)
The filing cabinet stands in the corner of the office. It has two drawers: a top drawer, and (you guessed it, pal) a bottom drawer. This is where you keep all your important files. In other words, it's mostly empty.
action: You open the top drawer
response: You open the top drawer of the filing cabinet, revealing some file folders marked A to M.
action: You examine the folder k.
response: You see several file folders marked A to M in nearly alphabetical order.

Thumbing to the file marked "K" you look inside and retrieve a small key which you place in your pocket.
action: You look around
response: Your office is on the fifth floor of a crummy old office building in the lower east side.

There is a single dingy window in the west wall, directly opposite the only door.

The sun streaming throught the Venetian blinds traces bars across the desk that sits in the middle of the room. Bars like the bars of a prison cell.

On the wooden desk are a bottle of whiskey and a telephone.

A battered old filing cabinet stands in the corner.

An old desk chair sits behind the desk.

A plain guest chair is strategically placed in front of the desk.
action: You unlock the drawer with the key
response: (the desk drawer with the small key)
You unlock the desk drawer.
action: You open the drawer
response: (the desk drawer)
You open the desk drawer, revealing a revolver.
action: You look at the revolver
response: Your best friend. It's just a shame that you don't actually have any bullets. Still, it's amazing how people can react to the mere sight of a heater.
action: You take it
response: Just as soon as you pick up the revolver there is a quiet rap at the door. You quickly put the revolver in your pocket.

"Yeah. Come on in. The door's unlocked."

The door opens and in walks a tall redhead with a knockout figure in the kind of outfit that shouts class.

"Are you Sam Fortune?"

"That's what it says on my birth certificate, doll. And just who might you be?"

"My name is Irene Scarlet."

"It's a pleasure, sweetheart. Why don't you have a seat?"

"Thank you, Mr. Fortune."
action: You examine irene
response: Irene Scarlet is quite a dish. Her red hair cascades about her shoulders in gentle waves. She wears a fashionably cut dress which shows off her delicious figure in a most delightful way.
action: You sit on the desk chair
response: You get onto the desk chair.
action: You close the door
response: That's already closed.
action: You ask Irene about Irene
response: [Use TALK TO to interact with characters.]
action: You talk to Irene
response: Turning to Irene you say, "Hello there."

She gives you one of those looks that makes you think she likes what she sees.

Self-consciously you slide the bottle inside the desk drawer before getting down to business.

[1] Ask her to have dinner with you.
[2] Ask her what she wants.
action: 1
response: "So, sweetheart, I hope I'm not being too forward but perhaps sometime you and I could get together over a nice hot meal. You interested?"

Irene smiles just a little and says, "Perhaps some other time, Mr. Fortune, but just now I'm afraid that I'm here on business."

[1] Ask her what she wants.
action: 1
response: "So what brings a nice up-class dame like you to my little office?"

"You're a private investigator aren't you?"

"That's what it says on my license."

"Well, I was hoping that I might use your services. You see, a friend of mine has gone missing."

[1] Ask Irene about herself.
[2] Ask about her friend.
[3] Tell Irene your rates.
action: 1
response: "So tell me a little about yourself. How do you fit into this picture."

"Well, Mr. Fortune, my father is James Scarlet, the founder of Scarlet Herring, one of the more successful fishing operations in this town."

"Oh THAT Irene Scarlet!"

"Yes. That Irene Scarlet. Anyway, I've been friends with Bob for a very long time and when he didn't show up for our lunch appointment today I got worried. That's why I came to see you."

[1] Ask about her friend.
[2] Tell Irene your rates.
action: 1
response: "Well, Red, tell me about this missing friend of yours."

"His name is Bob Watterson. He and I go way back. He's one of the local society set. Anyway, we were out dancing at the Top Cat Club last night with some of our friends. Toward the end of the evening it looked as if something was bothering him but he wouldn't say what it was. I didn't think much of it until today. We had agreed to meet for lunch but," stifling the merest hint of a sob, "but he never showed up!

"Oh, Sam, I know you think I'm probably being silly but I'm worried about him. He never misses a lunch date and I'm just sure something has heppend to him. Say you'll help me find him."

[1] Ask if she's gone to the police.
[2] Tell Irene your rates.
[3] Agree to take the case.
[4] Decline the case.
action: 2
response: "I charge $25 a day plus expenses. But I don't suppose that would be a problem for a dame like you."

Irene says rather gravely, "No. That will be fine."

[1] Ask if she's gone to the police.
[2] Agree to take the case.
[3] Decline the case.
action: 1
response: "So, sister, something's puzzling me. Why come to me? Why not just go to the cops?"

"Well, Mr. Fortune, first of all, it's only been a few hours and I was afraid that they wouldn't take me seriously with him only being missing for such a short time."

"Yeah, I guess that figures. Go on."

"And I was hoping to keep this kind of quiet. My family gets enough exposure as it is. That's what comes from having money. If I were to go to the police, well, I was afraid that the papers might catch wind of it."

"And you'd find your name plastered all over the society pages... again."

"Precisely."

[1] Agree to take the case.
[2] Decline the case.
action: 2
response: After considering the matter you decide that you'd rather not get mixed up in all of this. "No dice, Red. I'm afraid that I'm just too busy to get mixed up with the upper crust these days. You see, I'm strictly a meat and potatoes kind of guy and all that champagne and caviar just doesn't agree with me. So if you'll kindly close the door on your way out, I'll return to my business."

Irene looks shocked and for a minute a look of panic crosses her face before she...

Your mother reaches over and switches off the radio. "I think that's enough radio for today. It's bed time and besides, all of that junk just rots your brain anyway."
action: You look around
response: [You're still in the middle of a conversation. I need some kind of reaction from you to continue the scene. Enter a number, or say REPEAT to reacquaint yourself with your options.]
action: You repeat
response: The available options are:

[1] Agree to take the case.
[2] Decline the case.
action: 1
response: "Sure, sweetheart. Don't worry, kid. I'll find him. You run along and I'll be in touch."

Irene gets up and says "Thank you so much, Mr. Fortune." before giving you a small wad of bills for expenses and telling you her phone number. Then she gracefully heads for the door. On her way out she pauses and looks over her shoulder for a second, giving you a brief look at her misty blue eyes. Then, she closes the door and she's gone.

"Well, Sam," you say to yourself. "Looks like you're gonna be dining at the Top Cat Club tonight."
action: You look at what you're carrying with you
response: You are carrying:
expense money
a revolver
a small key
action: You look at the money
response: A small roll of money which Irene gave you with which to pay your expenses. It's not a lot but it should be enough for now.
action: You look around
response: Sam's Office (on the desk chair)
Your office is on the fifth floor of a crummy old office building in the lower east side.

There is a single dingy window in the west wall, directly opposite the only door.

The sun streaming throught the Venetian blinds traces bars across the desk that sits in the middle of the room. Bars like the bars of a prison cell.

On the wooden desk is a telephone.

A battered old filing cabinet stands in the corner.

A plain guest chair is strategically placed in front of the desk.
action: You stand
response: You get off the desk chair.

There is a single dingy window in the west wall, directly opposite the only door.

The sun streaming throught the Venetian blinds traces bars across the desk that sits in the middle of the room. Bars like the bars of a prison cell.

On the wooden desk is a telephone.

A battered old filing cabinet stands in the corner.

An old desk chair sits behind the desk.

A plain guest chair is strategically placed in front of the desk.
action: You open the bottom drawer
response: You open the bottom drawer of the filing cabinet, revealing some file folders marked N to Z.
action: You examine folder t.
response: You see a handful of file folders marked N to Z in mostly alphabetical order.

You thumb through a few of the folders but nothing really catches your interest at the moment. Perhaps if you knew what you were looking for this would yield better results.
action: You examine the folder south
response: You see a handful of file folders marked N to Z in mostly alphabetical order.

You thumb idly through a few of the folders before deciding that there really isn't anything helpful to your current situation.
action: You look at the folder west
response: You see a handful of file folders marked N to Z in mostly alphabetical order.

You thumb through a few of the folders but nothing really catches your interest at the moment.
action: You take the folders
response: Which do you mean, the file folders marked A to M or the file folders marked N to Z?
action: Go north
response: You had better leave those there. It took you nearly a full day the last time you had to sort them and you'd hate to have to do it again.
action: You take the phone
response: Picking up the telephone you pause to consider your options.

[1] Call Clancy at the 21st precinct.
[2] Call the Times.
[3] Call Irene.
[4] Call the Top Cat Club.
[5] Hang up.
action: 4
response: You pick up the reciever and ask the operator to connect you to the Top Cat Club. In a minute you hear the whiney voice of the French ma?tre d'. "Ziz is zee Top Cat Club. Can eye help you, monsieur?"

[1] Ask when they're open.
[2] Ask about a reservation.
[3] Hang up.
action: 1
response: Hey, pal. Can you tell me when you're open tonight?"

"Oui, monsieur. We are open from seven until two am."

"Thanks."

[1] Ask about a reservation.
[2] Hang up.
action: 1
response: "Listen. I'd like to book a table for tonight."

"Oh non, non, non. I am very sorry, monsieur, but we are very busy tonight. We do not take any more reservations for tonight. But if monsieur would care to come to zee club, I am sure zat zere will be space at zee bar."

"Yeah. I may do that. Thanks."

[1] Hang up.
action: 1
response: You put the receiver back on its cradle.
action: Go west
response: The door is in the east wall, opposite the window.
action: Go east
response: I left my office, walked down the four flights of stairs, headed outside and hailed a cab. I figured that if I wanted to get to the bottom of this, I'd need to go to where it all started.

A few minutes later, the cab pulled up in front of a gleaming white high-rise building with one of those awnings over the revolving door. You know the kind. The kind that makes it seem like you're walking into the snout of an extremely large anteater. I took the elevator up to the 15th floor and found myself standing outside the entrance to Tony Gabriele's famous Top Cat Club, the most upscale dinner club in town.

It was time to earn my daily bread.

[This might be a good time to save your game.]

The waiting area is done up in the art deco style, all white and silver. Beside the club entrance is a lectern where the ma?tre d' is greeting customers and checking reservations. On the lectern is a round white logo with the silhouette of a cat wearing a top hat. Peeking through the crowd, it's clear that the joint is jumpin' tonight.

When you're ready to leave, the elevator awaits you to the south. The club itself is to the north.

You can see some customers, the ma?tre d' and a lectern here.
action: You examine the maitre
response: The ma?tre d' is a snobby-looking bean pole with a wispy mustache. He wears a tuxedo with a small nametag that indicates that he wishes to be called "Jean Claude".
action: You look at your surroundings
response: The waiting area is done up in the art deco style, all white and silver. Beside the club entrance is a lectern where the ma?tre d' is greeting customers and checking reservations. On the lectern is a round white logo with the silhouette of a cat wearing a top hat. Peeking through the crowd, it's clear that the joint is jumpin' tonight.

When you're ready to leave, the elevator awaits you to the south. The club itself is to the north.

You can see some customers, Jean Claude and a lectern here.
action: You talk to Jean Claude
response: "Oui, monsieur. My name is Jean Claude. 'Ow may I 'elp you?"

[1] Ask for a table.
[2] Ask about Bob Watterson.
[3] Say goodbye.
action: 2
response: You step in close and speak quietly so as not to be overheard.

"I'm looking for a man named Bob Watterson. Do you know him?"

"Oui, monsieur. I know 'im very well. 'e comes 'ere most frequently."

[1] Ask for a table.
[2] Ask when he saw him last.
[3] Ask if he knows anything about him.
[4] Say goodbye.
action: 3
response: "What do you know about this guy?"

"'e comes 'ere very frequently this last few weeks. Sometimes it is with Miss Scarlet. Sometimes it is alone. I see 'im all ze time."

"Thanks. Can you tell me any more about him? Do you know where he lives? What he does?"

"Non. Pardon me. I do not meddle with ze affairs of ze customers."

"Yeah. I get it. Thanks anyway, bub."

[1] Ask for a table.
[2] Ask when he saw him last.
[3] Say goodbye.
action: 2
response: "When did you last see him?"

"I saw 'im just last night, monsieur. It was with Miss Scarlet I think. Zat is usually who 'e is with."

[1] Ask for a table.
[2] Say goodbye.
action: 1
response: "I'd like a table for one."

"Oh non, non, non. I am very sorry, monsieur, but we are very busy tonight. We do not 'ave any more tables for tonight. But we do 'ave space at ze bar.

[1] Say goodbye.
action: 1
response: "Thanks, bub."

"Eet is my pleasure, monsieur."
action: You get it
response: That's fixed in place.
action: You go to the north
response: You have to admit that this place is pretty swank. Like the lobby, it's all done up in art deco white and gleaming silver. The cavernous room is filled with tables, which in turn are filled with the upper-crustiest crumbs in this crummy city. There are so many tuxedos it looks like a penguin convention, and enough feathers to defrock a flock of ostriches.

The central focus of the club is the dance floor, just south of the stage, which fills the entire north wall of the room. There is a small backstage door in the north wall, just to the side of the stage. A guy about the size of Mt. Rushmore guards the door.

The bar is to the east. The lobby is south.

You can see the backstage door, the stage, some customers, some tables, some dancers and a guard here.

Someone at one of the far tables sings Happy Birthday.

You hear the sound of someone opening the backstage door.

The band stops playing and the bandleader steps up to the microphone.

"Ladies and gentlemen. Once again, the Top Cat Club is proud to present the star of our show, Miss Ginger Andrews!"

The crowd erupts into applause, the lights go down, a spotlight illuminates the stage door and the most stunning blonde you have ever seen steps into the light, sashays over to center stage and proceeds to make love to the microphone.
action: You look at Ginger
response: Wow! What a dish! Ginger Andrews is perhaps the most stunning blond you have ever seen. She stands about five foot seven and every inch a woman. She wears a glittering backless dress with a plunging neckline that barely conceals an ample bosom. Her blue eyes are dazzling. And her shapely legs... Wow!

Ginger's voice is heavenly as she sings a number from the Hit Parade.
action: You look at the guard
response: This guy looks like someone cross-bred a gorilla with a pit bull.

Ginger holds every man spellbound as she reaches the climax of a devilishly provocative number.
action: You look at the customers
response: The place is packed with tuxedo wearing men and glittering women.

Brother, that Ginger dame can really sing.
action: You examine the backstage door
response: You see nothing special about the backstage door.

Ginger brings the crowd to tears with a steamy love song.

When Ginger's act comes to a close the spotlight goes out, the audience applauds, the house lights go back up, and Ginger begins working the room, moving from one fat-cat to another. It's very clear what every man in the room wants and she's all too happy to dangle it in front of them without giving them any of it.
action: You talk to the customers
response: You strike up a conversation with some of the customers and try to steer it towards your missing man but it soon becomes apparent that this line is getting you nowhere. These guys aren't regulars.

All eyes are on Ginger as she passes between the tables.
action: You talk to Ginger
response: Prying Ginger away from her adoring public you flash her what you hope is your most charming smile and say, "Hello there, beautiful. My name is Sam. Got a minute?"

Ginger looks you over and says "Why not? Shoot, tough guy. What's on your mind? I mean besides that."

[1] Compliment her singing.
[2] Compliment her looks.
[3] Ask her out.
[4] Ask her about Bob.
[5] Say goodbye.

The band plays something from the Hit Parade.
action: 1
response: "You have a very healthy set of lungs there, baby. Where'd you learn to sing like that?"

"Sunday school, Sam. Sunday school."

"Well you obviously had a first rate teacher."

"That's very kind of you to say so, Sam."

[1] Compliment her looks.
[2] Ask her out.
[3] Ask her about Bob.
[4] Say goodbye.

Someone in the back of the club laughs loudly.
action: 1
response: "Baby, you are some piece of work. With a face like yours, I bet you have to circle the wagons whenever you so much as step outside."

She smiles and says, "Flattery will get you everywhere, mister. You aren't so bad yourself."

[1] Ask her out.
[2] Ask her about Bob.
[3] Say goodbye.

One of the couples in the club starts to argue but it quickly passes.
action: 2
response: "Hey, sweetheart, I'm looking for a friend of mine. His name's Bob Watterson. You know him?"

"Who Bobby? Sure, I know him." She looks a little put off. You can't tell if it's because she's upset that you're not talking about her or if it's because she doesn't want to discuss her relationship with Bob.

"Seen him around?"

"Not for a while. Hey, I barely know the guy. Let's talk about you instead."

You let her steer the conversation back around to your favorite topic for a while: Sam Fortune. It's plain that she's an expert when it comes to stroking a man's ego.

[1] Ask her out.
[2] Say goodbye.

Someone from the crowd bumps into you and apologizes before continuing on.
action: 1
response: "What time do you get off? How about you and me go somewhere for a drink?"

"I'd like that, Sam, but tonight's bad for me. Come by tomorrow and ask me again will ya?"

"Sure, kid. You bet."

[1] Say goodbye.

There is a brief lull in the music and the dancers return to their seats before the music starts and more take their places.
action: 1
response: "See you around sweetheart."

"Oh I'm sure you will, Sam. At least I certainly hope so."

Ginger flashes a brilliant smile at a portly man who is old enough to be her father. It looks like he'll go home happy.
action: You enter backstage
response: You can't, since the backstage door is in the way.

Every man in the room watches as Ginger moves to another table.
action: You open backstage
response: Man-mountain over there doesn't say a word, but he doesn't let you open the door either. If you want to get backstage, you'll have to somehow get rid of the guard.

A customer laughs at one of Ginger's jokes.
action: You look at the tables
response: It looks like business is booming. Not a single table remains vacant.

Ginger briefly dances with one of the customers before returning him to his previous partner.
action: You talk to the guard
response: You attempt to start a conversation with the guard but it quickly becomes obvious that conversation isn't his forte.

Ginger's jewelry sparkles as she passes one of the stage lights.
action: You go east
response: On the east side of the club, set back from the main area, is the bar area. It's almost as crowded as the rest of the joint but there's still enough room for you to slide up next to the bar.

You can see the stage, some customers, a bar (on which is a nut bowl (in which are lots of beer nuts)) and the bartender here.

Ginger pauses to chat with a customer.
action: You get the beer nuts
response: You grab a handful of nuts from the bowl.

Ginger's jewelry sparkles as she passes one of the stage lights.
action: You talk to the bartender
response: "Hi friend. Name's Jack. What can I get you?"

[1] Ask for a drink.
[2] Ask about Bob Watterson.
[3] Ask about Tony.
[4] Say goodbye.

The band is playing some up-tempo dance number.
action: 1
response: You consider asking Jack for a drink but then you think better of it. The last time you drank on the job you nearly wound up taking out a reservation in the city morgue.

[1] Ask about Bob Watterson.
[2] Ask about Tony.
[3] Say goodbye.

Someone from the crowd bumps into you and apologizes before continuing on.
action: 1
response: "I'm looking for a guy named Bob Watterson. Ever heard of him?"

"Yeah. Sure. I know him. Real snooty society guy right?"

"That's the one."

[1] Ask when he saw him last.
[2] Ask if he knows anything about him.
[3] Ask about Tony.
[4] Say goodbye.

One of the couples in the club starts to argue but it quickly passes.
action: 1
response: "When did you see him last?"

"He was here last night. He's here a lot actually. He bought a river of drinks for Ginger."

[1] Ask if he knows anything about him.
[2] Ask about Ginger.
[3] Ask about Tony.
[4] Say goodbye.

The band plays something from the Hit Parade.
action: 1
response: "What do you know about him?"

"I see him a lot. He hangs around with the society set. Irene Scarlett and her friends."

"So I hear. Can you tell me any details? Do you know where he lives? What he does?"

"I think he has a penthouse apartment downtown somewhere. I don't think he does much of anything other than spend his old man's money."

"You know who his 'old man' is?"

"Naw. I just assumed he had one."

"Yeah. Don't we all? Thanks, Jack."

[1] Ask about Ginger.
[2] Ask about Tony.
[3] Say goodbye.

There is a brief lull in the music and the dancers return to their seats before the music starts and more take their places.
action: 1
response: "So what's the story with this Ginger dame?"

"Quite the looker isn't she?"

"Yeah. But can you tell me what she was doing with Bob last night?"

"Other than accepting the drinks he bought her?"

"Well, for instance, are they an item?"

"What? Ginger and that guy? That'll be the day. Perhaps he thought so but I don't think she ever did."

[1] Ask about Tony.
[2] Say goodbye.

Someone in the back of the club laughs loudly.
action: 1
response: "So you been working here long?"

"A few months."

"Like it?"

"Yeah. It's alright. It pays well and I get to enjoy the floor show every night. I can't complain."

"This place is owned by Tony Gabriele isn't it? I hear he's a nice guy to work for. That true?"

"Sure. Mr. Gabriele is good people. I don't care what anybody says. He might be a little peculiar but he takes care of his own. But look, Mack, what's it to you?"

"Just curious. Who knows? I might want to work for him someday myself."

"You thinking of taking up bar tending?"

"Naw. Don't worry, Jack. You're job's safe."

[1] Ask what he means by peculiar.
[2] Say goodbye.

The band is playing some up-tempo dance number.
action: 1
response: "When you say Tony's peculiar, just what do you mean?"

"Hey. You're gettin' awful nosey. Ain'tcha?"

"I'm just naturally curious is all."

"Well Mr. Gabriele don't like people meddling in his private affairs. If you get any more nosey, I'm liable to get fired and you're liable to get worse."

"Okay. I get the hint. No need to get sore. Let's talk about something else then."

[1] Make with the small talk.
[2] Say goodbye.

Someone at one of the far tables sings Happy Birthday.
action: 1
response: "Busy night tonight."

"Yeah. Ginger really packs 'em in."

You go on like that for another minute or two before running out of pleasantries.

[1] Say goodbye.

Someone in the back of the club laughs loudly.
action: 1
response: "Thanks, Jack."

"Don't mention it."

Ginger pauses to chat with a customer.
action: You talk to Ginger
response: Prying Ginger away from her adoring public you flash her what you hope is your most charming smile and say, "Hello there, beautiful. Got a minute?"

Ginger looks you over and says "Why not? Shoot, tough guy. What's on your mind? I mean besides that."

[1] Say goodbye.

The band plays something from the Hit Parade.
action: 1
response: "See you around sweetheart."

"Oh I'm sure you will, Sam. At least I certainly hope so."

Ginger briefly dances with one of the customers before returning him to his previous partner.
action: You examine the bowl
response: In the nut bowl are some beer nuts.

All eyes are on Ginger as she passes between the tables.
action: You examine the nuts
response: (the beer nuts)
Hard, round, and saltier than a sailor. These things are designed for one purpose only: to make you wish you had ordered a drink instead.

A customer laughs at one of Ginger's jokes.
action: You go to the west
response: You can see the stage, some customers, Ginger Andrews, the backstage door, some tables, some dancers and a guard here.

Ginger flashes a brilliant smile at a portly man who is old enough to be her father. It looks like he'll go home happy.
action: You give the nuts to guard
response: The guard doesn't seem interested.

Every man in the room watches as Ginger moves to another table.
action: You throw the nuts at the guard
response: You throw a handful of beer nuts at the guard and they scatter everywhere.

The nuts get under the feet of the dancers and they begin falling like ten pins. The guard runs over to help them back to their feet.

A customer laughs at one of Ginger's jokes.
action: You open door
response: You open the backstage door.

Ginger flashes a brilliant smile at a portly man who is old enough to be her father. It looks like he'll go home happy.
action: Go inside
response: You can't go that way.

Ginger pauses to chat with a customer.
action: You enter backstage
response: You're in a narrow hallway that runs behind the stage. Along the north wall is the door to what must be Ginger's dressing room. The small star with the name "Ginger" written on it provides the tip-off. To the east is a door with the word "management" written on it. That door is cracked just enough that you might be able to get a peek inside. The door that leads back to the club is to the south.

You can see the dressing room door, the manager's office door, the backstage door and a switchbox here.
action: You close the door
response: Which do you mean, the dressing room door, the manager's office door or the backstage door?
action: Backstage
response: You close the backstage door.
action: You examine the manager's door
response: Through the crack in the door you can just make out the shapes of three men. If you listen closely you might just catch bits and snatches of their conversation.
action: Manager'S
response: You hear the voices of three men. You can't make out everything they say but you are able to hear a few words here and there:

"... due early tomorrow morning ... louse this up."

You probably don't want to get caught back here. You should think about leaving soon.
action: You examine the switchbox
response: This looks like the master electrical switchbox for the club.

The switchbox is currently switched on.

Ginger's next act is coming up soon. She'll probably be heading back to her dressing room to get ready. You really ought to think about going back to the club soon.
action: You open the dressing room
response: You open the dressing room door.

You really don't have much time. Get out before you're caught!
action: You exit
response: But you aren't in anything at the moment.

Come on! Come on! She'll be back any minute! Wrap it up already bub!
action: You go south
response: You open the backstage door.

You can see the backstage door, the stage, some customers, Ginger Andrews, some tables, some dancers and a guard here.

You step through the door and right into the back of the guard. He is none too happy to see you and pushes you back into the manager's office where three more thugs are waiting.

"I caught this guy nosin' 'round backstage, boss. Whatdya want I should do wit 'im?"

"Thank you, Rocky. You may leave him with us and return to your post."

"Duh. OK Boss."

The boss pulls out a .38 and points it at your chest while one of the other thugs grabs your arms from behind.

The one with the gun says, "Well look what we have here boys."

The one holding your arms says, "Looks like a spy, boss."

The thin one with a face like a weasel says, "And look what I found in his pocket, boss." He holds your gun.

"Mickey Boy, I think you better take Mr. Nosey for a ride."

Soon you find yourself shoved in the back of a black sedan. Some fifteen minutes later you find yourself on a dark pier being fitted for a new pair of cement overshoes. They're a little tight but it doesn't matter. You won't notice them for long.

Just then your mother reaches over and shuts off the radio. "Honestly, Junior. I don't know why you bother filling your head with all those silly detective stories. Now get off to bed."
action: You open the door
response: You open the backstage door.

Ginger's jewelry sparkles as she passes one of the stage lights.
action: You enter door
response: You're in a narrow hallway that runs behind the stage. Along the north wall is the door to what must be Ginger's dressing room. The small star with the name "Ginger" written on it provides the tip-off. To the east is a door with the word "management" written on it. That door is cracked just enough that you might be able to get a peek inside. The door that leads back to the club is to the south.

You can see the dressing room door, the manager's office door, the backstage door and a switchbox here.
action: You open the dressing room
response: You open the dressing room door.
action: You enter the dressing room
response: Ginger's dressing room is a certainly a cozy place. It's only a bit bigger than a broom closet. The only entrance is the door to the south.

Along the far wall sits an actor's dressing table.

On the dressing table is a cigarette case (closed).

In the corner sits a wastepaper basket.

You can also see the dressing room door here.
action: You look in the basket
response: In the wastepaper basket is a bouquet of flowers.
action: You look at the bouquet
response: You see a bouquet of one dozen long stemmed red roses bearing a card which reads, "To Ginger. From your most ardent admirer: Bob."

"Now ain't that just pretty." You say to yourself. "So Bobby-boy was here all right. I wonder what Miss Ginger could tell me about all of this?"
action: You examine Case
response: It's a small silver cigarette case. The outside of the case is engraved with a fancy monogrammed B and W. The case is closed.

You probably don't want to get caught back here. You should think about leaving soon.
action: You examine table
response: It's a small table with a mirror that's surrounded by lights.

You probably don't want to get caught back here. You should think about leaving soon.
action: Open Case
response: You open the cigarette case, revealing four Muskrat cigarettes.

You probably don't want to get caught back here. You should think about leaving soon.
action: You examine the Muskrat
response: Firm and shapely, Muskrat cigarettes are tops with smokers everywhere. There simply isn't a finer cigarette! Try one today!

Ginger's next act is coming up soon. She'll probably be heading back to her dressing room to get ready. You really ought to think about going back to the club soon.
action: You go to the west
response: You can't go that way.

You really don't have much time. Get out before you're caught!
action: Go outside
response: But you aren't in anything at the moment.

You really don't have much time. Get out before you're caught!
action: You enter door
response: You can see the dressing room door, the manager's office door, the backstage door and a switchbox here.

You really don't have much time. Get out before you're caught!
action: You turn off the switch
response: With a big grin on your mug, you pull the switch and the lights go dark. Suddenly you hear shouting from the manager's office. "What the? Who turned off those lights!" Then you hear a door fly open, followed by the sound of running feet. Before you know what's next, three large bodies slam into you like a freight train. You're pinned to the wall and when the lights come back up your arms are held fast behind you and you find yourself staring into the barrel of a .38.

The one with the gun says, "Well look what we have here boys."

The one holding your arms says, "Looks like a spy, boss."

The thin one with a face like a weasel says, "And look what I found in his pocket, boss." He holds your gun.

"Mickey Boy, I think you better take Mr. Nosey for a ride."

Soon you find yourself shoved in the back of a black sedan. Some fifteen minutes later you find yourself on a dark pier being fitted for a new pair of cement overshoes. They're a little tight but it doesn't matter. You won't notice them for long.

Just then your mother reaches over and shuts off the radio. "Honestly, Junior. I don't know why you bother filling your head with all those silly detective stories. Now get off to bed."
action: You open backstage
response: You open the backstage door.

Ginger pauses to chat with a customer.
action: You enter backstage
response: You're in a narrow hallway that runs behind the stage. Along the north wall is the door to what must be Ginger's dressing room. The small star with the name "Ginger" written on it provides the tip-off. To the east is a door with the word "management" written on it. That door is cracked just enough that you might be able to get a peek inside. The door that leads back to the club is to the south.

You can see the dressing room door, the manager's office door, the backstage door and a switchbox here.
action: You put the gun in the basket
response: Yeah. I know it doesn't have any bullets but it still might come in handy. You better hold on to it.

You probably don't want to get caught back here. You should think about leaving soon.
action: You enter door
response: You can see the dressing room door, the manager's office door, the backstage door and a switchbox here.

You probably don't want to get caught back here. You should think about leaving soon.
action: Manager'S
response: You hear the voices of three men. You can't make out everything they say but you are able to hear a few words here and there:

"... due early tomorrow morning ... louse this up."

Ginger's next act is coming up soon. She'll probably be heading back to her dressing room to get ready. You really ought to think about going back to the club soon.
action: Continue
response: "Yeah, boss. I understand."

You really don't have much time. Get out before you're caught!
action: Continue
response: "... see that you don't ..."

Come on! Come on! She'll be back any minute! Wrap it up already bub!
action: You continue
response: "... boys in Chicago ..."

I mean it! You'd better get out now, Sam!
action: You keep going
response: You're afraid that if you stay here much longer you might be caught eavesdropping.

Come on! Come on! She'll be back any minute! Wrap it up already bub!
action: You enter the dressing
response: Along the far wall sits an actor's dressing table.

On the dressing table is a cigarette case (closed).

In the corner sits a wastepaper basket.

You can also see the dressing room door here.

I mean it! You'd better get out now, Sam!
action: You get the flowers
response: Taken.

Come on! Come on! She'll be back any minute! Wrap it up already bub!
action: You put gun in the flowers
response: Yeah. I know it doesn't have any bullets but it still might come in handy. You better hold on to it.

I mean it! You'd better get out now, Sam!
action: You enter door
response: You can see the dressing room door, the manager's office door, the backstage door and a switchbox here.

I mean it! You'd better get out now, Sam!
action: You turn off the switch
response: With a big grin on your mug, you pull the switch and the lights go dark. Suddenly you hear shouting from the manager's office. "What the? Who turned off those lights!" Then you hear a door fly open, followed by the sound of running feet. Before you know what's next, three large bodies slam into you like a freight train. You're pinned to the wall and when the lights come back up your arms are held fast behind you and you find yourself staring into the barrel of a .38.

The one with the gun says, "Well look what we have here boys."

The one holding your arms says, "Looks like a spy, boss."

The thin one with a face like a weasel says, "And look what I found in his pocket, boss." He holds your gun.

"Mickey Boy, I think you better take Mr. Nosey for a ride."

Soon you find yourself shoved in the back of a black sedan. Some fifteen minutes later you find yourself on a dark pier being fitted for a new pair of cement overshoes. They're a little tight but it doesn't matter. You won't notice them for long.

Just then your mother reaches over and shuts off the radio. "Honestly, Junior. I don't know why you bother filling your head with all those silly detective stories. Now get off to bed."
action: You enter backstage
response: (the backstage door)
You can't, since the backstage door is in the way.

Come on! Come on! She'll be back any minute! Wrap it up already bub!
action: You open backstage
response: (the backstage door)
You open the backstage door.

Come on! Come on! She'll be back any minute! Wrap it up already bub!
action: You enter backstage
response: (the backstage door)

You can see the backstage door, the stage, some customers, Ginger Andrews, some tables, some dancers and a guard here.

You step through the door and right into the back of the guard. He is none too happy to see you and pushes you back into the manager's office where three more thugs are waiting.

"I caught this guy nosin' 'round backstage, boss. Whatdya want I should do wit 'im?"

"Thank you, Rocky. You may leave him with us and return to your post."

"Duh. OK Boss."

The boss pulls out a .38 and points it at your chest while one of the other thugs grabs your arms from behind.

The one with the gun says, "Well look what we have here boys."

The one holding your arms says, "Looks like a spy, boss."

The thin one with a face like a weasel says, "And look what I found in his pocket, boss." He holds your gun.

"Mickey Boy, I think you better take Mr. Nosey for a ride."

Soon you find yourself shoved in the back of a black sedan. Some fifteen minutes later you find yourself on a dark pier being fitted for a new pair of cement overshoes. They're a little tight but it doesn't matter. You won't notice them for long.

Just then your mother reaches over and shuts off the radio. "Honestly, Junior. I don't know why you bother filling your head with all those silly detective stories. Now get off to bed."
action: Inventory
response: You are carrying:
a bouquet of flowers
expense money
a revolver
a small key

I mean it! You'd better get out now, Sam!
action: You examine the manager's door
response: Through the crack in the door you can just make out the shapes of three men. If you listen closely you might just catch bits and snatches of their conversation.

Come on! Come on! She'll be back any minute! Wrap it up already bub!
action: You close the manager's door
response: That's already closed.

I mean it! You'd better get out now, Sam!

Ginger Andrews arrives from the south.

Seeing you backstage, Ginger lets out a shriek. "EEEK! Who are you and just what do you think you are doing back here? This area is off limits!"

"Sorry, sweetheart. I was just leaving."

But before you can go, three men rush in from the manager's office. One of them pulls a gun while another grabs you from behind.

The one with the gun says, "Well look what we have here boys."

The one holding your arms says, "Looks like a spy, boss."

The thin one with a face like a weasel says, "And look what I found in his pocket, boss." He holds your gun.

"Mickey Boy, I think you better take Mr. Nosey for a ride."

Soon you find yourself shoved in the back of a black sedan. Some fifteen minutes later you find yourself on a dark pier being fitted for a new pair of cement overshoes. They're a little tight but it doesn't matter. You won't notice them for long.

Just then your mother reaches over and shuts off the radio. "Honestly, Junior. I don't know why you bother filling your head with all those silly detective stories. Now get off to bed."
action: You give the money to guard
response: What? And leave yourself without expense money? No way, brother.

Every man in the room watches as Ginger moves to another table.
action: You go east
response: You can see the stage, some customers, a bar (on which is a nut bowl (in which are some beer nuts)) and Jack Walker here.

Ginger briefly dances with one of the customers before returning him to his previous partner.
action: You get the nuts
response: (the beer nuts)
You grab another handful of nuts from the bowl.

Ginger flashes a brilliant smile at a portly man who is old enough to be her father. It looks like he'll go home happy.
action: You check what you're carrying
response: You are carrying:
lots of beer nuts
expense money
a revolver
a small key

All eyes are on Ginger as she passes between the tables.
action: You go west
response: You can see the stage, some customers, Ginger Andrews, the backstage door, some tables, some dancers and a guard here.

Ginger pauses to chat with a customer.
action: You throw the nuts at the guard
response: You throw a handful of beer nuts at the guard and they scatter everywhere.

The nuts get under the feet of the dancers and they begin falling like ten pins. The guard runs over to help them back to their feet.

Every man in the room watches as Ginger moves to another table.
action: Inventory
response: You are carrying:
some beer nuts
expense money
a revolver
a small key

Ginger's jewelry sparkles as she passes one of the stage lights.
action: You enter backstage
response: You're in a narrow hallway that runs behind the stage. Along the north wall is the door to what must be Ginger's dressing room. The small star with the name "Ginger" written on it provides the tip-off. To the east is a door with the word "management" written on it. That door is cracked just enough that you might be able to get a peek inside. The door that leads back to the club is to the south.

You can see the dressing room door, the manager's office door, the backstage door and a switchbox here.

You probably don't want to get caught back here. You should think about leaving soon.
action: You open the dressing
response: You open the dressing room door.

Ginger's next act is coming up soon. She'll probably be heading back to her dressing room to get ready. You really ought to think about going back to the club soon.
action: You enter the dressing
response: Ginger's dressing room is a certainly a cozy place. It's only a bit bigger than a broom closet. The only entrance is the door to the south.

Along the far wall sits an actor's dressing table.

On the dressing table is a cigarette case (closed).

In the corner sits a wastepaper basket.

You can also see the dressing room door here.

You really don't have much time. Get out before you're caught!
action: You look in the wastepaper
response: In the wastepaper basket is a bouquet of flowers.

Come on! Come on! She'll be back any minute! Wrap it up already bub!
action: You examine the bouquet
response: You see a bouquet of one dozen long stemmed red roses bearing a card which reads, "To Ginger. From your most ardent admirer: Bob."

"Now ain't that just pretty." You say to yourself. "So Bobby-boy was here all right. I wonder what Miss Ginger could tell me about all of this?"

I mean it! You'd better get out now, Sam!
action: You enter door
response: You can see the dressing room door, the manager's office door, the backstage door and a switchbox here.

Come on! Come on! She'll be back any minute! Wrap it up already bub!
action: You listen to the manager'S
response: You hear the voices of three men. You can't make out everything they say but you are able to hear a few words here and there:

"... due early tomorrow morning ... louse this up."

I mean it! You'd better get out now, Sam!
action: You throw the nuts at the manager'S
response: You throw a handful of beer nuts at the manager's office door and they scatter everywhere.

Come on! Come on! She'll be back any minute! Wrap it up already bub!
action: You turn off the switch
response: With a big grin on your mug, you pull the switch and the lights go dark. Suddenly you hear shouting from the manager's office. "What the? Who turned off those lights!" Then you hear a door fly open, followed by the sound of little round objects flying all around the room and three heavy objects striking the floor and each other. "Get your fat backside off me, Mickey!"

"Sorry, boss."

You had better scram quick before they regain their feet.

It is now pitch dark in here!
action: You open backstage
response: You open the backstage door.
action: You enter backstage
response: It is pitch dark, and you can't see a thing.

All around you, you can hear the sounds of frightened snobs. Who knew the rich were so afraid of the dark?
action: Wait
response: Time passes.

All around you, you can hear the sounds of frightened snobs. Who knew the rich were so afraid of the dark?

Looks like Tony and his boys found the switchbox. The lights are back on.

You have to admit that this place is pretty swank. Like the lobby, it's all done up in art deco white and gleaming silver. The cavernous room is filled with tables, which in turn are filled with the upper-crustiest crumbs in this crummy city. There are so many tuxedos it looks like a penguin convention, and enough feathers to defrock a flock of ostriches.

The central focus of the club is the dance floor, just south of the stage, which fills the entire north wall of the room. There is a small backstage door in the north wall, just to the side of the stage. A guy about the size of Mt. Rushmore guards the door.

The bar is to the east. The lobby is south.

You can see the backstage door, the stage, some customers, Ginger Andrews, some tables, some dancers and a guard here.
action: You talk to Ginger
response: Prying Ginger away from her adoring public you flash her what you hope is your most charming smile and say, "Hello there, beautiful. Got a minute?"

Ginger looks you over and says "Why not? Shoot, tough guy. What's on your mind? I mean besides that."

[1] Confront her about the dressing room.
[2] Say goodbye.

Finding the backstage door open, the guard closes it again.

Someone at one of the far tables sings Happy Birthday.
action: 1
response: "So, are you sure that you barely knew Bob Watterson?"

She gives you a slightly annoyed look and says, "That's what I said. Isn't it?"

"It's just that I happen to know that he was in your dressing room last night."

Now you have her attention, "Really? And how would you know that?"

"Never mind how. I know. And now he's gone missing and I thought since you were the last one I know who might have seen him perhaps you could help me out. You want to tell me about it?"

A brief flash of anger crosses her face for just a second before she smiles at you all innocent like and says, "Alright, Sam. Sure. Bob came backstage after the show last night and we had a few laughs. He invited me over to his place after closing time. I went to meet him but when I rang, nobody answered the bell. I assumed I'd been stood up and went home."

"Him? Stand up a dish like you? Oh, honey, I don't think that's likely. Tell me, where is this apartment of his?"

"It's the penthouse at the Luxor building on the corner of 5th and Main."

"Thanks, sweetheart. You've been a help."

"Any time, Sam. Let me know if there's ever anything else, anything at all, that I can help you with."

You think to yourself that perhaps it's time to check out Bobby's digs.

Finding the backstage door open, the guard closes it again.

A customer laughs at one of Ginger's jokes.

Ginger Andrews goes north.
action: You go to the south
response: You can see some customers, Jean Claude and a lectern here.
action: You go south
response: Things were finally starting to get interesting. I still didn't know where this guy was but at least now I had some leads. Ginger said that she was supposed to meet him at his apartment and there was no way that I was about to believe that a mug like Bob Watterson was going to deliberately miss a date with a dame like Ginger Andrews. Clearly something must have happened to him. Perhaps I could find some clues at his penthouse.

I rode the elevator back down to the street, hailed a cab and soon found myself at the corner of 5th and Main. It's a lovely part of town for lovely people. I took a few more steps and I was standing in the lobby of the Luxor Apartments, home of one Robert Watterson III.

[This might be a good time to save your game.]

The lobby of the Luxor Apartments is very posh but mostly empty, especially at this late hour. Interesting. It seems like every upscale establishment has a thing for chrome and the color white these days. Why is that? You wonder.

The exit to the street is to the south. A door blocks your way north.

You can see a front door and an intercom here.
action: You examine the intercom
response: The intercom is a panel set into the wall with a microphone and speaker and a row of four buttons: one for each tenant. It looks like there must be only one tenant on each of the four floors above the lobby because there are only four buttons. They're predictably numbered 2, 3, 4, and 5. You remember that Bob's apartment is the penthouse. His must be button 5.
action: You enter door
response: This small hallway runs north from the front door and ends in a pair of elevator doors.

You can see a front door, some elevator doors and an elevator call button here.
action: You enter the elevator
response: (the elevator doors)

The elevator is clean and plush with a single set of doors along the south wall. Why can't your office be this nice?

A small stool stands in the corner, next to the control panel. Usually the operator would sit there but it's so late that he's probably gone home.

You can also see a control panel here.
action: You examine the stool
response: It's a simple wooden stool for the elevator operator to sit on.
action: You get the stool
response: Taken.
action: You examine the panel
response: The elevator control panel looks simple enough that even a dope like you could use it. It's got five buttons marked Floor 1 through Floor 5 on it.
action: You go to the south
response: You're in a small, tastefully decorated entry room flanked by the elevator to the north and an apartment to the south.

You can see some elevator doors (open), an elevator call button and Bob Watterson's front door here.
action: You open it
response: You open the door. It's strange that he should leave it unlocked.
action: Go south
response: Nice digs! Bob sure knows how to live. The living room is large and very tastefully decorated. Through an alcove to the west you can see a dining room. To the east must be the bed room. Going south, opposite the front door, will take you to some sort of an open garden area.

A long, plush couch sits along one of the walls.

A very large painting graces the wall across from the couch.

A tropical fish tank sits underneath the painting.

Beside the couch on a little end table is a radio.

You can also see Bob Watterson's front door here.
action: You look at radio
response: This is a very attractive tabletop model in a walnut frame.

The radio is currently switched off.
action: You turn on the radio
response: You switch the radio on.

The radio station is playing a love song by one of those crooners who are so popular these days.

That's already on.

Soft music plays over the radio.
action: You close front door
response: You close Bob Watterson's front door.

A big band number is playing on the radio.
action: You look at the fish
response: (the tropical fish)
Pretty little critters. Pity you can't teach them to fetch your slippers.

The radio station is playing a love song by one of those crooners who are so popular these days.
action: You lock the door
response: What do you want to lock Bob Watterson's front door with?
action: Fish
response: At first the painting seems to be just be a jumble of geometric patterns and colors but as you look at it more closely, you realize it's a nude portrait done in the cubist style.

Soft music plays over the radio.

You can't see any such thing.
action: You move painting
response: It is fixed in place.

A big band number is playing on the radio.
action: You look under the couch
response: You find nothing of interest.

The radio station is playing a love song by one of those crooners who are so popular these days.
action: You look at the couch
response: Bob's couch is a lovely piece of furniture upholstered in fine leather.

Soft music plays over the radio.

Bob's couch is a lovely piece of furniture upholstered in fine leather.

A big band number is playing on the radio.
action: You examine table
response: You see nothing special about the end table.

The radio station is playing a love song by one of those crooners who are so popular these days.
action: You go to the east
response: Bob's bedroom is not overly large but it's very nice. It's also very clean. You can't help but wonder if he has a maid.

Anyway, there's a large window on the east wall which leads to the fire escape. The living room is to the west.

The bed is along the south wall. It's one of those nice mahogany sled-style beds. King-size.
action: You examine the window
response: The window opens easily leading to the fire escape beyond.
action: You pull the bed
response: It is fixed in place.
action: You open the window
response: Sure. But if you're trying to get to the fire escape, you can just go east.
action: You examine table
response: It's a big table and it's pretty nice and all, but other than that it's rather uninteresting.
action: You look at the chair
response: The dining room chairs are very nice. They match the table.
action: You go south
response: A well appointed kitchen is the hallmark of civilization. You can't remember who said that. Perhaps you just made it up yourself. Anyway, Bob's kitchen is neat, and clean, and almost empty. You're guessing that he eats out a lot.

Along the west wall stands a large white refrigerator, happily humming to itself.

Beside the fridge, running along the rest of the length of the wall, is a marble counter.

On the marble counter is a knife block (in which are five knives).

In the counter is a large marble sink.
action: You look at the knife block
response: It's a wooden block with slots for holding six knives. At the moment there are five knives in the knife block.
action: You open the fridge
response: You open the refrigerator, revealing Chinese takeout.
action: You examine takeout
response: Looks like rice and wontons from a local Chinese place.
action: You get the takeout
response: Taken.
action: You get the knife
response: (the knife)
Taken.
action: You examine the counter
response: It's a lovely marble counter top.
action: You eat the takeout
response: Remembering that you never did get that dinner at the Top Cat Club, you decide to wolf down the Chinese food. It's cold but it's delicious.
action: Inventory
response: You are carrying:
a knife
a stool
expense money
a revolver
a small key
action: Go north
response: In the middle of the room is a large oval dining table.

You can also see six dining room chairs here.
action: You look around
response: This room is big enough to hold quite the little soiree. Like everything else in this place, it's clean and expensive.

The kitchen lies to the south and the living room is back to the east.

In the middle of the room is a large oval dining table.

You can also see six dining room chairs here.
action: You go east
response: A long, plush couch sits along one of the walls.

A very large painting graces the wall across from the couch.

A tropical fish tank sits underneath the painting.

Beside the couch on a little end table is a radio.

You can also see Bob Watterson's front door here.

Soft music plays over the radio.
action: You look at the ceiling
response: You see nothing special about the ceiling.

Soft music plays over the radio.
action: You go north
response: You can't, since Bob Watterson's front door is in the way.

A big band number is playing on the radio.
action: Go south
response: One of the fringe benefits of having a penthouse apartment is that part of your living space can be out doors. The south-eastern corner of Bob's apartment is devoted to a rooftop garden and swimming pool surrounded on all sides by a high brick wall. The setting is all quite nice but the thing that immediately attracts your attention is the stiff floating in the middle of the pool.

On the south side of the pool, attached to the wall is a pool net.

You can also see a swimming pool (in which are some water and a dead man) here.
action: You look at the dead man
response: You see a dead man floating face down in the pool. A knife is sticking out of his back. It looks like he hasn't been here for very long. He's wearing a belt, a pair of pants and a dress shirt
action: You look at the knife
response: (the knife)
It's a sharp object good for cutting, or stabbing, or sometimes killing.
action: You look at the net
response: It's one of those long nets on the end of a pole. It's used for cleaning leaves, dead bugs, and perhaps corpses, from swimming pools.
action: You get the body with the net
response: Using the pool net you fish the body out of the pool.

The body is much too heavy to carry.
action: Look around
response: One of the fringe benefits of having a penthouse apartment is that part of your living space can be out doors. The south-eastern corner of Bob's apartment is devoted to a rooftop garden and swimming pool surrounded on all sides by a high brick wall. The setting is all quite nice but the thing that immediately attracts your attention is the stiff on the side of the pool.

You can see a dead man and a swimming pool (in which is some water) here.
action: You examine man
response: You see a dead man. He is wearing a belt, a pair of pants and a dress shirt A bloody knife is sticking in his back.
action: You look at the bloody knife
response: It looks like a kitchen carving knife. There's blood all over it.
action: You examine the belt
response: It looks like your garden variety brown leather belt.
action: You wear the belt
response: You put on the belt.
action: You examine the pants
response: Dress slacks. There's a back pocket.
action: You examine the shirt
response: It looks like it was once a pretty nice silk shirt. Pity it's got blood all over it now.
action: You look in the pocket
response: (the back pocket)
In the back pocket are a brass key and a wallet.
action: You get the key
response: (the brass key)
Taken.
action: You open it
response: You open the wallet, revealing an ID card.
action: You examinethe i d card
response: Robert Watterson III. It's him all right.
action: You examine the brass key
response: You see nothing special about the brass key.

In the distance, you can hear the sound of sirens.
action: You look at the garden
response: It's too late for the flowers to be open but it appears that Bob has a green thumb.

The sirens seem to be getting louder.
action: You go to the north
response: A long, plush couch sits along one of the walls.

A very large painting graces the wall across from the couch.

A tropical fish tank sits underneath the painting.

Beside the couch on a little end table is a radio.

You can also see Bob Watterson's front door here.

The radio station is playing a love song by one of those crooners who are so popular these days.

No, you're sure of it now. The cops seem to be surrounding the building! Well, Sam, it looks like you've been set up!
action: You go east
response: The bed is along the south wall. It's one of those nice mahogany sled-style beds. King-size.

You'd better find a way out of here before they find you with Mr. Congeniality here.
action: Go east
response: Standing in the chill night air on the fire escape, you can see all the way to the center of town. It's quite a view.

The streets below are illuminated by red and blue flashing lights. Looks like the cops have the place surrounded.

Hmm. The sirens have stopped. Perhaps they were going somewhere else.
action: You go downwards
response: You rush down the fire escape but unfortunately, the cops are at the bottom waiting for you.

There is a brief struggle as the cops surround you. By the time it's over, a few cops are sporting shiners and you've become intimate with a pair of handcuffs.

The cops toss you in the back of a squad car and haul you downtown.

After a brief stay as a guest of the local tax payers, you're brought up on charges. The rap is murder.

You argue that you were set up but even Clancy can't help you now.

"Come on, Clancy. You know me. You don't think that I did this do you?"

"It doesn't matter what I'm thinking, Sam. That's for a jury to decide."

Those words don't bring much comfort. Short odds are on a jury's being all too happy to believe that you did it, considering you were found sharing a room with a freshly stabbed corpse.

"Off to bed, Junior" your mother says as she turns off the radio.

"But ma! I need to know how Sam's going to get out of this one! Can't I please stay up a little longer?"

"Sorry. You have school in the morning. You'll just have to ask your friends about it in the morning."
action: Up
response: You can't go that way.

Nope. More sirens. They're here all right. You'd better make yourself scarce quick Sam!
action: You wait
response: Time passes.
action: You go west
response: The bed is along the south wall. It's one of those nice mahogany sled-style beds. King-size.
action: Go west
response: A long, plush couch sits along one of the walls.

A very large painting graces the wall across from the couch.

A tropical fish tank sits underneath the painting.

Beside the couch on a little end table is a radio.

You can also see Bob Watterson's front door here.

Soft music plays over the radio.

Still more sirens. It looks like they've called in reinforcements.
action: You open the door
response: You open Bob Watterson's front door.

The radio station is playing a love song by one of those crooners who are so popular these days.

You're really starting to get nervous. There has to be a way out of this jam. There just has to be.
action: You go to the north
response: You can see some elevator doors (open), an elevator call button and Bob Watterson's front door here.

Darn it! Nothing seems to be working! Quick, Sam! Think!
action: You go to the north
response: You can see a control panel here.

They're probably getting ready to storm the building any minute now!
action: You look at the ceiling
response: You see nothing special about the ceiling.

You hear the sound of a bull horn. "Alright, Sam! We know you're up there! Give yourself up!" Darn it! Who's the rat that tipped them off?
action: Go south
response: You're in a small, tastefully decorated entry room flanked by the elevator to the north and an apartment to the south.

You can see an apartment door, some elevator doors (open) and an elevator call button here.

There's that bull horn again. "Give it up, Sam! There's no way out. We've got the place surrounded!"
action: You knock on the door
response: You knock on the door. An elderly voice says, "Who is it?"

"Never mind, ma'am," you say, "wrong apartment."
action: You go north
response: You can see a control panel here.

"That's it, Sam! We're coming up!"
action: You go south
response: You're in a small, tastefully decorated entry room flanked by the elevator to the north and an apartment to the south.

You can see an apartment door, some elevator doors (open) and an elevator call button here.

They're probably getting ready to burst in right now. If you're going to get out of here, now would be the time to do it!
action: You knock on door
response: You knock on the door. Some mug in a rumpled dress shirt opens the door, give you one look and says, "Hey! You're not Lenny." Looks like you found an Einstein.

"Sorry, bud. Wrong apartment" you say as he closes the door.

Panic starts to set in! They're going to be here any minute now!
action: Go north
response: You can see a control panel here.

There is a loud banging as the police smash their way in to the building. Soon the apartment building is crawling with armed cops. You try desperately to hide from them but it's no good. It doesn't take them too long to find you.

There is a brief struggle as the cops surround you. By the time it's over, a few cops are sporting shiners and you've become intimate with a pair of handcuffs.

The cops toss you in the back of a squad car and haul you downtown.

After a brief stay as a guest of the local tax payers, you're brought up on charges. The rap is murder.

You argue that you were set up but even Clancy can't help you now.

"Come on, Clancy. You know me. You don't think that I did this do you?"

"It doesn't matter what I'm thinking, Sam. That's for a jury to decide."

Those words don't bring much comfort. Short odds are on a jury's being all too happy to believe that you did it, considering you were found sharing a room with a freshly stabbed corpse.

"Off to bed, Junior" your mother says as she turns off the radio.

"But ma! I need to know how Sam's going to get out of this one! Can't I please stay up a little longer?"

"Sorry. You have school in the morning. You'll just have to ask your friends about it in the morning."
action: You examine control
response: The elevator control panel looks simple enough that even a dope like you could use it. It's got five buttons marked Floor 1 through Floor 5 on it.

They're probably getting ready to burst in right now. If you're going to get out of here, now would be the time to do it!
action: You look around
response: The lobby of the Luxor Apartments is very posh but mostly empty, especially at this late hour. Interesting. It seems like every upscale establishment has a thing for chrome and the color white these days. Why is that? You wonder.

The exit to the street is to the south. A door blocks your way north.

You can see a front door and an intercom here.
action: You go to the north
response: This small hallway runs north from the front door and ends in a pair of elevator doors.

You can see a front door, some elevator doors and an elevator call button here.
action: You go north
response: The elevator is clean and plush with a single set of doors along the south wall. Why can't your office be this nice?

A small stool stands in the corner, next to the control panel. Usually the operator would sit there but it's so late that he's probably gone home.

You can also see a control panel here.
action: You turn on the radio
response: You switch the radio on.

A big band number is playing on the radio.
action: You go to the east
response: A long, plush couch sits along one of the walls.

A very large painting graces the wall across from the couch.

A tropical fish tank sits underneath the painting.

Beside the couch on a little end table is a radio.

You can also see Bob Watterson's front door here.

The radio station is playing a love song by one of those crooners who are so popular these days.
action: You look in the sink
response: The sink is empty.
action: You move the couch
response: It is fixed in place.

Soft music plays over the radio.
action: You look in the tank
response: In the tropical fish tank are some tropical fish and some water.

A big band number is playing on the radio.
action: Search tank
response: In the tropical fish tank are some tropical fish and some water.

Soft music plays over the radio.
action: You get the fish
response: (the tropical fish)
You reach in and try to grab some of the fish but they just swim away.

The radio station is playing a love song by one of those crooners who are so popular these days.
action: Drink water
response: Delicious and refreshing!

Soft music plays over the radio.
action: Go east
response: Standing in the chill night air on the fire escape, you can see all the way to the center of town. It's quite a view.
action: Go downwards
response: Oh come on, Sam. You've barely even looked around the place. Don't leave now!
action: You go west
response: The bed is along the south wall. It's one of those nice mahogany sled-style beds. King-size.
action: Go west
response: A long, plush couch sits along one of the walls.

A very large painting graces the wall across from the couch.

A tropical fish tank sits underneath the painting.

Beside the couch on a little end table is a radio.

You can also see Bob Watterson's front door here.

A big band number is playing on the radio.
action: You remove the shirt
response: (first taking the dress shirt)
You'll have to remove the knife first if you want to get his shirt off.
action: You examine the brick wall
response: The wall surrounds the pool on the south and east sides, the sides that aren't blocked by the apartment itself. It's pretty high. Apparently Bob likes his privacy.
action: You get the knife
response: You pull the bloody knife out of his back, putting your fingerprints all over it in the process.
action: You climb the wall
response: It's far to high for you to reach. Perhaps if you had something to stand on.
action: You examine the pants
response: Dress slacks. There's a back pocket.
action: You look at the key
response: Which do you mean, the brass key or the small key?
action: You open the wallet
response: You open the wallet, revealing an ID card.
action: You examine the iD
response: Robert Watterson III. It's him all right.
action: You drop the stool
response: Dropped.

In the distance, you can hear the sound of sirens.
action: You stand on the stool
response: You get onto the stool.

The sirens seem to be getting louder.
action: You climb the wall
response: You can just barely reach.

(getting off the stool)
You climb up onto the top of the wall and look around. The view is fantastic from up here. It's marred only by the high tension wire that runs from the roof of Bob's apartment, passing over your head and descending to the roof of the building to the east. From up here on the wall, it's just low enough for you to reach.

No, you're sure of it now. The cops seem to be surrounding the building! Well, Sam, it looks like you've been set up!
action: You climb the wire
response: Try sliding down the wire instead.

You'd better find a way out of here before they find you with Mr. Congeniality here.
action: You slide down the wire
response: Sliding down that wire with your bare hands looks like it would be pretty painful. Perhaps you could try sliding down the wire with something.

Hmm. The sirens have stopped. Perhaps they were going somewhere else.
action: You slide down the wire with the belt
response: I looped Bob's belt over the high tension wire and slid down to the roof of the adjacent building.

It was just in the nick of time too. I could hear the cops running through the apartment behind me. "He's not here, Sarge. But there's the body. I guess that tip-off was on the level!"

One thing was certain. I didn't need to continue looking for Robert Watterson III. He wasn't missing any more. Although I supposed someone might be missing him.

What had I gotten myself mixed up in? The cops showing up just then was entirely too convenient. Somebody wanted me out of the picture and they wanted it bad. But who? I tried to make it all add up but so far all it added up to was a lot of question marks.

Folks, that's the end of Act I of tonight's drama: the Case of the Missing Playboy.

In a minute, we'll continue with Act II but first...

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And now: we bring you Act II of tonight's thrilling adventure of Sam Fortune and The Case of the Missing Playboy!
action: You take the phone
response: Picking up the telephone you pause to consider your options.

[1] Call Clancy at the 21st precinct.
[2] Call the Times.
[3] Call Irene.
[4] Hang up.
action: 2
response: John Olsen's a friend of yours. He works the society desk at the Times. It's very late but you're betting he's still there after putting to bed the morning edition. Turns out your hunch was right.

"What's stewing, Sammy?"

[1] Ask about Irene.
[2] Ask about Mr. Scarlet.
[3] Ask about Bob Watterson.
[4] Ask about the Top Cat Club.
[5] Ask what he knows about Ginger.
[6] Ask about recent police activity.
[7] Chat with John for a while.
[8] Hang up.
action: 1
response: "John, what can you tell me about Irene Scarlet?"

"Irene Scarlet! The most fashionable belle at the ball. She is the queen of the society set. She carries herself with the grace of a movie star and she mingles with all of the most fashionable men about town. She's been keeping me in print for some time now. Is there something about her that I should know?"

"Now, now, Johnny boy. Don't get over excited. I'm just asking."

"Well, if you're running around with Miss Scarlet then you're in pretty rarified air. Her daddy's..."

"Yeah, yeah. Her daddy's a millionaire."

"Right. And what's his is hers, if you know what I mean. I only wish that she'd give us more to print about her than just who she was seen with where and when. The girl's as squeaky clean as the girl next door. More's the pity."

"Well I hope I don't disappoint you when I say that's good news. Thanks, John. You've been swell."

[1] Ask about Mr. Scarlet.
[2] Ask about Bob Watterson.
[3] Ask about the Top Cat Club.
[4] Ask what he knows about Ginger.
[5] Ask about recent police activity.
[6] Chat with John for a while.
[7] Hang up.
action: 1
response: "What about Daddy Scarlet? What can you tell me about him?"

"Well I'm sure you already know that he's made millions in fish."

"Yes. But is there any dirt on the guy?"

"No. He keeps pretty clean. The only thing fishy about him is his fish. His wife passed on several years back and he's devoted to his daughter. I hate to admit it but they actually seem to be a very nice family. Believe me, Sam. I haven't found even the hint of a scandal and it isn't for lack of trying."

"Thanks again, John."

[1] Ask about Bob Watterson.
[2] Ask about the Top Cat Club.
[3] Ask what he knows about Ginger.
[4] Ask about recent police activity.
[5] Chat with John for a while.
[6] Hang up.
action: 1
response: "Hey, what about a guy named Bob Watterson. What do you know about him?"

"Robert Watterson III. He's one of the society set. He spends money like it's his birthright, which it probably is. We see him a lot in the company of one Miss Irene Scarlet."

"So they're an item are they?"

"Could be. You know you never can really be sure with these society types. They tend to flirt with everyone and when they get really close to someone they tend to like to hide it from people like me."

"Yeah, I can understand that."

"Hey! Was that a crack?"

"What else can you tell me about him?"

"Not much really. He doesn't seem to have a job or anything. Just money. He's been buzzing around the society crowd with the other drones for several years now but nobody's really sure where he came from."

"Well thanks, John."

"Sure thing."

[1] Ask about the Top Cat Club.
[2] Ask what he knows about Ginger.
[3] Ask about recent police activity.
[4] Chat with John for a while.
[5] Hang up.
action: 1
response: "What do you know about the Top Cat Club?"

"The Top Cat Club. Center for overpriced entertainment catering to the rich and privileged."

"Quite the popular spot, I'm given to understand. But I already knew that. Tell me something I don't already know."

"Well, rumor has it that the owner, one Mr. Tony Gabriele, has ties to organized crime. Nothing's been proven of course but it seems pretty likely. I'm told that the police have been watching the place pretty heavy these days."

"Now that is interesting. Can you tell me anything about Mr. Gabriele?"

"Just that he's a very sharp dresser and he never goes anywhere without a couple of goons. I wouldn't get mixed up with him if I were you, Sam. People who do seem to wind up regretting it."

"Yeah. Thanks for the tip, John."

"My pleasure."

[1] Ask what he knows about Ginger.
[2] Ask about recent police activity.
[3] Chat with John for a while.
[4] Hang up.
action: 1
response: "John, what do you know of a dame named Ginger Andrews?"

"The singer at the Top Cat Club?"

"That's her."

"Not much. She worked Atlantic City for a while before Tony brought her up here. Since she's been here, every sugar daddy in town's been trying to hook up with her."

"Any succeed?"

"Not that I can tell. Unless you count Tony. Rumor has it that she's his girl."

"Thank you, Johnny! Now that makes sense!"

[1] Ask what he knows about Tony.
[2] Ask about recent police activity.
[3] Chat with John for a while.
[4] Hang up.
action: 1
response: "Johnny, I need you to tell me everything you know about Tony Gabriele."

"Alright. Well you know he runs the Top Cat Club."

"Yeah. Go on."

"Well, he's also suspected of being connected with organized crime. Seems a lot of known mobsters like to visit the Top Cat Club whenever they're in town. The cops have been trying to connect him with operations in Chicago, Atlantic City, and a few other east coast towns. So far, they've been without luck, but they think it's only a matter of time before he slips up."

"Yeah. That fits the picture, Johnny. What about legit business concerns?"

"Well there's the club of course. And he also has a small warehouse on Pier 27 where he does some importing from the old country. He started the Top Cat Club with money he made through his import business."

"Thanks, Johnny! That's just what I needed to know!"

[1] Ask about recent police activity.
[2] Chat with John for a while.
[3] Hang up.
action: 1
response: "Listen, John, I need your help. I imagine you've heard that there was a 'disturbance' downtown tonight."

"Yeah. Not my desk but I heard something about it. Are you mixed up in this?"

"Never mind that for now. What have you heard?"

"Apparently some guy got bumped off and the cops got a tip-off about the killer. Seems they let him get away though because the radio's been all chatter about a manhunt going on."

[1] Tell him Bob Watterson's dead.
[2] Tell him the cops are after you.
[3] Chat with John for a while.
[4] Hang up.
action: 1
response: "Listen, Johnny. I'll let you in on a scoop. That stiff that the cops found? It's Robert Watterson III."

"You don't say? What'd he die of?"

"Acute back pain, complicated by severe pneumonia. They found him face down in his pool with a kitchen knife jammed into his backbone."

"No wonder the cops are buzzing like a nest of angry hornets."

"Yeah. No wonder."

[1] Tell him the cops are after you.
[2] Chat with John for a while.
[3] Hang up.
action: 1
response: "Johnny, I got a little bit of a problem here. That guy the cops are after? You're talkin' to him."

"What? You killed the guy?"

"No. Of course not. But the cops think I did. Somebody fixed it so that they'd show up just as I was on the scene. Made it all nice and easy for them to jump to the wrong conclusions."

"How can I help?"

[1] Tell the cops I didn't do it.
[2] Tell the cops I was with you.
action: 1
response: "Call the cops and tell them I didn't do it. Tell them that if they'll give me 24 hours I'll finger the killer for them."

"I don't know, Sam. They may not go for it."

"I know. But perhaps it'll buy me some time."

"Alright. I'll try."

"Thanks, Johnny. You're swell."

[1] Chat with John for a while.
[2] Hang up.
action: 1
response: You can't think of anything specific to say to John so you just chat for a while.

[1] Chat with John for a while.
[2] Hang up.
action: 2
response: You put the receiver back on its cradle.
action: 3
response: You're still not sure if you can trust Irene. After all, she got you mixed up in this and for all you know she could have been the one who set you up. Still, she seems on the level and you don't see as it matters much anyway. So you dial Irene's number. It rings a few times and eventually you're rewarded with the sound of her sleepy voice on the other end. "Hello?"

"Hiya, Red. It's Sam."

[1] Tell her Bob's Dead.
[2] Hang up.
action: 1
response: "Listen, doll, I've got some bad news. I found Bob Watterson."

"But, Sam! That's wonderful!"

"No. No it isn't. I'm afraid that he's dead."

"Dead? Oh no, Sam! There must be some mistake!"

"No mistake, sweetheart. I just got done not speaking with him. He was quite incommunicado."

Irene starts crying and it's only with difficulty that she manages to say, "Oh, Sam! This is terrible! What happened?"

"I'm afraid that someone killed him."

"He was murdered?" Still sobbing. "But who would do such a thing? Bob never hurt anybody!"

"I was kind of hoping that you could tell me.

"Listen, sweetheart. I can't go into this over the phone but we need to talk. We have to meet somewhere so we can sort this out. I don't think we have much time."

"Sure, Sam. Anything you say."

"We have to be careful though. I've got half the city police force out looking for me, and whoever bumped off that friend of yours is probably after me as well. So we need to meet somewhere where we can be safe."

"Where did you have in mind?"

"We need somewhere where we can be sure that we're not overheard, but it's got to be somewhere public, somewhere where there'll be witnesses so someone will think twice before making a play for us. What's more, it's gotta be open at this late hour. Say! I've got it. The railway station! Meet me on the center platform in fifteen minutes."

"Sure, Sam, I'll be there."

You put the receiver back on its cradle.
action: You get the phone
response: Picking up the telephone you pause to consider your options.

[1] Call Clancy at the 21st precinct.
[2] Call the Times.
[3] Hang up.
action: 1
response: You decide to call Sgt. Clancy down at the 21st. You dial the number from memory and soon you're talking to Sgt. Clancy.

"Clancy. It's Sam."

"Sam! Where are you? Half the cops in the city are lookin' for ya!"

[1] Tell him I didn't do it.
[2] Ask him to call off the manhunt.
action: 1
response: "Now listen, Clancy. You know I didn't kill that guy. Right?"

"Oh I don't know. Saints preserve us, Sam! We've got your fingerprints all over that apartment."

"But surely you can't believe it!"

"I must admit that I was rather shocked to hear you were implicated, Sam. You've always been a little lax with the law but you've never stepped over the line this far."

"So call off your boys, Clancy. I was framed! Somebody set me up."

"Sure you was, Sam. Now why don't you just come down to the precinct and tell me all of the details."

"No dice, Clancy. You know I can't do that. Just give me 24 hours and I'll get your killer for you."

"You know I can't..."

"I gotta go, Clancy, but I'll be in touch. But remember, just 24 hours."

You put the receiver back on its cradle.
action: You look around
response: Your office is on the fifth floor of a crummy old office building in the lower east side.

There is a single dingy window in the west wall, directly opposite the only door.

The sun streaming throught the Venetian blinds traces bars across the desk that sits in the middle of the room. Bars like the bars of a prison cell.

On the wooden desk is a telephone.

A battered old filing cabinet stands in the corner.

An old desk chair sits behind the desk.

A plain guest chair is strategically placed in front of the desk.
action: You look at the desk
response: (the wooden desk)
It's a very plain wooden desk with a single shabby drawer. Someday perhaps you'll be able to afford mahogany.
action: You look in the drawer
response: Which do you mean, the desk drawer, the top drawer of the filing cabinet or the bottom drawer of the filing cabinet?
action: Desk
response: In the desk drawer is a bottle of whiskey.
action: You drink it
response: You start to take another drink but then you reconsider. "Naw. That's enough, Sam." you say to yourself. "I have a feeling that you might need a clear head tonight."
action: You look up Ginger in the folders
response: Which do you mean, the file folders marked A to M or the file folders marked N to Z?
action: You look at the m.
response: You see several file folders marked A to M in nearly alphabetical order.

You thumb idly through a few of the folders before deciding that there really isn't anything helpful to your current situation.
action: You read the m.
response: You see several file folders marked A to M in nearly alphabetical order.

You thumb through a few of the folders but nothing really catches your interest at the moment. Perhaps if you knew what you were looking for this would yield better results.
action: You look at the north
response: (the file folders marked N to Z)
You see a handful of file folders marked N to Z in mostly alphabetical order.

You thumb idly through a few of the folders before deciding that there really isn't anything helpful to your current situation.
action: You read N
response: (the file folders marked N to Z)
You see a handful of file folders marked N to Z in mostly alphabetical order.

You thumb through a few of the folders but nothing really catches your interest at the moment.
action: Go east
response: Your business concluded, you make for the door but upon opening it, you find yourself face to face with two rough looking thugs.

"Well look who we have here, Mickey Boy!" says the one with the weasely face.

"It looks like a rat, Flynn."

"Pity he isn't caught in some trap somewhere. Isn't it?"

"Heh. Yeah."

You step back into the room as the two thugs burst in. As you silently plan your next move, it occurs to you that you've heard these two voices before, through a door backstage of the Top Cat Club.
action: You talk to Mickey
response: I don't think you're going to be able to talk your way out of this one, Sam.

Mickey Boy says, "You know? The boss doesn't like it when people nose around in his affairs." Then he drives the point home with a swift punch to your gut that leaves your gasping for wind.
action: Punch mickey
response: You hit Mickey Boy with your fist but he shrugs it off.

Mickey Boy says, "When we're through with you, you'll wish you'd stayed in your office, gumshoe." He follows this with a lunge which you only barely avoid.
action: You hit Mickey with the whiskey
response: You smash Mickey Boy with the bottle of whiskey and lay him out flat.

Weasel Face Flynn says, That's a pretty face you have there. It'd be a shame if anything were to happen to it." Then he takes a swing at your face and nearly breaks your jaw. You nearly stagger to the ground before regaining your feet.
action: You shoot flynn
response: That's really rather pointless since you don't have any bullets.

Weasel Face Flynn punches you in the solar-plexus, knocking the wind out of you. "Had enough yet?" he asks.
action: You check what you're carrying
response: You are carrying:
a bottle of whiskey
a brass key
a wallet (open)
an ID card
expense money
a revolver
a small key

Weasel Face Flynn says, "Don't know when to quit, do you?" Then he punches you in the kidneys, knocking you against the filing cabinet.
action: You hit Flynn with the gun
response: You pummel Weasel Face Flynn with the revolver and lay him out flat.
action: You search flynn
response: Weasel Face Flynn is aptly named. He's a thin guy with a face like... well, you know. When he's not stretched out on the floor, he nervously shifts from one leg to the other as his eyes rapidly dart to and fro, which only serves to enhance the mustelidae family resemblance.
action: You search Mickey
response: Mickey Boy is the larger of Tony's errand boys. He's about six feet tall and well over 200 pounds. Not the sort you want to meet in a dark alley, or a deserted office building for that matter.
action: Go east
response: My encounter with Mickey Boy and Weasel Face Flynn made it pretty clear that Tony Gabriele was up to something. I still wasn't sure what it was but by now I was pretty sure that Irene had nothing to do with it.

Once again, I ducked down the stairs and headed out into the dark, lonely streets. It was well past midnight now and the streets were mostly deserted. I didn't dare risk grabbing a cab; instead I walked the few blocks to the train station to keep my appointment with Irene. Along the way I had to duck into a couple of alleys to avoid the occasional copper. The last thing I needed was for some flatfoot beat cop to earn a promotion on my account tonight.

It wasn't long before I found myself in front of the station. Now all I had to do was slip inside, get to the center platform and keep my rendezvous with Irene.

[This might be a good time to save your game.]

The city train station is a big, imposing structure made by big men, designed to impress upon all the supremacy and majesty of the railroad. The columned behemoth of a building lies to the north, the gigantic entrance perched atop a short but magnificent flight of stairs like the entrance to some Greek temple.
action: You go north
response: You are standing on the south side of the cavernous room that makes up the main waiting area of the train station. During the day, passengers would fill this room with activity but at this hour it is mostly empty. You can see the room stretching out in front of you to the north. Far to the north you can just make out the set of stairs that descend to the platforms. Behind you, to the south, is the doorway that leads back outside.

You can see one of the city's finest patrolling the room. As long as you stay here near the entrance, you can probably avoid his gaze but you'll need to find some way to cross the room without attracting his attention.

The policeman is patrolling the north end of the waiting area for now but it appears that he'll soon be heading your way. It's probably best to wait here until you've learned his movements.
action: You look at the cop
response: You see nothing special about the policeman.

The policeman is patrolling the north end of the waiting area.
action: Wait
response: Time passes.

The policeman is crossing the center of the waiting area, heading south.
action: Wait
response: Time passes.

The policeman arrives from the north.

The policeman is patrolling the south end of the waiting area. As long as you don't break cover you're pretty sure that he won't see you.
action: Wait
response: Time passes.

The policeman is patrolling the south end of the waiting area.
action: You wait
response: Time passes.

The policeman goes north.

The policeman is crossing the center of the waiting area, heading north.
action: You go north
response: You're halfway across the waiting area. There is a small gift shop to the west and some ticket windows to the east. Far to the north, you can see the stairs to the platforms. An equal distance to the south, you can see the main entrance.

You can see a policeman here.

You turn up your collar and try to slip past the policeman but since you're nearly the only person in the station, he immediately moves toward you. You turn away but he chases after you and soon it becomes a foot race.

Desperately, you dodge and weave but he blows his whistle and soon there are cops coming from all directions.

There is a brief struggle as the cops surround you. By the time it's over, they've added assaulting a police officer and resisting arrest to your growing list of charges.

The cops toss you in the back of a squad car and take you downtown.

After a brief stay in the city slammer, you're brought up on murder charges.

You try to convince Clancy to help you but the best that he can do is recommend a good lawyer.

"Time for bed, Junior" your mother says as she turns off the radio.

"But, ma! They just arrested Sam! Can't I please stay up a little longer and hear how get gets out of it?"

"Sorry. You have school in the morning. You'll just have to ask your friends about it at school tomorrow."
action: Wait
response: Time passes.

The policeman is crossing the center of the waiting area, heading north.
action: You wait for a while
response: Time passes.

The policeman is patrolling the north end of the waiting area.
action: You go north
response: You're halfway across the waiting area. There is a small gift shop to the west and some ticket windows to the east. Far to the north, you can see the stairs to the platforms. An equal distance to the south, you can see the main entrance.

The policeman is patrolling the north end of the waiting area.
action: Go west
response: This is a small gift shop that sells various items to waiting travelers. Curiously, the shopkeeper seems to have stepped out.
There's no one here.

The waiting area is back to the east.

In the corner of the gift shop is a magazine rack.

On the magazine rack are a copy of Living Magazine and a copy of the Morning Edition News.

On a shelf you can see one of those toy monkeys that dances and bangs its cymbals together when it's turned on.

A snow globe with a model of the train station sits on one of the shelves.

The policeman is patrolling the north end of the waiting area.
action: You read the Living
response: The cover story of this issue is devoted to the European relief effort. I'm sure it's an interesting article but you really don't have time to read it right now.

The policeman is crossing the center of the waiting area, heading south.
action: You read Morning
response: The headline is about president Truman's effort to promote the formation of some international organization called the United Nations. Below that is a brief story about the murder of Robert Watterson III. Most alarming is a police sketch of the chief suspect. They didn't quite capture your rugged jaw line correctly! You're going to have to have some words with Clancy's artist.

The policeman is crossing the center of the waiting area, heading south.
action: You look at the globe
response: A model of the city train station sits inside a glass globe. Tiny snowflakes drift lazily around the globe whenever you shake it. Suspended above the station are the words "Wish You Were Here".

The policeman is crossing the center of the waiting area, heading south.
action: Shake globe
response: You give the globe a vigorous shake and little tiny snowflakes begin swirling around the little building. It's rather pretty really. It's not very useful though.

The policeman is patrolling the south end of the waiting area.
action: You get the monkey
response: Taken.

The policeman is patrolling the south end of the waiting area.
action: You examine it
response: It's a cute little toy monkey holding a pair of cymbals.

The toy monkey is currently switched off.

The policeman is patrolling the south end of the waiting area.
action: Go east
response: The policeman arrives from the south.

You turn up your collar and turn your back to the policeman as he arrives in the hopes that he wont recognize you but it's no good. He immediately recognizes you and blows his whistle. Soon there are cops arriving from all directions.

There is a brief struggle as the cops surround you. By the time it's over, they've added assaulting a police officer and resisting arrest to your growing list of charges.

The cops toss you in the back of a squad car and take you downtown.

After a brief stay in the city slammer, you're brought up on murder charges.

You try to convince Clancy to help you but the best that he can do is recommend a good lawyer.

"Time for bed, Junior" your mother says as she turns off the radio.

"But, ma! They just arrested Sam! Can't I please stay up a little longer and hear how get gets out of it?"

"Sorry. You have school in the morning. You'll just have to ask your friends about it at school tomorrow."
action: Go east
response: The policeman is patrolling the south end of the waiting area.
action: Go north
response: You are standing on the north side of the waiting area. Far to the south, across the huge room, you can see the entrance to the building. Below you, to the north, you can see the stairs that descend down to the platforms.

The policeman is patrolling the south end of the waiting area.
action: Go downwards
response: You're standing at the top of the flight of stairs leading down to the platforms.

To the south, you can see the whole of the waiting area. You're well concealed so there is no fear of being spotted by the policeman who is patrolling there. Down and to the north, you can just make out part of the lower level of the train station.

The policeman is crossing the center of the waiting area, heading north.
action: Go downwards
response: The lower level of the train station is a large space which opens on to three platforms. Directly in front of you, to the north, is the central platform, to the north east is the east platform, and to the north west is the west platform. Naturally, there are train tracks running between the platforms.

There are numerous pillars supporting the high arched ceiling.

The stairs that lead back to the waiting area are behind you, to the south.

You can barely make out a figure on the central platform which you hope must be Irene.

Between you and the central platform stands a policeman. You can only assume that he's looking for you.
action: You look at the pillars
response: There are numerous pillars supporting the high arched ceiling. It's actually a rather impressive space.
action: You drop the monkey
response: Dropped.
action: You turn on the monkey
response: You switch on the toy monkey, slide it across the floor and duck behind a pillar.

The policeman sees the toy monkey and moves to investigate. Now's your chance Sam!
action: Go north
response: You are standing on the central platform, with tracks on either side of you leading north into the darkness. Behind you, to the south, you can see the policeman examining the monkey with a puzzled look on his face.

You can see Irene Scarlet here.

The monkey is making a terrible racket.
action: You talk to Irene
response: Irene is lovelier than ever, her silky red hair cascading over her dark mink coat. You could fall for a dame like this in a big way! But you gather your thoughts and force yourself to focus on business. "Hello again, sweetheart."

As she turns to face you, you can see that she's been crying.

"Oh, Sam! What's going on? First you tell me Bobby's dead and now you ask me to meet you here, what does it all mean?"

[1] Comfort Irene.
[2] Tell her about Bob and Ginger.
[3] Tell her about Mickey Boy and Weasel Face Flynn.

The monkey is making a terrible racket.
action: 2
response: "Irene, were you aware that Bob had a thing for Ginger Andrews?"

"I had suspected as much but he never actually told me so."

[1] Ask if she was jealous.
[2] Ask if she was in love with Bob.

The monkey is making a terrible racket.
action: 2
response: "Did you love him, Irene?"

"We weren't in love if that's what you mean. But I loved him like a brother."

[1] Comfort Irene.
[2] Tell her about Mickey Boy and Weasel Face Flynn.
[3] Ask if she knows what had Bob so upset that night.
action: 3
response: "You said before that something had upset Bob that night. Do you know what it was?"

"No, Sam. I don't know."

"I know he was backstage with Ginger for part of that evening. Do you think Ginger might have had something to do with it?"

"Now that you mention it, I think it might have been. He was away from the group for a while and when he came back he was upset. Perhaps she said something to him to make him upset."

"Yes, that or perhaps he overheard something he shouldn't have."

[1] Comfort Irene.
[2] Tell her about Mickey Boy and Weasel Face Flynn.
[3] Ask what she knows about Tony.

The monkey is making a terrible racket.
action: 3
response: "What do you know about Tony Gabriele?"

"Nothing, Sam. I didn't even know his name before tonight."

"Well, he's a mob boss and I think that Bob accidentally overheard something that could have got him into a lot of hot water."

[1] Comfort Irene.
[2] Tell her about Mickey Boy and Weasel Face Flynn.
[3] Tell her about Tony's warehouse.

The monkey is making a terrible racket.
action: 3
response: "I hear that Tony has a warehouse down on Pier 27. I think that I'm going to have to check it out. There has to be something there that will pin this rap on Tony."

"Oh, Sam! Be careful!"

"Don't worry, sweetheart. I will. But listen, Red, do me a favor."

"Anything, Sam."

"I need to you give me about a half an hour. Then I need you to go to the cops and tell them that something's fishy at Tony's warehouse. That should give me enough time to case the joint. Even if I don't find anything, it probably wouldn't hurt to have the cops show up there tonight."

"But what will I tell them?"

[1] Tell her she'll think of something.
[2] Tell her to tell the cops that you're there.
[3] Tell her to report a burglary.

The monkey is making a terrible racket.
action: 2
response: "Tell them that I'm there. That should get their attention."

[1] Comfort Irene.
[2] Tell her about Mickey Boy and Weasel Face Flynn.
[3] Say goodbye.
action: 1
response: "There, there," you say as she melts into your arms. "It'll be all right. We'll get this straightened out somehow."

"But how, Sam?"

"Don't worry. I'll think of something."

[1] Tell her about Mickey Boy and Weasel Face Flynn.
[2] Say goodbye.

The monkey is making a terrible racket.
action: 1
response: "Two of Tony Gabriele's boys just tried to punch my time card. I barely managed to get clear of them. It looks like he thinks I know something about whatever he's up to."

"But why, Sam? Why would he think that?"

I think he knows I was backstage earlier tonight. He must think that I overheard something I shouldn't have."

"But how would he know that?"

"Ginger must have told him. She's the only one who could have known I was back there. Even you didn't know that. They must have been discussing whatever they're up to while I was back there. Come to think of it, I'm sure I heard bits and snatches of it. He must think that I heard more than I actually did."

[1] Ask what she knows about Tony.
[2] Say goodbye.

The monkey is making a terrible racket.
action: 1
response: "What do you know about Tony Gabriele?"

"Nothing, Sam. I didn't even know his name before tonight."

"Well, he's a mob boss and I think that Bob accidentally overheard something that could have got him into a lot of hot water."

[1] Tell her about Tony's warehouse.
[2] Say goodbye.

The monkey is making a terrible racket.
action: 2
response: "Now go on, Red. Get outta here before that cop stops playing with his monkey and decides to check up on us."

"OK. Be careful, Sam!" Irene gives you a quick kiss and says, "For luck!"

"Sure, sweetheart. You be careful too. See you after the dust settles."

Irene turned and left me standing alone on the platform. I waited a few minutes before sneaking out of the station by following one of the tracks.

It didn't take me too long to walk the few blocks to Pier 27. It took even less time to find Tony's warehouse.

I wasn't sure exactly what I would find but I was pretty certain that it wouldn't be canned herring.

[This might be a good time to save your game.]

The pier is nearly pitch black at this early hour. In fact, the only light that you can see is coming from a high window in the warehouse in front of you. It looks like somebody must be home.

Tony's warehouse is directly in front of you to the north. There is a dark alley to the northeast.

A small sign beside the large metal warehouse door reads, "Gabriele Imports."
I beg your pardon?
action: You examine the warehouse
response: (Gabriele Imports)
Tony's warehouse is a large, utilitarian building that hangs on the side of the pier, allowing goods to be transferred by truck on one side and boat on the other.
action: You go northeast
response: This narrow, dark alley runs beside the warehouse. Along the north side of the alley is a railing that overlooks the harbor. From the railing you can see a dock behind the warehouse.

You can see several dark figures on the dock unloading crates from a boat that sits almost directly below you. You quietly hide in the shadows while the figures finish unloading the crates and after a few minutes they move inside the warehouse.

A ladder leads from a gap in the railing at the end of the alley down to the water. The bottom of the ladder is only a step away from the boat.
action: You look at the boat
response: The boat is almost directly below you. You could easily reach it by climbing down the ladder.
action: You go downwards
response: You are in a small power boat which is tied up to the dock behind the warehouse. You can reach the dock by going west.

A ladder leads from a gap in the railing at the end of the alley down to the water. The bottom of the ladder is only a step away from the boat.

A small toolbox sits under one of the seats in the boat.
action: You get it
response: Taken.
action: You open it
response: You open the toolbox, revealing a wrench, a hammer and a screwdriver.
action: You check your inventory
response: You are carrying:
a toolbox (open)
a wrench
a hammer
a screwdriver
a bottle of whiskey
a brass key
a wallet (open)
an ID card
expense money
a revolver
a small key
action: You look at the ladder
response: The ladder descends several feet from the edge of the alley above down to the water below. The boat bumps up against it as it sways with the tide.
action: Go west
response: The dock extends from the back of the warehouse down to the water level. The warehouse is to the south. A boat is tied up to the east. The inside of the warehouse is dimly visible through the open wooden door.
action: You go to the south
response: The large warehouse is filled with crates and boxes. There is a large metal door to the south that leads to the pier and a large door to the north that leads to the dock. There is also a smaller door to the west that appears to lead to a small office.

Along one wall of the warehouse you can see a stack of crates that you recognize as the crates that were just recently being unloaded from the boat.

From the next room you see a flickering shadow.
action: You look at the crates
response: You can't see inside, since the crates are closed.

From the next room you hear muffled voices.
action: You open crates
response: The crates are nailed shut. You try to pry off the top with your bare hands but your grip isn't strong enough for that.

From the next room you hear elevated voices arguing.
action: You listen
response: You listen closely and you hear a voice coming from the next room say, "Did you get everything unloaded from the boat?"

"Yeah, boss. We got it all."
action: You listen
response: You listen closely and you hear, "What are we going to do about that detective, boss?"

"If we find him, you're going to kill him, Mickey Boy."
action: You listen
response: You listen closely and you hear, "Good thing Ginger tipped you off to those two. Right, boss?"

"And yet that detective is still making trouble, isn't he Weasel? Thanks to your incompetence."

"Don't worry, boss. We'll get him."

"You'd better."
action: You open the crate with the hammer
response: (first taking the hammer)
You loosen a few nails with the hammer and manage to pry off one of the lids.

Pulling off the lid you find some tightly wrapped packages containing a substance which appears to be narcotics.

It looks like Tony has been using his warehouse as a front for a drug smuggling operation.

From the next room you hear movement.

You think to yourself that Irene should have gone to the cops by now. With luck they should be arriving any minute. You might as well just hang around and wait for them at this point.
action: You go to the west
response: Don't go, Sam. It's probably best for you to just wait here until the cops arrive.

From the next room you see a flickering shadow.

Is that a car you hear or are you just imagining it?
action: You open the metal door
response: You walk boldly right up to the warehouse door and pull it open. Unfortunately, opening a large metal door makes an awful lot of noise, something which is particularly noticeable at this late hour. No sooner do you open the door when three men wearing dark suits and packing heat emerge from the nearby office. You immediately recognize two of them as your friends Mickey Boy and Weasel Face Flynn. You assume the third must be Mr. Gabriele himself.

Tony points a .38 at you and says, "Mr. Fortune, I grow tired of this little game you've been playing. I would have thought that by now you would have learned not to go where you are not wanted."

"Yeah, well, I've never been too good at that."

"That's really too bad. Mickey Boy, Flynn, take Mr. Fortune for a ride in the boat. I've had enough of his meddling."

"Sure, boss."

Before you have time to react, Mickey Boy clubs the back of your head with his pistol and you drop like a sack of beans.

It's a pity that Sam wasn't awake for that early morning boat ride into the middle of the harbor. The sunrise that morning was particularly impressive. Unfortunately, the anchor tied to his feet and the water in his lungs made sure that he would never see it.

Ladies and gentlemen. That concludes tonight's episode of Sam Fortune - Private Investigator, sponsored by Muskrat Cigarettes.

Tune in next week for our brand new series...

Your mother clicks off the radio as you stare with your mouth open in disbelief.

"I don't understand, ma! How could they kill off Sam? He can't die!"

"Now, Junior. It's just a radio program. Perhaps the ratings weren't very good."
action: You wait awhile
response: Time passes.

From the next room you hear movement.

Yes. You're sure you heard a couple of cars pull up in front of the building. It can't be long now.
action: Wait
response: Time passes.

From the next room you hear elevated voices arguing.

I heard the sound of the large metal warehouse door being opened. Tony and his two thugs come running out of the office only to find five large policemen waiting for them. It didn't take but a moment for them to realize that they were outnumbered. The jig was up.

I stepped out of the shadows and said, "Officers, I'm glad to see you. I think you'll want to take a look at what's in those crates over there. I think you'll discover that Mr. Gabriele and his stooges here have just received a large supply of narcotics. The other night Bob Watterson overheard them discussing this shipment and he must have been foolish enough to mention it to Ginger Andrews. She told Tony and he decided that they needed to shut him up. When I started digging around, they saw an opportunity to get rid of him permanently and pin it on me."

Suddenly a dark shape with flowing red hair ran into the warehouse and threw her arms around me.

"Sam! You're OK!"

"Yeah, sweetheart. I'm just swell. You did good. You and Clancy's boys showed up just in time."

I bent over and gave Irene a long passionate kiss.

"Baby, we make a pretty good team. What say we blow this joint and go find somewhere to get better acquainted?"

"Yes, Sam. I think I'd like that very much."

Ladies and gentlemen, that concludes Act 2 of tonight's drama: The Case of the Missing Playboy.

Sam Fortune: Private Investigator will return next week with an all new adventure but right now, stay tuned for Little Miss Abbey which will be heard over most of these IBS stations.
action: You look
response: Nice digs! Bob sure knows how to live. The living room is large and very tastefully decorated. Through an alcove to the west you can see a dining room. To the east must be the bed room. Going south, opposite the front door, will take you to some sort of an open garden area.

A long, plush couch sits along one of the walls.

A very large painting graces the wall across from the couch.

A tropical fish tank sits underneath the painting.

Beside the couch on a little end table is a radio.

You can also see Bob Watterson's front door here.

The radio station is playing a love song by one of those crooners who are so popular these days.
action: You sleep with fishes
response: With time that might become a distinct possibility.

A big band number is playing on the radio.
action: You look at the fish
response: (the tropical fish)
Pretty little critters. Pity you can't teach them to fetch your slippers.

The radio station is playing a love song by one of those crooners who are so popular these days.
action: You look at the fish
response: (the tropical fish)
Pretty little critters. Pity you can't teach them to fetch your slippers.

Soft music plays over the radio.
action: You look at the tank
response: The tank is just about the right size for a coffin and it's filled with dozens of tropical fish.

The radio station is playing a love song by one of those crooners who are so popular these days.
action: You look at tank
response: The tank is just about the right size for a coffin and it's filled with dozens of tropical fish. You briefly wonder what would happen if someone were to unplug the aerator. Have you ever seen what happens to fish when they get oxygen deprived? It's not a pretty sight.

A big band number is playing on the radio.
action: You look at the tank
response: The tank is just about the right size for a coffin and it's filled with dozens of tropical fish.

A big band number is playing on the radio.
action: You enter the tank
response: That's not something you can enter.

Soft music plays over the radio.
action: You unplug the aerator
response: Really, Sam. Don't you have more important things to do than torture helpless fishies?

The radio station is playing a love song by one of those crooners who are so popular these days.
action: Sing
response: Your singing is abominable.

Soft music plays over the radio.
action: Dance
response: You dance a quick jig but it doesn't really help. All it does is make you feel a little foolish.

A big band number is playing on the radio.
action: Plug sponsor
response: What do you want to juggle?

You think to yourself that nothing smokes like a Muskrat!

The radio station is playing a love song by one of those crooners who are so popular these days.
action: Plug key
response: We only plug one product on this show: Muskrat Cigarettes.

The radio station is playing a love song by one of those crooners who are so popular these days.
action: Fuck
response: Whoa there, Sam! Do you want to get us taken off the air?

A big band number is playing on the radio.
action: You sleep with the fish
response: (the tropical fish)
With time that might become a distinct possibility.

Soft music plays over the radio.
action: You look at the radio
response: This is a very attractive tabletop model in a walnut frame.

The radio is currently switched on.

Soft music plays over the radio.
action: You turn off the radio
response: You switch the radio off.
action: You describe your surroundings
response: Nice digs! Bob sure knows how to live. The living room is large and very tastefully decorated. Through an alcove to the west you can see a dining room. To the east must be the bed room. Going south, opposite the front door, will take you to some sort of an open garden area.

A long, plush couch sits along one of the walls.

A very large painting graces the wall across from the couch.

A tropical fish tank sits underneath the painting.

Beside the couch on a little end table is a radio.

You can also see Bob Watterson's front door here.
action: You look around
response: The city train station is a big, imposing structure made by big men, designed to impress upon all the supremacy and majesty of the railroad. The columned behemoth of a building lies to the north, the gigantic entrance perched atop a short but magnificent flight of stairs like the entrance to some Greek temple.
action: You go north
response: You are standing on the south side of the cavernous room that makes up the main waiting area of the train station. During the day, passengers would fill this room with activity but at this hour it is mostly empty. You can see the room stretching out in front of you to the north. Far to the north you can just make out the set of stairs that descend to the platforms. Behind you, to the south, is the doorway that leads back outside.

You can see one of the city's finest patrolling the room. As long as you stay here near the entrance, you can probably avoid his gaze but you'll need to find some way to cross the room without attracting his attention.

The policeman is patrolling the north end of the waiting area for now but it appears that he'll soon be heading your way. It's probably best to wait here until you've learned his movements.
action: You go north
response: You're halfway across the waiting area. There is a small gift shop to the west and some ticket windows to the east. Far to the north, you can see the stairs to the platforms. An equal distance to the south, you can see the main entrance.

The policeman arrives from the north.

You turn up your collar and turn your back to the policeman as he arrives in the hopes that he wont recognize you but it's no good. He immediately recognizes you and blows his whistle. Soon there are cops arriving from all directions.

There is a brief struggle as the cops surround you. By the time it's over, they've added assaulting a police officer and resisting arrest to your growing list of charges.

The cops toss you in the back of a squad car and take you downtown.

After a brief stay in the city slammer, you're brought up on murder charges.

You try to convince Clancy to help you but the best that he can do is recommend a good lawyer.

"Time for bed, Junior" your mother says as she turns off the radio.

"But, ma! They just arrested Sam! Can't I please stay up a little longer and hear how get gets out of it?"

"Sorry. You have school in the morning. You'll just have to ask your friends about it at school tomorrow."
action: You get the monkey
response: Taken.

The policeman is crossing the center of the waiting area, heading south.
action: You wait for a while
response: Time passes.

The policeman is crossing the center of the waiting area, heading south.

Time passes.

The policeman is crossing the center of the waiting area, heading south.

Time passes.

The policeman is patrolling the south end of the waiting area.

Time passes.

The policeman is patrolling the south end of the waiting area.
action: You wait awhile
response: Time passes.

The policeman is patrolling the south end of the waiting area.

Time passes.

The policeman is crossing the center of the waiting area, heading north.

Time passes.

The policeman is crossing the center of the waiting area, heading north.

Time passes.

The policeman is crossing the center of the waiting area, heading north.
action: Go east
response: You're standing in front of a row of ticket windows. At this late hour they are all closed. The waiting room is behind you to the west.

The policeman is patrolling the north end of the waiting area.
action: You buy the ticket
response: Nothing is on sale.

The policeman is crossing the center of the waiting area, heading south.
action: You examine the windows
response: (the large windows)
You see nothing special about the large windows.

The policeman is crossing the center of the waiting area, heading south.
action: Go down
response: The policeman is patrolling the south end of the waiting area.

You are standing on the north side of the waiting area. Far to the south, across the huge room, you can see the entrance to the building. Below you, to the north, you can see the stairs that descend down to the platforms.

The policeman is patrolling the south end of the waiting area.

You're standing at the top of the flight of stairs leading down to the platforms.

To the south, you can see the whole of the waiting area. You're well concealed so there is no fear of being spotted by the policeman who is patrolling there. Down and to the north, you can just make out part of the lower level of the train station.

The policeman is crossing the center of the waiting area, heading north.

The lower level of the train station is a large space which opens on to three platforms. Directly in front of you, to the north, is the central platform, to the north east is the east platform, and to the north west is the west platform. Naturally, there are train tracks running between the platforms.

There are numerous pillars supporting the high arched ceiling.

The stairs that lead back to the waiting area are behind you, to the south.

You can barely make out a figure on the central platform which you hope must be Irene.

Between you and the central platform stands a policeman. You can only assume that he's looking for you.
action: You drop the monkey
response: Dropped.
action: You sleep with the monkey
response: Ary you crazy Sam? He's distracted! Now's you chance! Don't spoil it!

The monkey is making a terrible racket.
action: Go north
response: You are standing on the central platform, with tracks on either side of you leading north into the darkness. Behind you, to the south, you can see the policeman examining the monkey with a puzzled look on his face.

You can see Irene Scarlet here.

The monkey is making a terrible racket.
action: You sleep with Irene
response: Are you deliberately trying to get us into trouble with the FCC?

The monkey is making a terrible racket.