Castronegro Blues
by Marshal Tenner Winter (2013)
Genres: Mystery
Horror
Humor

You listen to the dame on the other end of the phone as she finishes her plight. "My brother has gone missing. I want you to find him." You promised yourself a vacation, but this broad sounds a bit dishy. Maybe one more case before your vacation won't be too much of a bother...

action: %
response: You listen to the dame on the other end of the phone as she finishes her plight. "My brother has gone missing. I want you to find him." You promised yourself a vacation, but this broad sounds a bit dishy. Maybe one more case before your vacation won't be too much of a bother. . .

This is your office. It's not that tidy, but it is
presentable. You have a desk, its accompanying chair, and a file cabinet. A large window looks out onto the city. Across the office from the window is your office door; to the south. A second chair is set for clients on the other side of the desk. The only luxury you've allowed yourself is an old phonograph that you've set up in the corner.

On the desk are an ashtray and a telephone.
action: You examine the phonograph
response: It's an early Brunswick model. You found it in the hallway when your office neighbor was moving into the building. There's a record in it. It's the only one you have.

The phonograph is currently switched off.
action: You examine the record
response: "Hello Sailor!" Sung by Ella Dietrich

There is a knock on the door but the knocker doesn't wait for an answer. The door opens and a beautiful woman walks in. "Thank you for seeing me, detective." You invite her to sit and she does.
action: You ask the woman about the woman
response: "I don't know much about woman."

Claudine Lane begins telling you about her case. "My brother, David, has gone missing in Silver City, New Mexico."
action: You examine the woman
response: She is classy, blonde, and stacked like a brick shit-house.

Claudine continues, "David had been staying in Albuquerque for some time. He planned to visit a small town called Castronegro to investigate some strange rumors he had gotten from local Apaches."
action: You ask the woman about Apaches
response: "David was in contact with the local Apaches in New Mexico. He was a scholar of ancient lore and rituals. It was rumors he got from them that lead him to try to get to Castronegro, but for what reason, I don't know."

Looking out the window, Ms. Lane continues, "In his letters, he was excited about something he called reverse evolution and the
occult."
action: You ask the woman about the reverse evolution
response: "I have no idea what David meant by that phrase."

Claudine goes on, "On the way to Castronegro, he planned to stay for a couple of weeks in Silver City, to see a friend of his named Adam Little."
action: You ask the woman about little
response: "I don't know him. I just know he was a colleague of David's.
Perhaps more can be found out about him in Silver City."

Claudine Lane tells you, "I will pay your expenses to travel to New Mexico to find my brother. You were referred to me by Mrs. Timmons. She said you brought her closure regarding her son, Brian."

You agree, of course, and Claudine leaves some papers on your desk and walks out of your office.
action: You check your inventory
response: You are carrying:
a fedora (being worn)
a set of clothes (being worn)
a trenchcoat (being worn and open but empty)
a holster (being worn)
a revolver
action: About yourself
response: You are a private eye; a gumshoe, as they say, and you appear as such.
action: You examine revolver
response: It's a .45 revolver.
action: Look around
response: This is your office. It's not that tidy, but it is
presentable. You have a desk, its accompanying chair, and a file cabinet. A large window looks out onto the city. Across the office from the window is your office door; to the south. A second chair is set for clients on the other side of the desk. The only luxury you've allowed yourself is an old phonograph that you've set up in the corner.

On the desk are a train ticket, a Herald clipping, a Times clipping, an ashtray and a telephone.
action: You examine the ticket
response: It is a round-trip train ticket to New Mexico. Looks like you're going on a vacation after all.
action: You examine herald
response: the continuing mystery of the New Mexican cattle killings, rancher Charles Dexter lost 92 cattle between the 8th and 19th of September here on his ranch by the isolated town of Castronegro. This has been the largest single loss ever attributed to the unseen "Cattle Butchers".

The cattle were found scattered across Mr. Dexter's ranch, all
with their tongues bodily torn out and frequently other signs of violence.

Mr. Dexter has been so affected by this grim occurrence that he
has sold his ranch and moved to Europe. Before leaving, he stated, "I have a mighty good notion as to who's been slaughtering my herd. I am not a cowardly man, but I have no desire at all to mess with them. I am leaving this place for good." Mr. Dexter went on to say that his move had been planned for some months, but the recent catastrophe spurred him to move immediately.

For the last two years, occasional mysterious cattle mutilations
have been occurring on the local ranches, but generally no more than one or two cows have been killed in a month. This newest occurrence seems to signal a possible upsurge in this strange chapter in the American Southwest.
action: You look at the times
response: cases.

On September 28, Joaquin Vilheila-Pereira, a native of the small
town of Castronegro, was discovered to have left his room at the Armitage Hotel in Silver City, leaving all his possessions behind.
The authorities suspect foul play, but have no suspects or clues.

This would not be so surprising were it not for two previous disappearances. On September 16th, Dr. William Godfrey, a noted Professor of Psychology at the University of New Mexico at Albuquerque, was reported missing while traveling from Silver City to Las Cruces. On the 18th, a traveler from Boston, a Mr. David Lane, was found missing from his rented room in downtown Silver City. Both of these disappearances are also unaccounted for, though the police suspect that there is some connection between them.
action: You take all
response: train ticket: You take the train ticket from the desk.
Herald clipping: You take the Herald clipping from the desk.
Times clipping: You take the Times clipping from the desk.
ashtray: You take the ashtray from the desk.
revolver: You take the revolver from the holster.
action: You examine the ashtray
response: It's a glass ashtray.
action: Search desk
response: On the desk is a telephone.
action: You look around
response: This is your office. It's not that tidy, but it is
presentable. You have a desk, its accompanying chair, and a file cabinet. A large window looks out onto the city. Across the office from the window is your office door; to the south. A second chair is set for clients on the other side of the desk. The only luxury you've allowed yourself is an old phonograph that you've set up in the corner.

On the desk is a telephone.
action: You go to the south
response: Are you ready to leave?
action: Y.
response: One unbelievably long train ride later. . .

You're lucky to be visiting New Mexico in the winter to avoid the extremes of the season. You stand in the town square of Silver City. To the north, you can make your way to the sheriff's office. Hyde street is to the west; where sits the boarding house in which David Lane stayed. The newspaper office, The Silver City Press, can be reached to the southeast. The bus station is to the south.
action: You look at what you're carrying with you
response: You are carrying:
a revolver
an ashtray
a Times clipping
a Herald clipping
a train ticket
a fedora (being worn)
a set of clothes (being worn)
a trenchcoat (being worn and open but empty)
a holster (being worn)
action: Go north
response: Following some directions given to you by a townsperson, you make your way to the. . .

This is a sheriff's office that almost harkens back to the style of the Old West. Doors to offices are in each wall except the south wall which is the door back outside. A counter sits facing the south door.

Behind the counter, a sour-faced seargent eyes you guardedly.
action: You talk to the seargent
response: "You wanna talk to the sherf?"
action: Yes
response: The seargent knocks on one of the office doors and the sheriff comes out.

The sheriff eyes you up, clearly annoyed. "What is it I can help you with? I'm busier than a hooker on a cowboy's birthday."
action: You tell him about the casual misogyny
response: "Interesting."

You explain that you are investigating the disappearances, having been hired by David Lane's sister. "Yeah, we do believe foul play was involved.", he says.
action: You ask the sheriff about the foul play
response: "Pay attention, boy, I'm talking to you."

The sheriff continues, "We found tracks in the dust outside Lane's window at the boarding house. This was after his disappearance a'course."
action: You wait
response: Time passes.

The sheriff says "One pair of prints were shoes of the same size as Lane's; another pair were thick boots with a cross imprint on the heels; a third and final pair of prints were large bare footprints."
action: You ask him about his own boots
response: "Pay attention, boy, I'm talking to you."

The sheriff paces around as he continues to tell you what the police know, "Neighbors of Lane reported seeing two strange characters loitering on Hyde street all day on September 17th. Both had dark hair, bad teeth, sallow complexions, and were dressed in ill-fitting coarse clothing. One wore a pair of heavy leather boots."
action: You wait
response: Time passes.

You ask about the other missing persons, Dr. William Godfrey and Joaquin Vilheila-Pereira. The sheriff consults some notes by the counter.
action: Wait
response: Time passes.

He tells you what the Silver City police know, "Dr. Godfrey traveled to Silver City three times during the two months before his disappearance, each time with a fortnight layover.
action: Wait
response: Time passes.

"The last time he stopped over at a friend's house the night before he left, and his friends saw him to the station in the morning, confirming his departure."
action: You wait awhile
response: Time passes.

"However, he did not arrive in Albuquerque that night. His landlady called the police two days later."
action: You wait for a while
response: Time passes.

You ask about the final missing person, Joaquin Vilheila-Pereira. The sheriff doesn't have much to say, "All of his belongings from the hotel he was stayin" at were taken by his family. He was remembered as being a furtive young man with a pale complexion, bright green eyes, and black hair. His things were picked up by his uncle, Philip Vilheila-Pareira, a tall man, mid 30s, green eyes and black hair."
action: Wait
response: Time passes.

The sheriff looks at you sternly, "Anything else? No? Good.", and with that, he walks back into his office.
action: You look at your surroundings
response: This is a sheriff's office that almost harkens back to the style of the Old West. Doors to offices are in each wall except the south wall which is the door back outside. A counter sits facing the south door.

Behind the counter, a sour-faced seargent eyes you guardedly.
action: Go south
response: You're lucky to be visiting New Mexico in the winter to avoid the extremes of the season. You stand in the town square of Silver City. To the north, you can make your way to the sheriff's office. Hyde street is to the west; where sits the boarding house in which David Lane stayed. The newspaper office, The Silver City Press, can be reached to the southeast. The bus station is to the south.
action: You go west
response: This is Hyde Street. It's a pleasant neighborhood of homes along a dusty road. Despite the dust and desert setting, the homes have sparse green lawns, cacti, and trees. The road stretches east to west. To the south is the boarding house from where David Lane disappeared.
action: Go south
response: This is a wide porch on a large boarding house. The front door is to the south and Hyde Street is to the north.
action: Go south
response: (first opening the front door)

You are in the foyer of the boarding house. A counter sits by one wall, behind which are small, open cubes in the wall for the tenants' mail. The front door is to the north and stairs lead up to a landing. Along just about every square inch of wall are hundreds of small pictures of cats.

Behind the counter is Mrs O'Grady, the Landlady. "Can I help you, dear?"
action: You talk to the landlady
response: Maybe you should ask or tell about more specific topics.
action: You ask the landlady about David Lane
response: "He was a vague young man," she says, "with blond hair and blue eyes. He disappeared on the 18th. All of his possessions were left behind. Most were taken by the police, though."
action: You ask the landlady about the cats
response: "Oh, do you like cats?"
action: No
response: "Mm.", she says curtly and begins dusting her cat pictures.
action: You look at your surroundings
response: You are in the foyer of the boarding house. A counter sits by one wall, behind which are small, open cubes in the wall for the tenants' mail. The front door is to the north and stairs lead up to a landing. Along just about every square inch of wall are hundreds of small pictures of cats.

Behind the counter is Mrs O'Grady, the Landlady.
action: Go upward
response: Mrs O'Grady stops you. "Sir, I can't allow you to go snooping around my boarding house!"
action: You ask the landlady about the room
response: "I don't know much about boarding house."

"I don't know much about room."
action: Yes
response: Mrs O'Grady looks at you, clearly impressed. "Well, if you need to conduct a bit of an investigation about that young man, then I suppose you can see the room he rented. It's the first one up the stairs."
action: Go up
response: This is the upstairs landing of the boarding house. A couple of other doors line the hall but the one you came to investigate is to the west. Stairs lead back down to the entry.
action: Go west
response: (first opening the bedroom door)

This is a tidy bedroom that was rented by David Lane up until his mysterious disappearance. The room consists of a neat bed, a desk, a chair, and a window. The landlady says nothing of David's has been left but it's worth checking.

On the desk is a paperback book.
action: You take the book
response: Something falls out of the book and lands on the floor.

You take the paperback book from the desk.
action: You look around
response: This is a tidy bedroom that was rented by David Lane up until his mysterious disappearance. The room consists of a neat bed, a desk, a chair, and a window.

You can see a torn envelope here.
action: You take the envelope
response: (putting the train ticket into the trenchcoat to make room)
You pick up the torn envelope from the ground.
action: You examine the envelope
response: The envelope is addressed to David Lane at his Hyde Street boarding house address. The return address is to Father Alonso Vilheila-Pareira, Castronegro Chapel, Castronegro. The letter itself is nowhere to be found.
action: Go east
response: This is the upstairs landing of the boarding house. A couple of other doors line the hall but the one you came to investigate is to the west. Stairs lead back down to the entry.
action: You go to the west
response: You don't need to go any further down Hyde Street. The Town Square is to the east and the boarding house from which David Lane disappeared is to the south.
action: Go southeast
response: Thinking you can dig up some information on the happenings around here, you make your way to the. . .

This old building houses the only newspaper in Silver City; The Silver City Press. The room was designed with activity in mind however, the place is nearly deserted. Half a dozen desks are placed around the room. Telephones, typewriters, a coffee percolator, and a fan are the trappings of this bastion of free speech. The door to the outside is to the northwest and in the corner, you can see a staircase leading down.

It's very warm in here.
action: You go down
response: This basement room is bare. Odd.

You can see an army trunk (closed) here.
action: You look at the trunk
response: It's an old, battered army trunk. You wonder if it's been through The War.
action: You open the trunk
response: It seems to be locked.
action: You go upward
response: This old building houses the only newspaper in Silver City; The Silver City Press. The room was designed with activity in mind however, the place is nearly deserted. Half a dozen desks are placed around the room. Telephones, typewriters, a coffee percolator, and a fan are the trappings of this bastion of free speech. The door to the outside is to the northwest and in the corner, you can see a staircase leading down.

It's very warm in here.
action: You examine fan
response: It's an electric Emerson with brass blades.

The fan is currently switched off.

It's very warm in here.
action: You switch the fan on
response: The breeze from the fan moves some papers around on a desk. The papers fall revealing a key.

A fan in the corner noisily chops some air into the room.
action: You take the key
response: (putting the Herald clipping into the trenchcoat to make room)
You take the archive key from the desk.

A fan in the corner noisily chops some air into the room.
action: You open the trunk with the key
response: You unlock the army trunk.
action: You open trunk
response: You open the army trunk, revealing a scrapbook.
action: You take the scrapbook
response: You hear a bus horn in the distance.

(putting the Times clipping into the trenchcoat to make room)
You take the scrapbook from the army trunk.
action: You read the scrapbook
response: There are several articles bundled in the scrapbook, all dealing with the town of Castronegro and all dating back over thirty years. The articles report the mysterious disappearance of infants from the Castronegro area. At first, these disappearances were attributed to the still-unpacified Apaches nearby, but gradually the vanishings were just left as a mystery. One other article tells the story of the disappearance of a Castronegro man visiting Albuquerque in 1892; a case similar to that of Joaquin Vileila-Pareia. The other articles are dated 1890, 1898, 1902, and 1918. In the 1898 article, a Castronegro man named Bernardo Diaz is named as a prime suspect, but there is no information as to whether or not he was ever arrested.

The final article seems to be just general information about Castronegro. It reads as follows:

Castronegro is a small New Mexican town, located about 40 miles
north of Silver City. It was founded in 1680 by a wealthy Spanish nobleman named Bernardo de Diaz. He led his family and another family, the Vilheila-Pareiras, there from Spain. The town's original name was Agua Blanca, changed later to Castronegro early in the 18th centry, for an unknown reason.

In 1728, during the Inquisition's suppression of Madrid
Freemasonry, many Spanish refugees fled to Castronegro.

ago. It has a population of about 600, and the town's only tie with the outisde world is the weekly bus from Silver City, as phone lines have not yet been installed. It is a scenic example of Spanish America.
action: Go upwards
response: This old building houses the only newspaper in Silver City; The Silver City Press. The room was designed with activity in mind however, the place is nearly deserted. Half a dozen desks are placed around the room. Telephones, typewriters, a coffee percolator, and a fan are the trappings of this bastion of free speech. The door to the outside is to the northwest and in the corner, you can see a staircase leading down.

A fan in the corner noisily chops some air into the room.
action: Go northwest
response: You're lucky to be visiting New Mexico in the winter to avoid the extremes of the season. You stand in the town square of Silver City. To the north, you can make your way to the sheriff's office. Hyde street is to the west; where sits the boarding house in which David Lane stayed. The newspaper office, The Silver City Press, can be reached to the southeast. The bus station is to the south.
action: You go to the south
response: One long, uncomfortable bus ride later. . .
action: You press the space
response: As the bus driver drops you off at the edge of this sleepy town, he points to the north to a largish building built upon a foothill about a half mile from town. He tells you it is Casa de Diaz and inside is the reason this town has so few visitors. The man who lives there is Bernardo Diaz VI, a direct descendant of Bernardo de Diaz who founded the original town. He tells you that Bernardo doesn't care for strangers and then the bus driver drives off.

This is the only bus stop in town and it sits at the town's edge. To the west, the road leads out of town and to the east is the rest of Castronegro. To the south is the Herrera Hotel; its sign dangling lazily from the door like a warm dog's gonad.

You can see a sign here.

A vulture circles lazily far overhead.
I beg your pardon?
action: You go south
response: (first opening the hotel door)

The Herrera Hotel is the only place to stay in Castronegro. It is an old adobe building, at least a hundred years old, with two stories. This is the lobby where the front desk greets the guest. A lounge is to the east and stairs lead upward to the rooms. A door is set into the west wall.

Organizing some paperwork (in a futile attempt at professionalism) is the hotel's owner, Juan Herrera.

You can also see Claire Prebo here.

Juan dusts around the room.

Claire looks around nervously.
action: You ask Juan about room
response: "I don't know much about room."

Juan checks his fly.

Claire wonders aloud if she remembered to buy tampons.
action: You ask Juan about the cats
response: "I don't know much about cats."

Juan checks the lock on the west door.

Claire looks at you but then quickly looks away.
action: You ask Juan about the castronegro
response: "I don't know much about castronegro."

Juan checks the lock on the west door.

Claire takes an eclaire from her purse, takes a bite, and replaces it.
action: You talk to Juan
response: You casually make conversation in order to ask if, as the hotel manager, he's heard of David Lane or even the other two missing persons; Dr. Godfrey and Joaquin Vilheila-Pareira.

He tells you he's not heard of David or Dr. Godfrey but he knows that the third missing man, Joaquin, has an uncle who runs a tobacco shop here in Castronegro. You remember the sheriff in Silver City telling you that Joaquin's uncle was the one who claimed Joaquin's possessions.

Juan checks the lock on the west door.

Claire smells her finger.
action: You talk to Claire
response: "This town's an armpit."

Juan checks his fly.

Claire rummages around in her purse.
action: Go upwards
response: You don't have any rooms to investigate here. None of the three missing individuals were known to have stayed here. However, being the only hotel in Castronegro, maybe there is still information to be found here. . .

Juan checks his fly.

Claire looks at you but then quickly looks away.
action: You go to the west
response: (first opening the private door)
It seems to be locked.

Juan checks his fly.

Claire rummages around in her purse.
action: Kiss claire
response: Keep your mind on the game.

Juan checks his fly.

Claire takes an eclaire from her purse, takes a bite, and replaces it.
action: You show envelope to Juan
response: "Fantastic."

Juan checks his fly.

Claire Prebo goes north.
action: You go to the north
response: This is the only bus stop in town and it sits at the town's edge. To the west, the road leads out of town and to the east is the rest of Castronegro. To the south is the Herrera Hotel; its sign dangling lazily from the door like a warm dog's gonad.

You can see Claire Prebo and a sign here.

Tumbleweed tumbles by.

Claire smells her finger.
action: You read sign
response: (the sign)
Bus Stop

You think you hear your name whispered somewhere near you but it might've just been the wind.

Claire Prebo goes south.
action: You go to the east
response: This is a dusty street corner in Castronegro. A bus stop can be seen to the west, in front of the Herrera Hotel. One of the roads that lead out of town is to the southeast. The library can be reached to the east, and the sidewalk continues to the north past a nondescript building. A park can be reached to the northeast.

You hear footsteps behind you, but when you turn to look, you see no one.
action: You go to the east
response: This is a dusty stone courtyard to the library of Castronegro. A sad excuse for a park is to the north and the street corner is to the west. The library's door is to the southeast. You can cross the street to the northwest.

A chill wind blows; the only sign of winter you've felt here.
action: You go southeast
response: (first opening the new door)

The Castronegro Library is one of the few wooden buildings in town.
It is fairly modern and was built no more than twenty years ago as a result of funds from a grant from Andrew Carnegie. Bookshelves, of course, dominate the space. The exit to the outside is to the northwest.

Looking after the library is the strange old librarian, Efraim Diaz.

Efraim reads from a dirty magazine.
action: You talk to Efraim
response: "What am I? A reference desk?"

Efraim loudly stamps some overdue books.
action: You ask Efraim about Castronegro
response: "I don't know much about castronegro."

Efraim mumbles something you can't make-out.
action: You examine Efraim
response: Efraim Diaz somewhat resembles an elderly Fatty Arbuckle.

Efraim loudly stamps some overdue books.
action: You go northwest
response: This is a dusty stone courtyard to the library of Castronegro. A sad excuse for a park is to the north and the street corner is to the west. The library's door is to the southeast. You can cross the street to the northwest.

Dust swirls around the buildings.
action: You check your inventory
response: You are carrying:
a scrapbook
the archive key
a torn envelope
a paperback book
a revolver
an ashtray
a fedora (being worn)
a set of clothes (being worn)
a trenchcoat (being worn and open)
a Times clipping
a Herald clipping
a train ticket
a holster (being worn)

Tumbleweed tumbles by.
action: You go north
response: This is a sorry excuse for a 'park'. There are no trees save for some cacti and tumbleweed. A bench sits near a dry fountain. To the east is the entrance to the chapel and to the south is the courtyard to the town's library. One of the roads that lead out of town is to the southeast and the park can be exited back into town to the west. You can also cross the street to the northwest and southwest.

A vulture circles lazily far overhead.
action: You go east
response: (first opening the chapel door)

Inside the chapel, it is eerie and silent. It seems that the locals do not frequent it much. The door to the street outside is to the west.

In the center of this chamber is a rather horrible statue carved from basalt.

Reading in the back of the chapel is Father Alonso Vilheila-Pareira.

You can also see Ichabod Johnson here.

Father Alonso lights a cigarette.

Ichabod Johnson goes west.
action: You examine the statue
response: It depicts a distorted human figure wrapped partly in a shroud with a sickle in the left hand. The right hand points southeast.

Father Alonso puts his face close to the page he's reading as if his sight is very bad.
action: You talk to Alonso
response: You inquire about David Lane, having found the envelope in the boarding house. The old priest tells you that David asked for certain information about the Castronegro area, which he was glad to collect from the library and mail to him in Silver City. He tells you he knows nothing of the disappearances nor the cattle killings.

Father Alonso lights a cigarette.
action: Wait
response: Time passes.

Father Alonso turns the page of the book he is reading.
action: You talk to Alonso
response: Maybe you should ask or tell about more specific topics.

Father Alonso eyes you curiously.
action: Look around
response: Inside the chapel, it is eerie and silent. It seems that the locals do not frequent it much. The door to the street outside is to the west.

In the center of this chamber is a rather horrible statue carved from basalt.

Reading in the back of the chapel is Father Alonso Vilheila-Pareira.

Father Alonso lights a cigarette.
action: Go west
response: This is a sorry excuse for a 'park'. There are no trees save for some cacti and tumbleweed. A bench sits near a dry fountain. To the east is the entrance to the chapel and to the south is the courtyard to the town's library. One of the roads that lead out of town is to the southeast and the park can be exited back into town to the west. You can also cross the street to the northwest and southwest.

Eerie silence suddenly surrounds you.
action: You go southeast
response: This is a road that turns from pavement to dirt as it winds from the northwest toward Castronegro to the east into a small canyon.

Dust swirls about and gets into your eyes.
action: You go to the northwest
response: This is a sorry excuse for a 'park'. There are no trees save for some cacti and tumbleweed. A bench sits near a dry fountain. To the east is the entrance to the chapel and to the south is the courtyard to the town's library. One of the roads that lead out of town is to the southeast and the park can be exited back into town to the west. You can also cross the street to the northwest and southwest.

The sound of a bus engine can be heard in the distance.
action: You go south
response: This is a dusty stone courtyard to the library of Castronegro. A sad excuse for a park is to the north and the street corner is to the west. The library's door is to the southeast. You can cross the street to the northwest.

A chill wind blows; the only sign of winter you've felt here.
action: Go southeast
response: The Castronegro Library is one of the few wooden buildings in town.
It is fairly modern and was built no more than twenty years ago as a result of funds from a grant from Andrew Carnegie. Bookshelves, of course, dominate the space. The exit to the outside is to the northwest.

Looking after the library is the strange old librarian, Efraim Diaz.

Efraim eyes you suspiciously.
action: You ask Efraim about alonso
response: "I don't know much about alonso."

Efraim eyes you suspiciously.
action: You ask Efraim about David Lane
response: "I don't know much about david lane."

Efraim eyes you suspiciously.
action: You examine the bookshelves
response: There are books everywhere your eye lands. To look up information, you can always search books.

Efraim mumbles something you can't make-out.
action: You search the books
response: It is easy to find the same history of Castronegro that you found in the archive in Silver City, but in this library, you find a history from before the town was settled.

Much is conjecture, and there are few real facts, but you read about a tribe of Native Americans evidently unrelated to the nearby Apaches, Comanches, Zuni, and Navajo, which dwelt in the area until a few decades before the Spanish arrival.

This tribe raised at least one stone monolith and the names of their gods were retained for hundred of years by the nieghboring tribed as a curse. These gods were called Niurab and Yohoso.

Evidently, the tribe was wiped out by the Navajo around 1650. The tribe left behind few relics, but a few of their stones can still be found in the rough hills around Castronegro.
found in the rough hills around Castronegro.You also find a family lineage history of Castronegro. The most interesting parts here are the family trees of the de Diaz and Vilheila-Pareira families, which can be traced back to the original settlement in 1680.

Although other families have arrived since, it is evident that the Diaz and Vilheila-Pareira population makes up about one third of the town's inhabitants.
Then, you read something interesting. It seems that every forty years, from 1730 on, a new Bernardo Diaz is listed as being born (e.g. Bernardo Diaz II was born in 1731, Bernardo III was born in 1769, Bernardo IV in 1812, Bernardo V in 1850, and the current Bernardo VI in 1891).

About twenty years after each new Bernardo was born, his predecessor died. The current Bernardo Diaz would be a little over thirty years old. The former Bernardo Diaz died in 1910.
old. The former Bernardo Diaz died in 1910.Finally, you find two gruesome reports. One is a listing of missing infants reported over the last 100 years in Castronegro and nearby towns. Containing much hearsay, it states that at least 200 infants are reported as disappearing. This does not take into account any unreported children, as from Native families.

The final report is on cattle deaths. Cattle killings started within the last six years and have continued at the rate of  one or two cows per month for every large spread in southwest New Mexico, except for Charles Dexter; mentioned in the article Claudine Lane gave you.

Efraim loudly stamps some overdue books.
action: Look around
response: The Castronegro Library is one of the few wooden buildings in town.
It is fairly modern and was built no more than twenty years ago as a result of funds from a grant from Andrew Carnegie. Bookshelves, of course, dominate the space. The exit to the outside is to the northwest.

Looking after the library is the strange old librarian, Efraim Diaz.

Efraim pretends to put a book back on a shelf but is clearly watching you.
action: You go to the northwest
response: This is a dusty stone courtyard to the library of Castronegro. A sad excuse for a park is to the north and the street corner is to the west. The library's door is to the southeast. You can cross the street to the northwest.

You can see Ichabod Johnson here.

You think you hear your name whispered somewhere near you but it might've just been the wind.

Ichabod mumbles something about his prostate.
action: You talk to Ichabod
response: This old timer doesn't seem to know any of the names you throw at him (David Lane, Joaquin Vilheila-Periera, & Dr. William Godfrey) but having lived here all his life, he's the best source for directions. He tells you that the Diaz family vault and Casa de Diaz is north of town, old farms to the south, and a small canyon to the southeast.

Dust swirls around the buildings.

Ichabod twirls his mustache.
action: Go west
response: This is a dusty street corner in Castronegro. A bus stop can be seen to the west, in front of the Herrera Hotel. One of the roads that lead out of town is to the southeast. The library can be reached to the east, and the sidewalk continues to the north past a nondescript building. A park can be reached to the northeast.

A chill wind blows; the only sign of winter you've felt here.
action: You go north
response: This is a dusty sidewalk in Castronegro that stretches north to south. What passes as the town's park can be reached to the east. A nondescript building with a nondescript door is to the west. The Herrera Hotel can be seen to the south. The library can be reached to the southeast and you can cross the street to the northeast.

You can see Ichabod Johnson here.

Dust swirls around the buildings.

Ichabod twirls his mustache.
action: You go to the west
response: (first opening the nondescript door)

This is the town's speakeasy. The casual atmosphere makes you wonder if any law enforcement has ever cared to swing into Castronegro. A lazy overhead fan does nothing to stir the still air in here which smells of stale beer and body odor. The door back to the street is east. A radio sits in the corner.

Tending bar is the owner, Gilberto Diaz.

James Whitlock sits in the shadows, drunk.

Crackling through static on the radio, you hear, "The Feds report that bootleggers in the U.S. have begun using Thompson sub-machine guns. . ."

Gilberto wipes down the bar.
action: You talk to Gilberto
response: "People around here don't really take kindly to strangers asking questions."

Crackling through static on the radio, you hear, "A tornado in Lorain, Ohio has killed 78 people. . ."

Gilberto pours another drink for James.
action: You talk to James
response: You speak to the unkempt drunk and casually make your way to asking about the three missing men; David Lane, Dr. Godfrey, and Joaquin Vilheila-Pareira. He starts talking but you can barely make out what he's on about.

"Those disserpearences were sackerfices by th' old guys ferm Castronegro. Tharz still lights and dancin' in th' hills. If yuh go up thatz way on th' wrung nights, yuh can hear awful yellin' and screamin'. And th' screamin' ain't jest kids havin' fun. I seen 'em. And I seen whut comz with 'em, and whut comz with 'em out to Shephard's Barn. I knew yuh don'y b'lieve me. Yuh don't care. Yuh don't know nuthin. You climb up them foothills 'n th' Shephard Barn and see what yuh think then! Take a gander. . .take a looong,
steamy gander at the old Diaz vault! Then yuh'll know it ain't
jest the drink talkin' in me!"

Crackling through static on the radio, you hear, "A Soviet-backed coup attempt has failed in Estonia. . ."

Gilberto restocks some of the booze.
action: You look around
response: This is the town's speakeasy. The casual atmosphere makes you wonder if any law enforcement has ever cared to swing into Castronegro. A lazy overhead fan does nothing to stir the still air in here which smells of stale beer and body odor. The door back to the street is east. A radio sits in the corner.

Tending bar is the owner, Gilberto Diaz.

James Whitlock sits in the shadows, drunk.

Crackling through static on the radio, you hear, "The Feds report that bootleggers in the U.S. have begun using Thompson sub-machine guns. . ."

Gilberto restocks some of the booze.
action: Go east
response: This is a dusty sidewalk in Castronegro that stretches north to south. What passes as the town's park can be reached to the east. A nondescript building with a nondescript door is to the west. The Herrera Hotel can be seen to the south. The library can be reached to the southeast and you can cross the street to the northeast.

The sun beats down on you despite the season.
action: Go north
response: This is a dusty street corner in Castronegro. A black door leads into a building to the north and the sidewalk heads south and east. A park can be reached to the southeast.

Dust swirls around the buildings.
action: Go north
response: (first opening the black door)

This is a bizarre little occult shop cluttered with strange artifacts. Statues, utensils, books, and an assortment of other esoteric, occult offerings line many shelves and tables in this cramped space. The door to the outside is to the south. A small table sits next to the door.

On the small table are a Balinese statuette and a small sign.

As if one with the other strange objects, the proprietor, Filipo Diaz, watches the store.

Filipo eyes you suspiciously.
action: You look at the statuette
response: It's a Balinese temple guardian demon. You've no idea why you know that.

Filipo sweeps the floor with an old broom.
action: You talk to Filipo
response: You casually speak to the furtive man but you can tell he is not forthcoming in a desire to give you any information regarding the missing individuals. You suspect he is hiding something or in cahoots with someone he fears, perhaps.

Filipo rearranges some geodes.
action: You read the sign
response: The Tomb: Proprietor Filipo Diaz

Filipo straightens some ancient Tarot cards on a shelf.
action: Go south
response: This is a dusty street corner in Castronegro. A black door leads into a building to the north and the sidewalk heads south and east. A park can be reached to the southeast.

You hear the muffled sounds of a radio playing from within one of the buildings.
action: You go east
response: This is a dusty sidewalk in Castronegro that stretches east to west. What passes for a town park can be reached to the south. You can also see the chapel in that direction. One of the roads that lead out of town, into the hills, is to the north. You can cross the street to the southwest.

A vulture circles lazily far overhead.
action: Go north
response: This is a dusty road that leads south to Castronegro and north into the hills. The sun's heat causes you to sweat furiously here.

You think you hear talking but cannot make it out.
action: Go north
response: The road through the hills meanders north to south here, but a steep hill exists to the northwest wherein a vault door hides a half-buried mausoleum.

A chill wind blows; the only sign of winter you've felt here.
action: Go northwest
response: (first opening the vault door)
It seems to be locked.

Dust swirls about and gets into your eyes.
action: You look at the door
response: It is marble and carved in Spanish designs of centuries ago. It is made in such a way that you might be able to break in.

The sun beats down on you despite the season.
action: You break the door
response: That would hurt your hands.

Dust swirls about and gets into your eyes.
action: You break the door with the ashtray
response: There's no way to break the vault door with the ashtray.

A chill wind blows; the only sign of winter you've felt here.
action: Inventory
response: You are carrying:
a scrapbook
the archive key
a torn envelope
a paperback book
a revolver
an ashtray
a fedora (being worn)
a set of clothes (being worn)
a trenchcoat (being worn and open)
a Times clipping
a Herald clipping
a train ticket
a holster (being worn)

Vultures circle above you.
action: You shoot door
response: You don't need to do that.

The sun beats down on you despite the season.
action: You go north
response: This road winds through the hills. Thankfully, there is some shade among these badlands. The path leads both northeast and south.

You think you hear talking but cannot make it out.
action: Go northeast
response: This once was a garden, but now everything is dust and decay. The flowerpots hold only dirt and dead vines cover almost everything.
Casa De Diaz, the home of Bernardo Diaz VI, is to the north. The front door; an iron grate. The house is a stone horror but seems to once have been influenced greatly by Spanish architecture. However, the place is in bad disrepair; as if it's been abandoned for some years or even decades. The path through the hills and back to Castronegro lies to the southwest.

Leaning against one of the flowerpots is a flashlight.

A chill wind blows; the only sign of winter you've felt here.
action: You take the flashlight
response: (putting the ashtray into the trenchcoat to make room)
You pick up the flashlight from the ground.

Dust swirls about and gets into your eyes.
action: Go north
response: You have a hunch there's more to be investigated before questioning Bernardo Diaz VI.

Vultures circle above you.
action: You go to the south-west
response: This road winds through the hills. Thankfully, there is some shade among these badlands. The path leads both northeast and south.

The sun beats down on you despite the season.
action: You go to the south
response: The road through the hills meanders north to south here, but a steep hill exists to the northwest wherein a vault door hides a half-buried mausoleum.

Strange noises echo around you.
action: Go south
response: This is a dusty road that leads south to Castronegro and north into the hills. The sun's heat causes you to sweat furiously here.

The sun beats down on you despite the season.
action: You go south
response: This is a dusty sidewalk in Castronegro that stretches east to west. What passes for a town park can be reached to the south. You can also see the chapel in that direction. One of the roads that lead out of town, into the hills, is to the north. You can cross the street to the southwest.

The sun beats down on you despite the season.
action: You go east
response: This is a dusty street corner. The sidewalk runs west and sharply southwest where it leads to a sorry excuse for a park. The Vilheila-Pareira Tobacco shop is to the northeast.

Dust swirls around the buildings.
action: You go to the northeast
response: (first opening the wooden door)

This is a small store run by Philip Vilheila-Pereira, the uncle of Joaquin Vilheila-Pereira, one of the missing persons. Barrels of tobacco are the only furnishings in this place. The door to the street is to the southwest.

Keeping watch over his store is Philip himself. He eyes you cautiously.

You can also see Clarinda Fisch, Orion Skinner, Tate Walczak, Lambert Gunning, Liana Farnham and Grover Cotterell here.

Philip mumbles something about not being able to find his pipe.

Lambert Gunning goes southwest.

Clarinda Fisch goes southwest.

Grover jingles change in his pockets.

Orion and Tate discuss the weather.

Tate discusses the merits of owning a vacuum cleaner with Liana.

Liana adjusts her wig.
action: You talk to Philip
response: You ask about his nephew, Joaquin, and Philip eventually tells you that the youngster was a disgrace to his family and deserved whatever he got for running away.

He then turns away, muttering something under his breath. What he doesn't know is how sharp your hearing is and you are able to make out something about Joaquin not being good enough to be interred in the family vault. This implies, of course, that Philip believes his nephew to be dead.

If this is true, you hope it's not the same fate as David Lane; the man you were hired to find.

Philip clears his throat.

Grover Cotterell goes southwest.

Orion and Tate discuss the weather.

Tate discusses the merits of owning a vacuum cleaner with Liana.

Liana looks around.
action: Look around
response: This is a small store run by Philip Vilheila-Pereira, the uncle of Joaquin Vilheila-Pereira, one of the missing persons. Barrels of tobacco are the only furnishings in this place. The door to the street is to the southwest.

Keeping watch over his store is Philip himself. He eyes you cautiously.

You can also see Orion Skinner, Tate Walczak and Liana Farnham here.

Philip sticks his head into a barrel and breathes deeply the tobacco fumes.

Orion Skinner goes southwest.

Tate discusses the merits of owning a vacuum cleaner with Liana.

Liana checks her watch.
action: You talk to Tate
response: "I'm as lost as you."

Philip sticks his head into a barrel and breathes deeply the tobacco fumes.

Liana Farnham goes southwest.

Tate scratches his head.
action: You go southwest
response: This is a dusty street corner. The sidewalk runs west and sharply southwest where it leads to a sorry excuse for a park. The Vilheila-Pareira Tobacco shop is to the northeast.

You can see Liana Farnham, Orion Skinner and Lambert Gunning here.

A chill wind blows; the only sign of winter you've felt here.

Liana Farnham goes southwest.

Lambert asks Orion for some change.

Orion loosens his belt.
action: You talk to Lambert
response: You stop to speak with this drifter and you nearly vomit from the fumes of alcohol reaking from him. He's not a prolific source of information, but he does mention that strange dancing and rituals supposedly occur in the small canyon southeast of town.

Eerie silence suddenly surrounds you.

Lambert asks Orion for some change.

Orion stoops to tie his shoelace.
action: You talk to Orion
response: "The Diaz family not only keep their dead in their mausoleum, but also their secrets."

You think you hear your name whispered somewhere near you but it might've just been the wind.

Orion Skinner goes west.

Lambert shuffles listlessly.
action: Go southwest
response: This is a sorry excuse for a 'park'. There are no trees save for some cacti and tumbleweed. A bench sits near a dry fountain. To the east is the entrance to the chapel and to the south is the courtyard to the town's library. One of the roads that lead out of town is to the southeast and the park can be exited back into town to the west. You can also cross the street to the northwest and southwest.

You can see Liana Farnham and Grover Cotterell here.

A chill wind blows; the only sign of winter you've felt here.

Grover straightens his tie.

Liana looks around.
action: Go southwest
response: This is a dusty street corner in Castronegro. A bus stop can be seen to the west, in front of the Herrera Hotel. One of the roads that lead out of town is to the southeast. The library can be reached to the east, and the sidewalk continues to the north past a nondescript building. A park can be reached to the northeast.

You can see Ichabod Johnson here.

A vulture circles lazily far overhead.

Ichabod whistles tunelessly.
action: Go west
response: This is the only bus stop in town and it sits at the town's edge. To the west, the road leads out of town and to the east is the rest of Castronegro. To the south is the Herrera Hotel; its sign dangling lazily from the door like a warm dog's gonad.

You can see a sign here.

Tumbleweed tumbles by.
action: You go south
response: The Herrera Hotel is the only place to stay in Castronegro. It is an old adobe building, at least a hundred years old, with two stories. This is the lobby where the front desk greets the guest. A lounge is to the east and stairs lead upward to the rooms. A door is set into the west wall.

Tidying the place, (in a futile attempt at atmosphere) is the hotel's owner, Juan Herrera.

Juan checks the lock on the west door.
action: You go east
response: This is a crude lounge with cheap furniture. Doorways lead west and south.
action: You go south
response: A round table dominates this dining room. It makes you depressed imagining being a guest at this hotel. Doorways lead north and west. To the west, you can see the kitchen.
action: Go west
response: This is a simple kitchen equipped with simple appliances and a preponderance of southwestern ingredients.

In the center of the kitchen is a small kitchen island; the only good spot in the place to prepare food.

On the kitchen island are a cleaver and a jar of chili powder.
action: You look at the cleaver
response: It looks pretty damn sturdy and sharp.
action: You take the cleaver
response: (putting the revolver into the trenchcoat to make room)
You take the cleaver from the kitchen island.
action: You examine the jar
response: Navajo Joe's Hell Flavored Chili Powder!
action: You take the jar
response: (putting the paperback book into the trenchcoat to make room)
You take the jar of chili powder from the kitchen island.
action: You go west
response: The Herrera Hotel is the only place to stay in Castronegro. It is an old adobe building, at least a hundred years old, with two stories. This is the lobby where the front desk greets the guest. A lounge is to the east and stairs lead upward to the rooms. A door is set into the west wall.

Arranging dried flowers in a vase (in a futile attempt at cheer) is the hotel's owner, Juan Herrera.

Juan dusts around the room.
action: Go north
response: This is the only bus stop in town and it sits at the town's edge. To the west, the road leads out of town and to the east is the rest of Castronegro. To the south is the Herrera Hotel; its sign dangling lazily from the door like a warm dog's gonad.

You can see a sign here.

A vulture circles lazily far overhead.
action: You go east
response: This is a dusty street corner in Castronegro. A bus stop can be seen to the west, in front of the Herrera Hotel. One of the roads that lead out of town is to the southeast. The library can be reached to the east, and the sidewalk continues to the north past a nondescript building. A park can be reached to the northeast.

Tumbleweed tumbles by.

Lambert Gunning arrives from the east.

Lambert wipes his nose on his shirt.
action: Go southeast
response: This is a road that leads from Castronegro to the northwest and the desert farms to the south. The landscape around you is bleak and the sun beats down on you oppressively.
action: You go south
response: This is an abandoned desert farm. The only structure left standing is an old shepherd's barn. It stands decrepit to the southeast. A rocky path leads to the east and the road back to Castronegro is to the north.
action: You go southeast
response: There is a padlock barring your way.
action: You look at the padlock
response: It's a really old, very complex-looking padlock. Despite its age and its placement on such a decrepit building, it appears to have been used recently.
action: You break the padlock
response: That would hurt your hands.
action: You break the padlock with the cleaver
response: With a hearty thwack you chop the padlock from the door.
action: Go southeast
response: (first opening the old door)

The sunlight peeps through the slats in this rotting structure. The dust is suspended in the still air. Any stalls that were once here have been removed. Old crates are piled in the corner. The floor is matted with ancient straw. The exit is the old door to the northwest. You think you can hear the strange melodies of a very faint flute.
action: Examine crates
response: They are all open and battered.
action: You look around
response: The sunlight peeps through the slats in this rotting structure. The dust is suspended in the still air. Any stalls that were once here have been removed. Old crates are piled in the corner. The floor is matted with ancient straw. The exit is the old door to the northwest. You think you can hear the strange melodies of a very faint flute. A trapdoor leads down.

You can see a black robe and a sickle here.
action: You look at the robe
response: gift.
action: You take the robe
response: (putting the torn envelope into the trenchcoat to make room)
You pick up the black robe from the ground.
action: You examine the sickle
response: It is a hand-held scythe, if you will, (or even if you won't). It is stained with blood.
action: You take the sickle
response: (putting the archive key into the trenchcoat to make room)
You pick up the sickle from the ground.
action: You examine the door
response: Which do you mean, the trap door or the old door?
action: You open the trap door
response: You open the trap door.
action: You go downwards
response: It is pitch dark, and you can't see a thing.

The flute melody infects your brain like a tapeworm.
action: Go upwards
response: You are too entranced by the lunatic flute music.

The flute melody infects your brain like a tapeworm.
action: You switch on the flashlight
response: You switch the flashlight on.

The flute melody infects your brain like a tapeworm.

This is a horrible, confined, and constricted cellar. Your flashlight bounces around with a small jaundiced light. Only rough walls surround you with no exits save for the rickety ladder from which you descended. Some sort of altar sits in a crude alcove on the other side of this chamber, but you can't make it out unless you examine it further.

Wait. . .there is something else. Your mind protected you
from seeing it, at first, but now, you are mentally defenseless for what you see. Somewhere between a frog, a snake, and a squid is this Thing. . .this Servitor. . .the word insanely pops into your
mind. Its numerous tentacles squirm but two of them hold a strange flute to a wretched beak in its trunk. This is the source of the music. . .this is the source of madness. All you can think of to say to yourself is "This place is coconuts."

On the altar is a silver chalice.
action: You shoot servitor
response: With what? You're not carrying your revolver.

The flute melody infects your brain like a tapeworm.
action: You check what you're carrying
response: You are carrying:
a sickle
a black robe
a jar of chili powder
a cleaver
a flashlight (providing light)
a scrapbook
a fedora (being worn)
a set of clothes (being worn)
a trenchcoat (being worn and open)
the archive key
a torn envelope
a paperback book
a revolver
an ashtray
a Times clipping
a Herald clipping
a train ticket
a holster (being worn)

The flute melody infects your brain like a tapeworm.
action: You wear the robe
response: You put on the black robe.

The flute melody infects your brain like a tapeworm.
action: You look around
response: This is a horrible, confined, and constricted cellar. Your flashlight bounces around with a small jaundiced light. Only rough walls surround you with no exits save for the rickety ladder from which you descended. Some sort of altar sits in a crude alcove on the other side of this chamber, but you can't make it out unless you examine it further.

Wait. . .there is something else. Your mind protected you
from seeing it, at first, but now, you are mentally defenseless for what you see. Somewhere between a frog, a snake, and a squid is this Thing. . .this Servitor. . .the word insanely pops into your
mind. Its numerous tentacles squirm but two of them hold a strange flute to a wretched beak in its trunk. This is the source of the music. . .this is the source of madness.

On the altar is a silver chalice.

The flute melody infects your brain like a tapeworm.
action: You talk to Servitor
response: You doubt you speak its language. Plus, you are too entranced by the insane flute melodies to speak.

The flute melody infects your brain like a tapeworm.
action: You break flute
response: That would hurt your hands.

The flute melody infects your brain like a tapeworm.
action: You break the flute with the cleaver
response: There's no way to break the flute with the cleaver.

The flute melody infects your brain like a tapeworm.
action: You check your inventory
response: You are carrying:
a sickle
a black robe (being worn)
a jar of chili powder
a cleaver
a flashlight (providing light)
a scrapbook
a fedora (being worn)
a set of clothes (being worn)
a trenchcoat (being worn and open)
the archive key
a torn envelope
a paperback book
a revolver
an ashtray
a Times clipping
a Herald clipping
a train ticket
a holster (being worn)

The flute melody infects your brain like a tapeworm.
action: You put the jar in the trenchcoat
response: You put the jar of chili powder into the trenchcoat.

The flute melody infects your brain like a tapeworm.
action: You open the jar
response: The lid is screwed on too tight.

The flute melody infects your brain like a tapeworm.
action: You throw the jar at Servitor
response: (first taking the jar of chili powder)
You chuck the jar as hard as you can at the horrible beast. The glass of the jar explodes and it finally stops playing its demonic flute in order to begin a series of phlegmy sneezes. Defeated, the creature and its flute evaporate.
action: You look around
response: This is a horrible, confined, and constricted cellar. Your flashlight bounces around with a small jaundiced light. Only rough walls surround you with no exits save for the rickety ladder from which you descended. Some sort of altar sits in a crude alcove on the other side of this chamber, but you can't make it out unless you examine it further.

On the altar is a silver chalice.
action: You examine the chalice
response: This is certainly a treasure, if only it hadn't once been filled with blood. The chalice is stained around the rim with bloody lip prints.
action: You take the chalice
response: You take the silver chalice from the altar.
action: You examine the altar
response: The furnishing is an altar carved of thick wood. Maybe once it was a shipboard end-table, but now, it's an altar to unspeakable gods. Surrounding this dark thing are hundreds of tiny bones.
action: You examine the bones
response: Upon closer examination, you see they are small human bones. . .children's bones. . .and a shiver runs down your spine.
action: You go upward
response: The sunlight peeps through the slats in this rotting structure. The dust is suspended in the still air. Any stalls that were once here have been removed. Old crates are piled in the corner. The floor is matted with ancient straw. The exit is the old door to the northwest. A trapdoor leads down.
action: You remove the robe
response: You take off the black robe.
action: You go to the north-west
response: This is an abandoned desert farm. The only structure left standing is an old shepherd's barn. It stands decrepit to the southeast. A rocky path leads to the east and the road back to Castronegro is to the north.

You can see a broken padlock here.
action: Go east
response: This path ascends to the west toward the old farms of the desert and it descends into the small canyon to the northeast.

A chill wind blows; the only sign of winter you've felt here.
action: You take the padlock
response: (putting the scrapbook into the trenchcoat to make room)
You pick up the broken padlock from the ground.
action: Go east
response: This path ascends to the west toward the old farms of the desert and it descends into the small canyon to the northeast.

Strange noises echo around you.
action: You go northeast
response: You are walking through a hidden crevice. Passages lead north and southwest.

Vultures circle above you.
action: Go north
response: This is a place of death. No plant life can be seen and no animal life can be heard. This small canyon seems to have been chopped into the desert by a great hand, yet you've never heard of it existing.
The sand is more like dust. Paths lead through the canyon west and south. In the center of this area is a large obelisk; roughly ten feet tall and crudely carved all over. It juts like an insulting finger toward the heavens.

Strange noises echo around you.
action: You look at the obelisk
response: It is ominous and the carvings that cover it seem to squirm, but not really. The sand around the obelisk has been disturbed much more than anywhere else in this canyon.

A chill wind blows; the only sign of winter you've felt here.
action: You go to the west
response: This is a road that turns from pavement to dirt as it winds from the northwest toward Castronegro to the east into a small canyon.

You think you hear talking but cannot make it out.
action: You go to the northwest
response: This is a sorry excuse for a 'park'. There are no trees save for some cacti and tumbleweed. A bench sits near a dry fountain. To the east is the entrance to the chapel and to the south is the courtyard to the town's library. One of the roads that lead out of town is to the southeast and the park can be exited back into town to the west. You can also cross the street to the northwest and southwest.

You can see Grover Cotterell here.

A vulture circles lazily far overhead.

Ichabod Johnson arrives from the southwest.

Ichabod squints in the sunlight glaring from Grover's head.

Grover mumbles something about being a banker.
action: You go to the north
response: This is a bizarre little occult shop cluttered with strange artifacts. Statues, utensils, books, and an assortment of other esoteric, occult offerings line many shelves and tables in this cramped space. The door to the outside is to the south. A small table sits next to the door.

On the small table are a Balinese statuette and a small sign.

As if one with the other strange objects, the proprietor, Filipo Diaz, watches the store.

You can also see Lambert Gunning, Orion Skinner and Claire Prebo here.

Filipo rearranges some geodes.

Lambert asks Orion for some change.

Orion looks at you expectingly.

Claire smells her finger.
action: You show the robe to Filipo
response: "That's an interesting black robe."

Filipo eyes you suspiciously.

Orion Skinner goes south.

Lambert Gunning goes south.

Claire wonders aloud if she remembered to buy tampons.
action: You show the sickle to Filipo
response: "Ah yes. . .an enchanted sickle. I've seen them once or twice around these parts.", he gives a mischievous grin as he says this. "They have interesting qualities. They are used to chop paths through grain and wheat; perhaps this one will open a way for you sometime."

Filipo rearranges some geodes.

Claire smells her finger.
action: You go south
response: This is a dusty street corner in Castronegro. A black door leads into a building to the north and the sidewalk heads south and east. A park can be reached to the southeast.

You can see Lambert Gunning and Orion Skinner here.

The sound of a bus engine can be heard in the distance.

Lambert Gunning goes east.

Orion stoops to tie his shoelace.
action: You go east
response: This is a dusty sidewalk in Castronegro that stretches east to west. What passes for a town park can be reached to the south. You can also see the chapel in that direction. One of the roads that lead out of town, into the hills, is to the north. You can cross the street to the southwest.

You can see Lambert Gunning here.

The sun beats down on you despite the season.

Lambert looks around for a cigarette butt or a coin, perhaps.
action: You go north
response: This is a dusty road that leads south to Castronegro and north into the hills. The sun's heat causes you to sweat furiously here.

Vultures circle above you.
action: You break the door with the sickle
response: The sickle easily breaks the vault door open. It's as if it was made for the job.

You think you hear talking but cannot make it out.
action: You go to the northwest
response: (first opening the vault door)

This is a large chamber carved into the hill. Plain sarcophagi hold 19 members of either the Diaz or the Vilheila-Pareira families. One sarcophagus looks empty, however. The exit is to the southeast.
action: You examine the sarcophagus
response: Which do you mean, the empty sarcophagus or the closed sarcophagi?
action: Empty sarcophagus
response: This sarcophagus has never been used. It is engraved Bernardo de
Diaz 1580 -  but there's no date of death.

You find it interesting that there are no actual Bernardo de Diaz's buried here and the only mention of the name is on an empty sarcophagus with a birthdate 344 years ago.
action: You examine the closed sarcophagus
response: Each of the 19 closed sarcophagi hold the mummified remains of either a Diaz famly member or a Vilheila-Pareira family member. Their dates of births and deaths accompany their Spanish names.
action: You open the closed sarcophagus
response: You peek into a couple of the sarcophagi and find only mummified remains; nothing surprising, really.
action: Go southeast
response: The road through the hills meanders north to south here, but a steep hill exists to the northwest wherein a vault door hides a half-buried mausoleum.

The sun beats down on you despite the season.
action: You go north
response: This road winds through the hills. Thankfully, there is some shade among these badlands. The path leads both northeast and south.

You think you hear talking but cannot make it out.
action: You go to the northeast
response: This once was a garden, but now everything is dust and decay. The flowerpots hold only dirt and dead vines cover almost everything.
Casa De Diaz, the home of Bernardo Diaz VI, is to the north. The front door; an iron grate. The house is a stone horror but seems to once have been influenced greatly by Spanish architecture. However, the place is in bad disrepair; as if it's been abandoned for some years or even decades. The path through the hills and back to Castronegro lies to the southwest.

Strange noises echo around you.
action: Go north
response: You have a hunch there's more to be investigated before questioning Bernardo Diaz VI.

Vultures circle above you.
action: You go south
response: This is a dusty sidewalk in Castronegro that stretches east to west. What passes for a town park can be reached to the south. You can also see the chapel in that direction. One of the roads that lead out of town, into the hills, is to the north. You can cross the street to the southwest.

Tumbleweed tumbles by.
action: You go east
response: This is a dusty street corner. The sidewalk runs west and sharply southwest where it leads to a sorry excuse for a park. The Vilheila-Pareira Tobacco shop is to the northeast.

The sun beats down on you despite the season.
action: Go northeast
response: This is a small store run by Philip Vilheila-Pereira, the uncle of Joaquin Vilheila-Pereira, one of the missing persons. Barrels of tobacco are the only furnishings in this place. The door to the street is to the southwest.

Keeping watch over his store is Philip himself. He eyes you cautiously.

You can also see Lambert Gunning, Liana Farnham and Tate Walczak here.

Philip sticks his head into a barrel and breathes deeply the tobacco fumes.

Lambert stares at you.

Tate discusses the merits of owning a vacuum cleaner with Liana.

Liana looks around.
action: You talk to Philip
response: Maybe you should ask or tell about more specific topics.

Philip mumbles something about not being able to find his pipe.

Lambert Gunning goes southwest.

Tate discusses the merits of owning a vacuum cleaner with Liana.

Liana looks around.
action: You ask Philip about the vault
response: "I don't know much about vault."

Philip clears his throat.

Liana Farnham goes southwest.

Tate looks to the south.
action: You ask Philip about Servitor
response: "I don't know much about servitor."

Philip inspects his wares.

Tate looks to the north.
action: You ask Philip about diaz
response: "I don't know much about diaz."

Philip inspects his wares.

Tate sighs heavily.
action: You go to the southwest
response: This is a dusty street corner. The sidewalk runs west and sharply southwest where it leads to a sorry excuse for a park. The Vilheila-Pareira Tobacco shop is to the northeast.

You can see Liana Farnham and Lambert Gunning here.

A vulture circles lazily far overhead.

Orion Skinner arrives from the southwest.

Lambert asks Orion for some change.

Orion combs his hair.

Liana adjusts her wig.
action: You talk to Liana
response: You speak to the woman about the missing men, particularly the one you've been hired to find (David Lane). She doesn't know anything about the missing men, but she tells you that mysterious things have been known to happen in the old farms south of town. "If you're looking for missing people, maybe you should look there."

The sun beats down on you despite the season.

Lambert asks Orion for some change.

Orion fumbles with tucking in his shirt.

Liana checks her make-up in a compact mirror.
action: You go west
response: This is a dusty sidewalk in Castronegro that stretches east to west. What passes for a town park can be reached to the south. You can also see the chapel in that direction. One of the roads that lead out of town, into the hills, is to the north. You can cross the street to the southwest.

The sound of a motor can be heard far in the distance, behind the buildings somewhere.
action: Go west
response: This is a dusty street corner in Castronegro. A black door leads into a building to the north and the sidewalk heads south and east. A park can be reached to the southeast.

A vulture circles lazily far overhead.
action: You go north
response: This is a bizarre little occult shop cluttered with strange artifacts. Statues, utensils, books, and an assortment of other esoteric, occult offerings line many shelves and tables in this cramped space. The door to the outside is to the south. A small table sits next to the door.

On the small table are a Balinese statuette and a small sign.

As if one with the other strange objects, the proprietor, Filipo Diaz, watches the store.

You can also see Ichabod Johnson and Claire Prebo here.

Filipo eyes you suspiciously.

Ichabod coughs into his fist.

Claire wonders aloud if she remembered to buy tampons.
action: You talk to Filipo
response: Maybe you should ask or tell about more specific topics.

Filipo rearranges some geodes.

Ichabod scratches his mustache.

Claire wonders aloud if she remembered to buy tampons.
action: You ask Filipo about the valut
response: "I don't know much about valut."

Filipo sweeps the floor with an old broom.

Claire Prebo goes south.

Ichabod stares at you blankly.
action: You ask Filipo about the vault
response: "I don't know much about vault."

Filipo mumbles something about needing more mandrake for the boss.

Ichabod coughs into his fist.
action: You go south
response: This is a dusty street corner in Castronegro. A black door leads into a building to the north and the sidewalk heads south and east. A park can be reached to the southeast.

You can see Claire Prebo here.

The sun beats down on you despite the season.

Claire rummages around in her purse.
action: Go south
response: This is a dusty sidewalk in Castronegro that stretches north to south. What passes as the town's park can be reached to the east. A nondescript building with a nondescript door is to the west. The Herrera Hotel can be seen to the south. The library can be reached to the southeast and you can cross the street to the northeast.

The sound of a bus engine can be heard in the distance.
action: You go west
response: This is the town's speakeasy. The casual atmosphere makes you wonder if any law enforcement has ever cared to swing into Castronegro. A lazy overhead fan does nothing to stir the still air in here which smells of stale beer and body odor. The door back to the street is east. A radio sits in the corner.

Tending bar is the owner, Gilberto Diaz.

James Whitlock sits in the shadows, drunk.

Crackling through static on the radio, you hear, "A tornado in Lorain, Ohio has killed 78 people. . ."

Gilberto wipes down the tables.
action: You talk to Gilberto
response: Maybe you should ask or tell about more specific topics.

Crackling through static on the radio, you hear, "German serial killer Fritz Haarmann has been sentenced to death. . ."

Gilberto wipes down the bar.
action: You ask Gilberto about the vault
response: "I don't know much about vault."

Crackling through static on the radio, you hear, "A Soviet-backed coup attempt has failed in Estonia. . ."

Gilberto eyes you blankly.
action: You ask Gilberto about the farms
response: "I don't know much about farms."

Crackling through static on the radio, you hear, "Nellie Taylor Ross of Wyoming has been elected as the U.S.'s first woman governor. . ."

Gilberto pours another drink for James.
action: You go to the east
response: This is a dusty sidewalk in Castronegro that stretches north to south. What passes as the town's park can be reached to the east. A nondescript building with a nondescript door is to the west. The Herrera Hotel can be seen to the south. The library can be reached to the southeast and you can cross the street to the northeast.

You can see Claire Prebo here.

The sun beats down on you despite the season.

Claire takes an eclaire from her purse, takes a bite, and replaces it.
action: Go east
response: This is a sorry excuse for a 'park'. There are no trees save for some cacti and tumbleweed. A bench sits near a dry fountain. To the east is the entrance to the chapel and to the south is the courtyard to the town's library. One of the roads that lead out of town is to the southeast and the park can be exited back into town to the west. You can also cross the street to the northwest and southwest.

The sound of a bus engine can be heard in the distance.
action: You go east
response: Inside the chapel, it is eerie and silent. It seems that the locals do not frequent it much. The door to the street outside is to the west.

In the center of this chamber is a rather horrible statue carved from basalt.

Reading in the back of the chapel is Father Alonso Vilheila-Pareira.

You can also see Liana Farnham, Grover Cotterell and Clarinda Fisch here.

Father Alonso lights a cigarette.

Grover jingles change in his pockets.

Liana adjusts her wig.

Clarinda looks to the east.
action: You talk to Grover
response: This man doesn't have much to say save for a warning. "Don't go around asking too many questions in Castronegro. . .fuckface."

Father Alonso chuckles softly to himself, evidently about something he's reading.

Grover straightens his tie.

Liana adjusts her wig.

Clarinda eyes you flirtatiously.
action: You talk to Clarinda
response: "Don't you think it's strange for a small town like this to be able to support a specialty occult shop?"

Father Alonso turns the page of the book he is reading.

Grover Cotterell goes west.

Clarinda Fisch goes west.

Liana checks her make-up in a compact mirror.
action: You talk to Alonso
response: Maybe you should ask or tell about more specific topics.

Father Alonso lights another candle and places it near him.

Liana eyes you flirtatiously.
action: You show sickle to Alonso
response: "That doesn't look like an ordinary sickle. In fact, I've heard of enchanted sickles around these parts that can not only break bones, but even break open doors at times."

Father Alonso puts his face close to the page he's reading as if his sight is very bad.

Liana checks her make-up in a compact mirror.
action: You show the robe to Alonso
response: His face grows grim. "You shouldn't be asking about such things. Nor should you carry that or, Dios forbid, wear it."

Father Alonso puts his face close to the page he's reading as if his sight is very bad.

Liana checks her make-up in a compact mirror.
action: Go west
response: This is a sorry excuse for a 'park'. There are no trees save for some cacti and tumbleweed. A bench sits near a dry fountain. To the east is the entrance to the chapel and to the south is the courtyard to the town's library. One of the roads that lead out of town is to the southeast and the park can be exited back into town to the west. You can also cross the street to the northwest and southwest.

You can see Grover Cotterell here.

The sun beats down on you despite the season.

Orion Skinner arrives from the north.

Grover smells his hankerchief.

Orion stoops to tie his shoelace.
action: You go to the north-west
response: This is a dusty street corner in Castronegro. A black door leads into a building to the north and the sidewalk heads south and east. A park can be reached to the southeast.

You can see Claire Prebo here.

Tumbleweed tumbles by.

Claire Prebo goes southeast.
action: You go north
response: This is a bizarre little occult shop cluttered with strange artifacts. Statues, utensils, books, and an assortment of other esoteric, occult offerings line many shelves and tables in this cramped space. The door to the outside is to the south. A small table sits next to the door.

On the small table are a Balinese statuette and a small sign.

As if one with the other strange objects, the proprietor, Filipo Diaz, watches the store.

You can also see Ichabod Johnson here.

Filipo straightens some ancient Tarot cards on a shelf.

Ichabod whistles tunelessly.
action: You show chalice to  Filipo
response: "I wouldn't show that to anyone else around here. . .if you value your life."

Filipo sweeps the floor with an old broom.

Ichabod twirls his mustache.
action: You check your inventory
response: You are carrying:
a broken padlock
a silver chalice
a sickle
a black robe
a cleaver
a flashlight (providing light)
a fedora (being worn)
a set of clothes (being worn)
a trenchcoat (being worn and open)
a scrapbook
the archive key
a torn envelope
a paperback book
a revolver
an ashtray
a Times clipping
a Herald clipping
a train ticket
a holster (being worn)

Filipo straightens some ancient Tarot cards on a shelf.

Ichabod whistles tunelessly.
action: You search the books
response: Clandestinely, you spy a folded paper among the trinkets. When Filipo isn't looking, you are able to snatch it and pocket it.

Filipo mumbles something about needing more mandrake for the boss.

Ichabod whistles tunelessly.
action: You examine paper
response: Filipo~ I will be needing mandrake with my next shipment.
~B.

Filipo sweeps the floor with an old broom.

Ichabod Johnson goes south.
action: Look around
response: This is a bizarre little occult shop cluttered with strange artifacts. Statues, utensils, books, and an assortment of other esoteric, occult offerings line many shelves and tables in this cramped space. The door to the outside is to the south. A small table sits next to the door.

On the small table are a Balinese statuette and a small sign.

As if one with the other strange objects, the proprietor, Filipo Diaz, watches the store.

Filipo rearranges some geodes.
action: You search the shelves
response: On the surface, nothing here seems to be of any use to you in solving this mystery, but maybe the shelves can be searched when Filipo isn't looking.

Filipo mumbles something about needing more mandrake for the boss.
action: You ask Filipo about the mandrake
response: "I don't know much about mandrake."

Filipo eyes you suspiciously.
action: You go south
response: This is a dusty street corner in Castronegro. A black door leads into a building to the north and the sidewalk heads south and east. A park can be reached to the southeast.

You can see Ichabod Johnson and Grover Cotterell here.

Dust swirls around the buildings.

Ichabod squints in the sunlight glaring from Grover's head.

Grover mumbles something about being a banker.
action: Go south
response: This is a dusty sidewalk in Castronegro that stretches north to south. What passes as the town's park can be reached to the east. A nondescript building with a nondescript door is to the west. The Herrera Hotel can be seen to the south. The library can be reached to the southeast and you can cross the street to the northeast.

You can see Claire Prebo here.

You think you hear your name whispered somewhere near you but it might've just been the wind.

Claire rummages around in her purse.
action: Go south
response: This is a dusty street corner in Castronegro. A bus stop can be seen to the west, in front of the Herrera Hotel. One of the roads that lead out of town is to the southeast. The library can be reached to the east, and the sidewalk continues to the north past a nondescript building. A park can be reached to the northeast.

The sun beats down on you despite the season.
action: Go southeast
response: This is a road that leads from Castronegro to the northwest and the desert farms to the south. The landscape around you is bleak and the sun beats down on you oppressively.
action: You go south
response: This is an abandoned desert farm. The only structure left standing is an old shepherd's barn. It stands decrepit to the southeast. A rocky path leads to the east and the road back to Castronegro is to the north.
action: You go southeast
response: The sunlight peeps through the slats in this rotting structure. The dust is suspended in the still air. Any stalls that were once here have been removed. Old crates are piled in the corner. The floor is matted with ancient straw. The exit is the old door to the northwest. A trapdoor leads down.
action: You open the trap door
response: That's already open.
action: Go downwards
response: This is a horrible, confined, and constricted cellar. Your flashlight bounces around with a small jaundiced light. Only rough walls surround you with no exits save for the rickety ladder from which you descended. Some sort of altar sits in a crude alcove on the other side of this chamber, but you can't make it out unless you examine it further.
action: You examine the altar
response: The furnishing is an altar carved of thick wood. Maybe once it was a shipboard end-table, but now, it's an altar to unspeakable gods. Surrounding this dark thing are hundreds of tiny bones.
action: You examine the bones
response: Upon closer examination, you see they are small human bones. . .children's bones. . .and a shiver runs down your spine.
action: You examine the straw
response: The straw is matted mostly in a path between the exit and the crates.
action: Inventory
response: You are carrying:
a mysterious letter
a broken padlock
a silver chalice
a sickle
a black robe
a cleaver
a flashlight (providing light)
a fedora (being worn)
a set of clothes (being worn)
a trenchcoat (being worn and open)
a scrapbook
the archive key
a torn envelope
a paperback book
a revolver
an ashtray
a Times clipping
a Herald clipping
a train ticket
a holster (being worn)
action: Examine book
response: Which do you mean, the scrapbook or the paperback book?
action: You look at the paperback book
response: >
action: Open paperback book
response: (putting the cleaver into the trenchcoat to make room)
You're carrying too many things already.
action: You read the letter
response: Filipo~ I will be needing mandrake with my next shipment.
~B.
action: You look at your surroundings
response: The sunlight peeps through the slats in this rotting structure. The dust is suspended in the still air. Any stalls that were once here have been removed. Old crates are piled in the corner. The floor is matted with ancient straw. The exit is the old door to the northwest. A trapdoor leads down.
action: You go north
response: This is a place of death. No plant life can be seen and no animal life can be heard. This small canyon seems to have been chopped into the desert by a great hand, yet you've never heard of it existing.
The sand is more like dust. Paths lead through the canyon west and south. In the center of this area is a large obelisk; roughly ten feet tall and crudely carved all over. It juts like an insulting finger toward the heavens.

You think you hear talking but cannot make it out.
action: You look at the obelisk
response: It is ominous and the carvings that cover it seem to squirm, but not really. The sand around the obelisk has been disturbed much more than anywhere else in this canyon.

Strange noises echo around you.

Orion Skinner arrives from the west.

Orion looks at you expectingly.
action: You talk to Orion
response: "The Diaz family not only keep their dead in their mausoleum, but also their secrets."

Vultures circle above you.

Orion checks his watch.
action: You examine the sand
response: Around the obelisk, the sand is loose and covered with various footprints; one of which is a pair of bootprints with a cross imprint on the heels. Pebbles and other debris are strewn around the obelisk.

A chill wind blows; the only sign of winter you've felt here.

Orion Skinner goes west.
action: Go west
response: This is a road that turns from pavement to dirt as it winds from the northwest toward Castronegro to the east into a small canyon.

You can see Orion Skinner here.

You think you hear talking but cannot make it out.

Orion stoops to tie his shoelace.
action: Go east
response: This is a place of death. No plant life can be seen and no animal life can be heard. This small canyon seems to have been chopped into the desert by a great hand, yet you've never heard of it existing.
The sand is more like dust. Paths lead through the canyon west and south. In the center of this area is a large obelisk; roughly ten feet tall and crudely carved all over. It juts like an insulting finger toward the heavens.

Dust swirls about and gets into your eyes.
action: You examine the sand
response: Around the obelisk, the sand is loose and covered with various footprints; one of which is a pair of bootprints with a cross imprint on the heels. Pebbles and other debris are strewn around the obelisk.

Strange noises echo around you.
action: You search the sand
response: Sifting around the sand, you find a broken pocket watch. Maybe there's more to be found. . .

Vultures circle above you.

Orion Skinner arrives from the west.

Orion stoops to tie his shoelace.
action: You take the watch
response: You already have that.

You think you hear talking but cannot make it out.

Orion fumbles with tucking in his shirt.
action: Inventory
response: You are carrying:
a broken pocket watch
a mysterious letter
a broken padlock
a silver chalice
a sickle
a black robe
a flashlight (providing light)
a fedora (being worn)
a set of clothes (being worn)
a trenchcoat (being worn and open)
a cleaver
a scrapbook
the archive key
a torn envelope
a paperback book
a revolver
an ashtray
a Times clipping
a Herald clipping
a train ticket
a holster (being worn)

Vultures circle above you.

Orion Skinner goes west.
action: Examine watch
response: It's a Hamilton series Art Deco 14 karat gold pocket watch. It's no longer running and it's stuck on 4:20 am. On the back, the letters D.L. are engraved.

You think you hear talking but cannot make it out.
action: Go northwest
response: This is a sorry excuse for a 'park'. There are no trees save for some cacti and tumbleweed. A bench sits near a dry fountain. To the east is the entrance to the chapel and to the south is the courtyard to the town's library. One of the roads that lead out of town is to the southeast and the park can be exited back into town to the west. You can also cross the street to the northwest and southwest.

You can see Orion Skinner here.

You hear the muffled sounds of a radio playing from within one of the buildings.

Orion fumbles with tucking in his shirt.
action: You show the watch to Orion
response: "Thank you for showing me your broken pocket watch."

A chill wind blows; the only sign of winter you've felt here.

Orion Skinner goes northeast.
action: You look at the fountain
response: It may once have looked marvelous, but now, it's a sad reminder of a happier time.

You hear footsteps behind you, but when you turn to look, you see no one.

Lambert Gunning arrives from the north.

Lambert sneezes obnoxiously.
action: You look at Lambert
response: Lambert hasn't been anything to write home about since he left home.

The sun beats down on you despite the season.

Lambert wipes his nose on his shirt.
action: Search fountain
response: You find nothing of interest.

Dust swirls around the buildings.

Lambert stares at you.
action: You go east
response: Inside the chapel, it is eerie and silent. It seems that the locals do not frequent it much. The door to the street outside is to the west.

In the center of this chamber is a rather horrible statue carved from basalt.

Reading in the back of the chapel is Father Alonso Vilheila-Pareira.

You can also see Claire Prebo and Liana Farnham here.

Father Alonso lights a cigarette.

Liana Farnham goes west.

Claire Prebo goes west.
action: You examine the statue
response: It depicts a distorted human figure wrapped partly in a shroud with a sickle in the left hand. The right hand points southeast.

Father Alonso turns the page of the book he is reading.
action: You go to the southeast
response: You can't go that way.

Father Alonso puts his face close to the page he's reading as if his sight is very bad.
action: You look se
response: You see nothing unexpected in that direction.

Father Alonso lights a cigarette.
action: You turn the statue
response: It is fixed in place.

Father Alonso lights a cigarette.
action: You search the statue
response: You find nothing of interest.

Father Alonso puts his face close to the page he's reading as if his sight is very bad.
action: You wear the robe
response: You put on the black robe.

Father Alonso chuckles softly to himself, evidently about something he's reading.
action: You hold the sickle
response: You already have that.

Father Alonso lights another candle and places it near him.
action: About yourself
response: You are a private eye; a gumshoe, as they say, and you appear as such.

Father Alonso chuckles softly to himself, evidently about something he's reading.
action: Inventory
response: You are carrying:
a broken pocket watch
a mysterious letter
a broken padlock
a silver chalice
a sickle
a black robe (being worn)
a flashlight (providing light)
a fedora (being worn)
a set of clothes (being worn)
a trenchcoat (being worn and open)
a cleaver
a scrapbook
the archive key
a torn envelope
a paperback book
a revolver
an ashtray
a Times clipping
a Herald clipping
a train ticket
a holster (being worn)

Father Alonso puts his face close to the page he's reading as if his sight is very bad.
action: You go west
response: This is a sorry excuse for a 'park'. There are no trees save for some cacti and tumbleweed. A bench sits near a dry fountain. To the east is the entrance to the chapel and to the south is the courtyard to the town's library. One of the roads that lead out of town is to the southeast and the park can be exited back into town to the west. You can also cross the street to the northwest and southwest.

You hear footsteps behind you, but when you turn to look, you see no one.

Clarinda Fisch arrives from the west.

Liana adjusts her wig.
action: You go north
response: This is a sorry excuse for a 'park'. There are no trees save for some cacti and tumbleweed. A bench sits near a dry fountain. To the east is the entrance to the chapel and to the south is the courtyard to the town's library. One of the roads that lead out of town is to the southeast and the park can be exited back into town to the west. You can also cross the street to the northwest and southwest.

You can see Clarinda Fisch here.

A chill wind blows; the only sign of winter you've felt here.

Clarinda sighs sweetly.
action: Go north
response: This is a dusty sidewalk in Castronegro that stretches east to west. What passes for a town park can be reached to the south. You can also see the chapel in that direction. One of the roads that lead out of town, into the hills, is to the north. You can cross the street to the southwest.

Dust swirls around the buildings.
action: You go north
response: This is a dusty road that leads south to Castronegro and north into the hills. The sun's heat causes you to sweat furiously here.

Dust swirls about and gets into your eyes.
action: Go northwest
response: You can't go that way.

A chill wind blows; the only sign of winter you've felt here.
action: You go north
response: The road through the hills meanders north to south here, but a steep hill exists to the northwest wherein a vault door hides a half-buried mausoleum.

Vultures circle above you.
action: Go northwest
response: This is a large chamber carved into the hill. Plain sarcophagi hold 19 members of either the Diaz or the Vilheila-Pareira families. One sarcophagus looks empty, however. The exit is to the southeast.
action: You search the sarcophagus
response: Which do you mean, the empty sarcophagus or the closed sarcophagi?
action: Empty
response: It is fixed in place.
action: You go southeast
response: The road through the hills meanders north to south here, but a steep hill exists to the northwest wherein a vault door hides a half-buried mausoleum.

Dust swirls about and gets into your eyes.
action: Go south
response: This is a dusty road that leads south to Castronegro and north into the hills. The sun's heat causes you to sweat furiously here.

You think you hear talking but cannot make it out.
action: You go south
response: This is a dusty sidewalk in Castronegro that stretches east to west. What passes for a town park can be reached to the south. You can also see the chapel in that direction. One of the roads that lead out of town, into the hills, is to the north. You can cross the street to the southwest.

The sun beats down on you despite the season.

This is a sorry excuse for a 'park'. There are no trees save for some cacti and tumbleweed. A bench sits near a dry fountain. To the east is the entrance to the chapel and to the south is the courtyard to the town's library. One of the roads that lead out of town is to the southeast and the park can be exited back into town to the west. You can also cross the street to the northwest and southwest.

You can see Clarinda Fisch here.

The sound of a motor can be heard far in the distance, behind the buildings somewhere.

Clarinda eyes you flirtatiously.

This is a dusty stone courtyard to the library of Castronegro. A sad excuse for a park is to the north and the street corner is to the west. The library's door is to the southeast. You can cross the street to the northwest.

You hear the muffled sounds of a radio playing from within one of the buildings.
action: You go to the west
response: This is a dusty street corner in Castronegro. A bus stop can be seen to the west, in front of the Herrera Hotel. One of the roads that lead out of town is to the southeast. The library can be reached to the east, and the sidewalk continues to the north past a nondescript building. A park can be reached to the northeast.

You can see Liana Farnham here.

You hear footsteps behind you, but when you turn to look, you see no one.

Liana adjusts her wig.
action: You go west
response: This is the only bus stop in town and it sits at the town's edge. To the west, the road leads out of town and to the east is the rest of Castronegro. To the south is the Herrera Hotel; its sign dangling lazily from the door like a warm dog's gonad.

You can see a sign here.

You hear the muffled sounds of a radio playing from within one of the buildings.
action: Go south
response: The Herrera Hotel is the only place to stay in Castronegro. It is an old adobe building, at least a hundred years old, with two stories. This is the lobby where the front desk greets the guest. A lounge is to the east and stairs lead upward to the rooms. A door is set into the west wall.

Organizing some paperwork (in a futile attempt at professionalism) is the hotel's owner, Juan Herrera.

Juan checks his fly.
action: You show the watch to Juan
response: "That's an interesting broken pocket watch."

Juan checks his fly.
action: You ask Juan about the watch
response: "I don't know much about watch."

Juan looks around the room at no one in particular.
action: You go west
response: This is a simple kitchen equipped with simple appliances and a preponderance of southwestern ingredients.

In the center of the kitchen is a small kitchen island; the only good spot in the place to prepare food.
action: You look at the island
response: It's a heavy wooden trolley with the wheels removed.
action: You examine the ingredients
response: You've never really been into the southwestern flavor.
action: You look at the appliances
response: They are out-of-date even for this decade.
action: You check your inventory
response: You are carrying:
a broken pocket watch
a mysterious letter
a broken padlock
a silver chalice
a sickle
a black robe (being worn)
a flashlight (providing light)
a fedora (being worn)
a set of clothes (being worn)
a trenchcoat (being worn and open)
a cleaver
a scrapbook
the archive key
a torn envelope
a paperback book
a revolver
an ashtray
a Times clipping
a Herald clipping
a train ticket
a holster (being worn)
action: You take all
response: cleaver: (putting the sickle into the trenchcoat to make room)
You take the cleaver from the trenchcoat.
scrapbook: (putting the silver chalice into the trenchcoat to make room)
You take the scrapbook from the trenchcoat.
archive key: (putting the broken padlock into the trenchcoat to make room)
You take the archive key from the trenchcoat.
torn envelope: (putting the mysterious letter into the trenchcoat to make room)
You take the torn envelope from the trenchcoat.
paperback book: (putting the broken pocket watch into the trenchcoat to make room)
You take the paperback book from the trenchcoat.
revolver: (putting the cleaver into the trenchcoat to make room)
You take the revolver from the trenchcoat.
ashtray: (putting the scrapbook into the trenchcoat to make room)
You take the ashtray from the trenchcoat.
Times clipping: (putting the archive key into the trenchcoat to make room)
You take the Times clipping from the trenchcoat.
Herald clipping: (putting the torn envelope into the trenchcoat to make room)
You take the Herald clipping from the trenchcoat.
train ticket: (putting the paperback book into the trenchcoat to make room)
You take the train ticket from the trenchcoat.
action: Look around
response: This is a simple kitchen equipped with simple appliances and a preponderance of southwestern ingredients.

In the center of the kitchen is a small kitchen island; the only good spot in the place to prepare food.
action: You take ingredients
response: That's hardly portable.
action: You go east
response: A round table dominates this dining room. It makes you depressed imagining being a guest at this hotel. Doorways lead north and west. To the west, you can see the kitchen.

This is a crude lounge with cheap furniture. Doorways lead west and south.

The Herrera Hotel is the only place to stay in Castronegro. It is an old adobe building, at least a hundred years old, with two stories. This is the lobby where the front desk greets the guest. A lounge is to the east and stairs lead upward to the rooms. A door is set into the west wall.

Arranging dried flowers in a vase (in a futile attempt at cheer) is the hotel's owner, Juan Herrera.

Juan checks the lock on the west door.

This is the only bus stop in town and it sits at the town's edge. To the west, the road leads out of town and to the east is the rest of Castronegro. To the south is the Herrera Hotel; its sign dangling lazily from the door like a warm dog's gonad.

You can see Grover Cotterell and a sign here.

Tumbleweed tumbles by.

Grover jingles change in his pockets.

This is a dusty street corner in Castronegro. A bus stop can be seen to the west, in front of the Herrera Hotel. One of the roads that lead out of town is to the southeast. The library can be reached to the east, and the sidewalk continues to the north past a nondescript building. A park can be reached to the northeast.

You can see Claire Prebo here.

The sun beats down on you despite the season.

Lambert Gunning arrives from the southeast.

Lambert stares at you.

Claire looks around nervously.
action: You go north
response: This is a dusty sidewalk in Castronegro that stretches north to south. What passes as the town's park can be reached to the east. A nondescript building with a nondescript door is to the west. The Herrera Hotel can be seen to the south. The library can be reached to the southeast and you can cross the street to the northeast.

You can see Liana Farnham here.

You think you hear your name whispered somewhere near you but it might've just been the wind.

Liana adjusts her wig.
action: You go west
response: This is the town's speakeasy. The casual atmosphere makes you wonder if any law enforcement has ever cared to swing into Castronegro. A lazy overhead fan does nothing to stir the still air in here which smells of stale beer and body odor. The door back to the street is east. A radio sits in the corner.

Tending bar is the owner, Gilberto Diaz.

James Whitlock sits in the shadows, drunk.

Crackling through static on the radio, you hear, "German serial killer Fritz Haarmann has been sentenced to death. . ."

Gilberto wipes down the tables.
action: You look at the radio
response: It's an Atwater Kent tube radio with external speaker.

The radio is currently switched on.

Crackling through static on the radio, you hear, "A tornado in Lorain, Ohio has killed 78 people. . ."

Gilberto wipes down the bar.
action: You turn off the radio
response: Gilberto shouts at you, "Hands off the radio, jackass!"

Crackling through static on the radio, you hear, "The Feds report that bootleggers in the U.S. have begun using Thompson sub-machine guns. . ."

Gilberto wipes down the bar.
action: You move the radio
response: It is fixed in place.

Crackling through static on the radio, you hear, "A tornado in Lorain, Ohio has killed 78 people. . ."

Gilberto wipes down the bar.
action: You go to the west
response: This is a dusty sidewalk in Castronegro that stretches north to south. What passes as the town's park can be reached to the east. A nondescript building with a nondescript door is to the west. The Herrera Hotel can be seen to the south. The library can be reached to the southeast and you can cross the street to the northeast.

You hear the muffled sounds of a radio playing from within one of the buildings.

This is a dusty street corner in Castronegro. A bus stop can be seen to the west, in front of the Herrera Hotel. One of the roads that lead out of town is to the southeast. The library can be reached to the east, and the sidewalk continues to the north past a nondescript building. A park can be reached to the northeast.

You can see Liana Farnham and Lambert Gunning here.

A vulture circles lazily far overhead.

Lambert Gunning goes north.

Liana adjusts her wig.

This is the only bus stop in town and it sits at the town's edge. To the west, the road leads out of town and to the east is the rest of Castronegro. To the south is the Herrera Hotel; its sign dangling lazily from the door like a warm dog's gonad.

You can see a sign here.

A chill wind blows; the only sign of winter you've felt here.
action: Go west
response: That would take you too far out of town.

Dust swirls around the buildings.
action: Go northeast
response: This is a dusty street corner in Castronegro. A bus stop can be seen to the west, in front of the Herrera Hotel. One of the roads that lead out of town is to the southeast. The library can be reached to the east, and the sidewalk continues to the north past a nondescript building. A park can be reached to the northeast.

You can see Liana Farnham here.

Eerie silence suddenly surrounds you.

Liana checks her make-up in a compact mirror.

This is a dusty stone courtyard to the library of Castronegro. A sad excuse for a park is to the north and the street corner is to the west. The library's door is to the southeast. You can cross the street to the northwest.

You can see Claire Prebo here.

You hear the muffled sounds of a radio playing from within one of the buildings.

Claire Prebo goes northwest.

This is a sorry excuse for a 'park'. There are no trees save for some cacti and tumbleweed. A bench sits near a dry fountain. To the east is the entrance to the chapel and to the south is the courtyard to the town's library. One of the roads that lead out of town is to the southeast and the park can be exited back into town to the west. You can also cross the street to the northwest and southwest.

You can see Liana Farnham and Lambert Gunning here.

Eerie silence suddenly surrounds you.

Lambert Gunning goes east.

Liana Farnham goes northwest.

This is a dusty street corner. The sidewalk runs west and sharply southwest where it leads to a sorry excuse for a park. The Vilheila-Pareira Tobacco shop is to the northeast.

The sun beats down on you despite the season.

This is a small store run by Philip Vilheila-Pereira, the uncle of Joaquin Vilheila-Pereira, one of the missing persons. Barrels of tobacco are the only furnishings in this place. The door to the street is to the southwest.

Keeping watch over his store is Philip himself. He eyes you cautiously.

You can also see Orion Skinner and Tate Walczak here.

Philip eyes you suspiciously.

Orion Skinner goes southwest.

Tate checks a map and looks around, confused.
action: You examine the barrels
response: There are about a dozen barrels of pure tobacco here.

Philip sticks his head into a barrel and breathes deeply the tobacco fumes.

Tate scratches his head.
action: Search barrels
response: You make a motion as if examining the fine strains of tobacco, but you really take a good search around and inside the barrels as best you can.

Sure enough, you find a crude wooden pipe which you deftly pocket.

Philip inspects his wares.

Tate scratches his head.
action: You look at the pipe
response: It is a simple, functional pipe carved hastily from a small chunk of wood. It appears to have been used at least a few times. It smells of tobacco.

Philip looks around his establishment, clearly pleased with himself.

Tate looks to the north.
action: You show pipe to Philip
response: "Hey! That's the pipe I lost!"

Philip mumbles something about not being able to find his pipe.

Tate looks to the south.
action: You ask Philip about pipe
response: "I don't know much about pipe."

Philip inspects his wares.

Tate looks at you, questioningly.
action: You ask Philip about the tobacco
response: "I don't know much about tobacco."

Philip mumbles something about not being able to find his pipe.

Tate looks at you, questioningly.
action: You talk to Tate
response: "I'm as lost as you."

Philip mumbles something about not being able to find his pipe.

Tate scratches his head.
action: You give the pipe to Philip
response: He takes the pipe. "Thank you for finding it.", he says, "Listen, here's a word of advice. Avoid uncovering secrets in this town.
It'll only get you into trouble. Bernardo sees all. You never know who's a spy for him. . ."

Philip inspects his wares.

Tate checks a map and looks around, confused.
action: You ask Tate about the map
response: "I don't know much about map."

Philip mumbles something about not being able to find his pipe.

Tate Walczak goes southwest.
action: You ask Philip about Bernardo
response: "I don't know much about bernardo."

Philip sticks his head into a barrel and breathes deeply the tobacco fumes.
action: Search barrels
response: You find nothing of interest.

Philip inspects his wares.
action: You go northwest
response: This is a dusty street corner. The sidewalk runs west and sharply southwest where it leads to a sorry excuse for a park. The Vilheila-Pareira Tobacco shop is to the northeast.

You can see Tate Walczak here.

The sound of a motor can be heard far in the distance, behind the buildings somewhere.

Claire Prebo arrives from the west.

Tate sighs heavily.

Claire smells her finger.

This is a dusty sidewalk in Castronegro that stretches east to west. What passes for a town park can be reached to the south. You can also see the chapel in that direction. One of the roads that lead out of town, into the hills, is to the north. You can cross the street to the southwest.

You hear the muffled sounds of a radio playing from within one of the buildings.

This is a dusty road that leads south to Castronegro and north into the hills. The sun's heat causes you to sweat furiously here.

Vultures circle above you.

The road through the hills meanders north to south here, but a steep hill exists to the northwest wherein a vault door hides a half-buried mausoleum.

Strange noises echo around you.

This road winds through the hills. Thankfully, there is some shade among these badlands. The path leads both northeast and south.

You think you hear talking but cannot make it out.

You can't go that way.

A chill wind blows; the only sign of winter you've felt here.
action: You go northwest
response: You can't go that way.

You think you hear talking but cannot make it out.
action: Go northeast
response: This once was a garden, but now everything is dust and decay. The flowerpots hold only dirt and dead vines cover almost everything.
Casa De Diaz, the home of Bernardo Diaz VI, is to the north. The front door; an iron grate. The house is a stone horror but seems to once have been influenced greatly by Spanish architecture. However, the place is in bad disrepair; as if it's been abandoned for some years or even decades. The path through the hills and back to Castronegro lies to the southwest.

A chill wind blows; the only sign of winter you've felt here.
action: You search the flowerpots
response: You find nothing of interest.

Strange noises echo around you.
action: You move the flowerpots
response: It is fixed in place.

Vultures circle above you.
action: You move the vines
response: It is fixed in place.

You think you hear talking but cannot make it out.
action: You search vines
response: You find nothing of interest.

A chill wind blows; the only sign of winter you've felt here.
action: Go north
response: You have a hunch there's more to be investigated before questioning Bernardo Diaz VI.

The sun beats down on you despite the season.
action: You look around
response: This once was a garden, but now everything is dust and decay. The flowerpots hold only dirt and dead vines cover almost everything.
Casa De Diaz, the home of Bernardo Diaz VI, is to the north. The front door; an iron grate. The house is a stone horror but seems to once have been influenced greatly by Spanish architecture. However, the place is in bad disrepair; as if it's been abandoned for some years or even decades. The path through the hills and back to Castronegro lies to the southwest.

You think you hear talking but cannot make it out.
action: You go to the southwest
response: This road winds through the hills. Thankfully, there is some shade among these badlands. The path leads both northeast and south.

A chill wind blows; the only sign of winter you've felt here.
action: You look at the chalice
response: This is certainly a treasure, if only it hadn't once been filled with blood. The chalice is stained around the rim with bloody lip prints.

Strange noises echo around you.
action: You open watch
response: That's not something you can open.

A chill wind blows; the only sign of winter you've felt here.
action: You go south
response: This is a dusty road that leads south to Castronegro and north into the hills. The sun's heat causes you to sweat furiously here.

You can see Liana Farnham here.

You think you hear talking but cannot make it out.

Liana breathes in deeply.
action: You go south
response: This is a dusty sidewalk in Castronegro that stretches east to west. What passes for a town park can be reached to the south. You can also see the chapel in that direction. One of the roads that lead out of town, into the hills, is to the north. You can cross the street to the southwest.

Tumbleweed tumbles by.
action: Go west
response: This is a dusty street corner in Castronegro. A black door leads into a building to the north and the sidewalk heads south and east. A park can be reached to the southeast.

A vulture circles lazily far overhead.
action: You go north
response: This is a bizarre little occult shop cluttered with strange artifacts. Statues, utensils, books, and an assortment of other esoteric, occult offerings line many shelves and tables in this cramped space. The door to the outside is to the south. A small table sits next to the door.

On the small table are a Balinese statuette and a small sign.

As if one with the other strange objects, the proprietor, Filipo Diaz, watches the store.

Filipo dusts the Haitian voodoo dolls while whispering softly to them.
action: You look at the statuette
response: It's a Balinese temple guardian demon. You've no idea why you know that.

Filipo straightens some ancient Tarot cards on a shelf.
action: You search the statuette
response: You find nothing of interest.

Filipo dusts the Haitian voodoo dolls while whispering softly to them.
action: Move statuette
response: Nothing obvious happens.

Filipo rearranges some geodes.
action: You read the sign
response: The Tomb: Proprietor Filipo Diaz

Filipo sweeps the floor with an old broom.
action: You move the table
response: It is fixed in place.

Filipo eyes you suspiciously.
action: You look under the table
response: You find nothing of interest.

Filipo straightens some ancient Tarot cards on a shelf.
action: Go south
response: This is a dusty street corner in Castronegro. A black door leads into a building to the north and the sidewalk heads south and east. A park can be reached to the southeast.

You hear the muffled sounds of a radio playing from within one of the buildings.
action: Go south
response: This is a dusty sidewalk in Castronegro that stretches north to south. What passes as the town's park can be reached to the east. A nondescript building with a nondescript door is to the west. The Herrera Hotel can be seen to the south. The library can be reached to the southeast and you can cross the street to the northeast.

A chill wind blows; the only sign of winter you've felt here.
action: You go south
response: This is a dusty street corner in Castronegro. A bus stop can be seen to the west, in front of the Herrera Hotel. One of the roads that lead out of town is to the southeast. The library can be reached to the east, and the sidewalk continues to the north past a nondescript building. A park can be reached to the northeast.

Dust swirls around the buildings.
action: You take the statuette
response: Not a good idea with Filipo watching.

Filipo mumbles something about needing more mandrake for the boss.
action: You read the letter
response: Filipo~ I will be needing mandrake with my next shipment.
~B.

Filipo straightens some ancient Tarot cards on a shelf.
action: You ask Filipo about the boots
response: "I don't know much about boots."

Filipo rearranges some geodes.
action: You go south
response: This is a dusty street corner in Castronegro. A black door leads into a building to the north and the sidewalk heads south and east. A park can be reached to the southeast.

The sun beats down on you despite the season.
action: Go southwest
response: You can't go that way.

You hear the muffled sounds of a radio playing from within one of the buildings.
action: Go west
response: This is the town's speakeasy. The casual atmosphere makes you wonder if any law enforcement has ever cared to swing into Castronegro. A lazy overhead fan does nothing to stir the still air in here which smells of stale beer and body odor. The door back to the street is east. A radio sits in the corner.

Tending bar is the owner, Gilberto Diaz.

James Whitlock sits in the shadows, drunk.

Crackling through static on the radio, you hear, "Nellie Taylor Ross of Wyoming has been elected as the U.S.'s first woman governor. . ."

Gilberto eyes you blankly.
action: Go east
response: This is a dusty sidewalk in Castronegro that stretches north to south. What passes as the town's park can be reached to the east. A nondescript building with a nondescript door is to the west. The Herrera Hotel can be seen to the south. The library can be reached to the southeast and you can cross the street to the northeast.

The sound of a bus engine can be heard in the distance.
action: You go to the east
response: This is a sorry excuse for a 'park'. There are no trees save for some cacti and tumbleweed. A bench sits near a dry fountain. To the east is the entrance to the chapel and to the south is the courtyard to the town's library. One of the roads that lead out of town is to the southeast and the park can be exited back into town to the west. You can also cross the street to the northwest and southwest.

Eerie silence suddenly surrounds you.
action: You go to the south-east
response: This is a road that turns from pavement to dirt as it winds from the northwest toward Castronegro to the east into a small canyon.

The sun beats down on you despite the season.
action: Go east
response: This is a place of death. No plant life can be seen and no animal life can be heard. This small canyon seems to have been chopped into the desert by a great hand, yet you've never heard of it existing.
The sand is more like dust. Paths lead through the canyon west and south. In the center of this area is a large obelisk; roughly ten feet tall and crudely carved all over. It juts like an insulting finger toward the heavens.

You can see Grover Cotterell here.

A chill wind blows; the only sign of winter you've felt here.

Grover straightens his tie.
action: You look se
response: You see nothing unexpected in that direction.

You think you hear talking but cannot make it out.

Grover dabs his head with a hankerchief.
action: You look at the obelisk
response: It is ominous and the carvings that cover it seem to squirm, but not really. The sand around the obelisk has been disturbed much more than anywhere else in this canyon.

Strange noises echo around you.

Grover Cotterell goes west.
action: You look at the carvings
response: It is ominous and the carvings that cover it seem to squirm, but not really. The sand around the obelisk has been disturbed much more than anywhere else in this canyon.

You think you hear talking but cannot make it out.
action: You turn the obelisk
response: It is fixed in place.

The sun beats down on you despite the season.

Grover Cotterell arrives from the west.

Grover smells his hankerchief.
action: You look at the shadow
response: You find nothing of interest.

Strange noises echo around you.

Grover Cotterell goes west.

You can't see any such thing.
action: You look at the sand
response: Around the obelisk, the sand is loose and covered with various footprints; one of which is a pair of bootprints with a cross imprint on the heels. Pebbles and other debris are strewn around the obelisk.

A chill wind blows; the only sign of winter you've felt here.
action: You examine the debris
response: You also find a broken pair of spectacles with gold rims. There still could be more. . .

Vultures circle above you.
action: You examine spectacles
response: You've no idea who owns these glasses, but you do remember being told Dr. William Godfrey wore glasses. . .

Dust swirls about and gets into your eyes.
action: You look at the debris
response: You hear nothing unexpected.

Strange noises echo around you.

You find no more objects, but you do suddenly notice that some of the tracks lead from the obelisk to the south.
You feel you have enough information to now interrogate Bernardo Diaz VI. You remember the bus driver telling you that his casa is to the north of town.

You think you hear talking but cannot make it out.
action: You go to the northeast
response: This is a road that turns from pavement to dirt as it winds from the northwest toward Castronegro to the east into a small canyon.

You can see Grover Cotterell here.

Dust swirls about and gets into your eyes.

Grover Cotterell goes east.

This is a sorry excuse for a 'park'. There are no trees save for some cacti and tumbleweed. A bench sits near a dry fountain. To the east is the entrance to the chapel and to the south is the courtyard to the town's library. One of the roads that lead out of town is to the southeast and the park can be exited back into town to the west. You can also cross the street to the northwest and southwest.

A chill wind blows; the only sign of winter you've felt here.

Liana Farnham arrives from the north.

Liana checks her watch.

This is a dusty sidewalk in Castronegro that stretches east to west. What passes for a town park can be reached to the south. You can also see the chapel in that direction. One of the roads that lead out of town, into the hills, is to the north. You can cross the street to the southwest.

The sound of a bus engine can be heard in the distance.

This is a dusty road that leads south to Castronegro and north into the hills. The sun's heat causes you to sweat furiously here.

Vultures circle above you.

The road through the hills meanders north to south here, but a steep hill exists to the northwest wherein a vault door hides a half-buried mausoleum.

Strange noises echo around you.

You can't go that way.

Vultures circle above you.
action: Describe the surroundings
response: The road through the hills meanders north to south here, but a steep hill exists to the northwest wherein a vault door hides a half-buried mausoleum.

Dust swirls about and gets into your eyes.
action: You go north
response: This road winds through the hills. Thankfully, there is some shade among these badlands. The path leads both northeast and south.

The sun beats down on you despite the season.
action: Go north
response: The sun sets as you enter Casa de Diaz.

(first opening the iron door)
Entrance Hall
This is a central area connecting most of the ground floor rooms. It is carpeted with a ratty, old rug; evidently of Oriental design. The walls are decorated with portraits of various prominent Diaz and Vilheila-Pareira family members. Doors lead north, south, east, and west, and the hall continues to the northwest.
action: You search rug
response: You find the old key!
action: Go northwest
response: This is deep within the bowels of Casa de Diaz. The hall stretches to the southeast. Doors sit in the northeast, east, and south walls and a doorway leads open to the north. A narrow staircase leads upwards. Everything is covered with a thick layer of dust.
action: Go up
response: This is a dark, dusty hall upstairs in Casa de Diaz. Doors lead west and south. Rickety stairs lead back down to the first floor from here.
action: Go west
response: (first opening the bedroom door)

This is a blankly furnished room. Only a single cot stands testament that this was once a guest bedroom. The door is to the east.
action: You go south
response: (first opening the master bedroom door)

This may very well be the sleeping chamber of Bernardo Diaz VI; for you can't imagine who else would call this bedroom his. A large, canopied bed dominates the room and a dresser is squeezed in as well. The door is to the north.
action: You open the dresser
response: You open the dresser, revealing a red robe, set of old clothes and a pair of boots.
action: You take robe
response: (the black robe)
You already have that.
action: You take the red robe
response: (putting the revolver into the trenchcoat to make room)
You're carrying too many things already.
action: Search clothes
response: (the set of clothes)
You find nothing of interest.
action: You take the clothes
response: (the set of clothes)
You already have that.
action: You take the boots
response: (putting the ashtray into the trenchcoat to make room)
You're carrying too many things already.
action: Look around
response: This may very well be the sleeping chamber of Bernardo Diaz VI; for you can't imagine who else would call this bedroom his. A large, canopied bed dominates the room and a dresser is squeezed in as well. The door is to the north.
action: You go to the north
response: This is a dark, dusty hall upstairs in Casa de Diaz. Doors lead west and south. Rickety stairs lead back down to the first floor from here.
action: You go to the east
response: (first opening study door)
It seems to be locked.
action: You unlock door
response: What do you want to unlock the kitchen door with?
action: You go north
response: The dining table is a large wooden monstrosity and the tablecloth is purple velvet. This room is, obviously, the dining room, however, it is also the only room on this floor that appears to recently have been used. The tracks in the dust lead around the table and to the door in the east wall. A doorway opens to the south.
action: You examine tracks
response: One of them has a cross imprint in the heel.
action: You look at the table
response: It can easily seat twelve comfortably and any further amount uncomfortably.
action: Go east
response: (first opening kitchen door)
It seems to be locked.
action: You go northeast
response: (first opening the kitchen door)
It seems to be locked.
action: You go south
response: (first opening den door)

This is a large, high-ceilinged room which may have once been well-funished but has now gone to pot. On one wall is a portrait of Bernardo de Diaz. There are doors to the north and east.
action: You look at what you're carrying with you
response: You are carrying:
an old key
the broken spectacles
a train ticket
a Herald clipping
a Times clipping
a black robe (being worn)
a flashlight (providing light)
a fedora (being worn)
a set of clothes (being worn)
a trenchcoat (being worn and open)
an ashtray
a revolver
a paperback book
a torn envelope
the archive key
a scrapbook
a cleaver
a broken pocket watch
a mysterious letter
a broken padlock
a silver chalice
a sickle
a holster (being worn)
action: You look at the portrait
response: It is a portrait of Bernardo de Diaz. . .or is it one of his descendants; the Diaz's numbered two through six? On his shoulder is a deformed rat or marmoset seemingly whispering in his ear. The Bernardo Diaz in the painting wears a large ruby ring on his left hand which, even when your meager flashlight beam is turned away, seems to gleam or flash with a dim light of its own.
action: You look at the ring
response: It is fixed in place.

You can't see any such thing.
action: You go east
response: (first opening the den door)

This is a central area connecting most of the ground floor rooms. It is carpeted with a ratty, old rug; evidently of Oriental design. The walls are decorated with portraits of various prominent Diaz and Vilheila-Pareira family members. Doors lead north, south, east, and west, and the hall continues to the northwest.
action: You go to the east
response: (first opening the hall door)

This small room is filled with old furniture and cobwebs.
action: You examine the furniture
response: Nothing interesting here.
action: You examine the cobwebs
response: They're just cobwebs.
action: You go west
response: This is a central area connecting most of the ground floor rooms. It is carpeted with a ratty, old rug; evidently of Oriental design. The walls are decorated with portraits of various prominent Diaz and Vilheila-Pareira family members. Doors lead north, south, east, and west, and the hall continues to the northwest.
action: Go north
response: (first opening the study door)
It seems to be locked.
action: You unlock study door with old key
response: You unlock the study door.
action: Go north
response: (first opening the study door)

This is a spacious room with wood panelled walls and a rotting carpet. Each wall has bookshelves stuffed with ancient books. Doors lead west and south.
action: You search the books
response: Perusing at random, you see that none of the books are in English. Most are in Spanish, the rest in Latin or Greek. The subject matter, despite the language barrier, appears disturbing.
action: You search the carpet
response: You find the skeleton key!
action: You open the kitchen door with the skeleton key
response: You unlock the kitchen door.
action: You go to the north-east
response: (first opening the kitchen door)

This kitchen is a husk of what it may once have been. The cabinets are now just wooden ribcages as only the frames remain. Everything here seems primitive; as if dating from the 18th century. A wood-burning stove sits to one side and a sideboard sits across from it. In the corner of this room, spiral stairs lead down into darkness.
action: You examine the stove
response: A relic from another time. It is currently closed. The thing looks clogged and disused. Surely, if any wood were ever put in there and lit, the house would go up in flames.
action: You open the stove
response: You open the wood-burning stove.
action: You look at the stove
response: A relic from another time. It is currently open. The thing looks clogged and disused. Surely, if any wood were ever put in there and lit, the house would go up in flames.
action: Search stove
response: The wood-burning stove is empty.
action: You look at the sideboard
response: It's an antique, for sure, but would need a lot of work to make it look good once again. As it is, it is caked in dust.
action: You examine the cabinets
response: Just a husk of what they once were. Where the hell did the bottoms and doors go? This place is Bananatown.
action: Go downward
response: You are in the archetypal creepy cellar. Your flashlight does little to comfort you, as if the darkness were a thing fighting against you. Doors lead east and south and the cellar stretches further to the southeast, into pitch darkness. Spiral stairs lead upward.
action: You go to the east
response: (first opening the laboratory door)
It seems to be locked.
action: Go south
response: (first opening the sturdy door)

This strange room looks like it was to be a sub-basement that never materialized. Instead, a deep, wide, dark hole punctures the ground. The smell from the hole is indescribable and it sounds like a hundred crazy degenerates are wandering dark warrens within it. The door back to the basement is north.

In the dirt, near the hole to the warrens, is a new-looking key.

Standing sentry by this horrible portal is some sort of insane cannibal. She eyes you hungrily.
action: You talk to the cannibal
response: Maybe you should ask or tell about more specific topics.
action: You show the chalice to the cannibal
response: (first taking the silver chalice)
(putting the Times clipping into the trenchcoat to make room)
You're carrying too many things already.
action: You take key
response: (the lab key)
The insane cannibal woman seems to think you aren't a threat. . .

(putting the Herald clipping into the trenchcoat to make room)
You pick up the lab key from the ground.
action: You go north
response: The insane cannibal seems to think you aren't a threat. . .

You are in the archetypal creepy cellar. Your flashlight does little to comfort you, as if the darkness were a thing fighting against you. Doors lead east and south and the cellar stretches further to the southeast, into pitch darkness. Spiral stairs lead upward.
action: You unlock the laboratory door with the new key
response: You unlock the laboratory door.
action: Go east
response: (first opening the laboratory door)

This is, finally, the most used room in the house. It's also the only one lit with electricity. Bare bulbs hang above you, casting a glare on the surroundings. An electric hum fills the air, causing you to taste copper. Tables line the walls, upon which sit various contraptions for various dark and unkown purposes. The only door is to the west.

Standing among the other odd things is Bernardo Diaz VI. Or is it the orignal Bernardo de Diaz? He's not that tall but carries himself with a dark charisma. His oversized ruby ring glints in the unnatural lighting of this room. He wears clothes that are out-of-date by about 300 years. "Hola.", he greets you warmly.

"Yeah, hola yourself, sharky.", you say to him. "I just want
to know what happened to David Lane."
action: Wait
response: Time passes.

Bernardo looks at you quizically.
action: You talk to Diaz
response: Maybe you should ask or tell about more specific topics.

"Don't look at me quizically.", you tell him, "David Lane disappeared and I'm sure as shit your little cult has something to do with it."
action: You wait awhile
response: Time passes.

Bernardo rolls his eyes and smiles, telling you all you need to know: David Lane is dead at the hands of the cult of Castronegro.
action: You show the chalice to Diaz
response: (first taking the silver chalice)
(putting the train ticket into the trenchcoat to make room)
"Si, that is what we use to drink the blood of our
sacrifices. David Lane, the man for which you are looking, was especially delicious."
action: Inventory
response: You are carrying:
a silver chalice
a lab key
a skeleton key
an old key
the broken spectacles
a black robe (being worn)
a flashlight (providing light)
a fedora (being worn)
a set of clothes (being worn)
a trenchcoat (being worn and open)
a train ticket
a Herald clipping
a Times clipping
an ashtray
a revolver
a paperback book
a torn envelope
the archive key
a scrapbook
a cleaver
a broken pocket watch
a mysterious letter
a broken padlock
a sickle
a holster (being worn)
action: You show the robe to Diaz
response: "Interesting."
action: You show the letter to Diaz
response: (first taking the mysterious letter)
(putting the broken spectacles into the trenchcoat to make room) "Fantastic."
action: You show the herald clipping to Diaz
response: (first taking the Herald clipping)
(putting the old key into the trenchcoat to make room)
"That's an interesting Herald clipping."
action: You show the watch to Diaz
response: (first taking the broken pocket watch)
(putting the skeleton key into the trenchcoat to make room) "Fantastic."
action: You show the cleaver to Diaz
response: (first taking the cleaver)
(putting the lab key into the trenchcoat to make room)
"That's an interesting cleaver."
action: You show the sickle to Diaz
response: (first taking the sickle)
(putting the silver chalice into the trenchcoat to make room)
"That's an interesting sickle."
action: You look at your surroundings
response: This is, finally, the most used room in the house. It's also the only one lit with electricity. Bare bulbs hang above you, casting a glare on the surroundings. An electric hum fills the air, causing you to taste copper. Tables line the walls, upon which sit various contraptions for various dark and unkown purposes. The only door is to the west.

Standing among the other odd things is Bernardo Diaz VI. Or is it the orignal Bernardo de Diaz? He's not that tall but carries himself with a dark charisma. His oversized ruby ring glints in the unnatural lighting of this room. He wears clothes that are out-of-date by about 300 years.
action: You examine the contraptions
response: There are various alchemical and electrical things on the tables, none of which you can figure out. A quick search might yield more. . .might not.
action: Search contraptions
response: The only thing you spy of immediate use is a cigar lighter which you quickly pocket.
action: You look at lighter
response: It is nickel-plated and maybe was once fancy but now it is dull and weathered. It would be amazing if it still worked.

The cigar lighter is currently switched off.
action: You switch lighter on
response: You switch the cigar lighter on.

A meager flame emits from your cigar lighter but it's not enough by which to see.
action: Show glasses to Diaz
response: (first taking the broken spectacles)
(putting the mysterious letter into the trenchcoat to make room) You're carrying too many things already.

A meager flame emits from your cigar lighter but it's not enough by which to see.
action: You switch lighter off
response: You switch the cigar lighter off.
action: You look at what you're carrying with you
response: You are carrying:
a cigar lighter
a sickle
a cleaver
a broken pocket watch
a Herald clipping
a black robe (being worn)
a flashlight (providing light)
a fedora (being worn)
a set of clothes (being worn)
a trenchcoat (being worn and open)
a mysterious letter
a silver chalice
a lab key
a skeleton key
an old key
the broken spectacles
a train ticket
a Times clipping
an ashtray
a revolver
a paperback book
a torn envelope
the archive key
a scrapbook
a broken padlock
a holster (being worn)
action: You show the clipping to Diaz
response: (the Herald clipping to Bernardo de Diaz)
"Thank you for showing me your Herald clipping."
action: You drop the clipping
response: (the Herald clipping)
Dropped.
action: Show glasses to Diaz
response: (first taking the broken spectacles)
"Wow."
action: You show sickle to Diaz
response: "That's an interesting sickle."
action: You show the watch to Diaz
response: "Interesting."
action: You show the letter to Diaz
response: (first taking the mysterious letter)
(putting the broken pocket watch into the trenchcoat to make room) "Thank you for showing me your mysterious letter."
action: You show the chalice to Diaz
response: (first taking the silver chalice)
(putting the cleaver into the trenchcoat to make room)
"Si, that is what we use to drink the blood of our
sacrifices. David Lane, the man for which you are looking, was especially delicious."
action: You examine the tables
response: They are sturdy, metal tables; the only somewhat-modern furnishings in this abode.
action: You show the scrapbook to Diaz
response: (first taking the scrapbook)
(putting the sickle into the trenchcoat to make room)
"Wow."
action: You look at the ring
response: It is an over-sized ruby ring; gaudy but genuinely priceless by the look of it.
action: You look at Diaz
response: He's not that tall but carries himself with a dark charisma. His oversized ruby ring glints in the unnatural lighting of this room. He wears clothes that are out-of-date by about 300 years.
action: You show lighter to Diaz
response: "That's an interesting cigar lighter."
action: Go west
response: In order to really stop this cult, you realize this house needs to be burned to the ground!

You turn to run like a little bitch, but Bernardo has other plans for you. Your back being turned, you've no idea what the spell looked like that he cast upon you.
action: Describe the surroundings
response: This kitchen is a husk of what it may once have been. The cabinets are now just wooden ribcages as only the frames remain. Everything here seems primitive; as if dating from the 18th century. A wood-burning stove sits to one side and a sideboard sits across from it. In the corner of this room, spiral stairs lead down into darkness.
action: Go downward
response: You are in the archetypal creepy cellar. Your flashlight does little to comfort you, as if the darkness were a thing fighting against you. Doors lead east and south and the cellar stretches further to the southeast, into pitch darkness. Spiral stairs lead upward.
action: You get the key
response: (the lab key)
The insane cannibal woman seems to think you aren't a threat. . .

(putting the Times clipping into the trenchcoat to make room)
You're carrying too many things already.
action: You go north
response: The insane cannibal seems to think you aren't a threat. . .

You are in the archetypal creepy cellar. Your flashlight does little to comfort you, as if the darkness were a thing fighting against you. Doors lead east and south and the cellar stretches further to the southeast, into pitch darkness. Spiral stairs lead upward.
action: Go south
response: This strange room looks like it was to be a sub-basement that never materialized. Instead, a deep, wide, dark hole punctures the ground. The smell from the hole is indescribable and it sounds like a hundred crazy degenerates are wandering dark warrens within it. The door back to the basement is north.

In the dirt, near the hole to the warrens, is a new-looking key.

Standing sentry by this horrible portal is some sort of insane cannibal. She eyes you hungrily.
action: You drop the old key
response: Dropped.
action: You get the new key
response: The insane cannibal woman seems to think you aren't a threat. . .

You pick up the lab key from the ground.
action: Go north
response: The insane cannibal seems to think you aren't a threat. . .

You are in the archetypal creepy cellar. Your flashlight does little to comfort you, as if the darkness were a thing fighting against you. Doors lead east and south and the cellar stretches further to the southeast, into pitch darkness. Spiral stairs lead upward.

You can see an old key here.
action: You unlock the laboratory door with the new key
response: You unlock the laboratory door.
action: You talk to Diaz
response: Maybe you should ask or tell about more specific topics.

Bernardo looks at you quizically.
action: You show the chalice to Diaz
response: (first taking the silver chalice)
(putting the Herald clipping into the trenchcoat to make room)
"Si, that is what we use to drink the blood of our
sacrifices. David Lane, the man for which you are looking, was especially delicious."

"Don't look at me quizically.", you tell him, "David Lane disappeared and I'm sure as shit your little cult has something to do with it."
action: You ask Diaz about Lane
response: "I don't know much about lane."

Bernardo rolls his eyes and smiles, telling you all you need to know: David Lane is dead at the hands of the cult of Castronegro.
action: You shoot diaz
response: With what, idiot? You're not holding your revolver.
action: You take revolver
response: (putting the train ticket into the trenchcoat to make room)
You're carrying too many things already.
action: You look at what you're carrying with you
response: You are carrying:
a cigar lighter
a silver chalice
a lab key
a skeleton key
the broken spectacles
a black robe (being worn)
a flashlight (providing light)
a fedora (being worn)
a set of clothes (being worn)
a trenchcoat (being worn and open)
a train ticket
a Herald clipping
a Times clipping
an ashtray
a revolver
a paperback book
a torn envelope
the archive key
a scrapbook
a cleaver
a broken pocket watch
a mysterious letter
a broken padlock
a sickle
a holster (being worn)
action: You drop the skeleton key
response: Dropped.
action: You take revolver
response: You take the revolver from the trenchcoat.
action: You shoot diaz
response: You fire several shots at the cult leader but the slugs bounce off his skin as if it were enchanted with magical armor. Bernardo simply laughs at you.
action: Burn diaz
response: This dangerous act would achieve little.
action: You switch lighter on
response: You switch the cigar lighter on.

A meager flame emits from your cigar lighter but it's not enough by which to see.
action: Burn diaz
response: This dangerous act would achieve little.

A meager flame emits from your cigar lighter but it's not enough by which to see.
action: Attack diaz with the sickle
response: (first taking the sickle)
(putting the broken spectacles into the trenchcoat to make room)
You move to attack the cult leader but he swiftly moves out of your way. As you stumble forward from your clumsy lunge, he sinks a ceremonial dagger deep into your back.
action: You show the chalice to Diaz
response: (first taking the silver chalice)
(putting the Herald clipping into the trenchcoat to make room)
"Si, that is what we use to drink the blood of our
sacrifices. David Lane, the man for which you are looking, was especially delicious."

Bernardo looks at you quizically.
action: Wait
response: Time passes.

"Don't look at me quizically.", you tell him, "David Lane disappeared and I'm sure as shit your little cult has something to do with it."
action: You wait awhile
response: Time passes.

Bernardo rolls his eyes and smiles, telling you all you need to know: David Lane is dead at the hands of the cult of Castronegro.
action: You take the ring
response: That seems to be a part of Bernardo de Diaz.
action: You examine the bulbs
response: They are bare light bulbs.
action: Break bulbs
response: That would hurt your hands.
action: You put all in the coat
response: cigar lighter: Done.
silver chalice: Done.
lab key: Done.
skeleton key: Done.
broken spectacles: Done.
train ticket: Done.
flashlight: Done.
action: You take off the robe
response: You take off the black robe.
action: Shoot ring
response: With what, idiot?

A meager flame emits from your cigar lighter but it's not enough by which to see.
action: You take revolver
response: You take the revolver from the trenchcoat.

A meager flame emits from your cigar lighter but it's not enough by which to see.
action: Shoot ring
response: "That is one ass-ugly ring.", you say, squeezing off your shot. The ring explodes in a shower of arcane fire while the bulbs above you explode in a shower of sparks. Bernardo de Diaz quickly rots as he falls to the ground with a wet thwump!
A meager flame emits from your cigar lighter but it's not enough by which to see.
action: You go west
response: In order to really stop this cult, you realize this house needs to be burned to the ground!

You are in the archetypal creepy cellar. Your flashlight does little to comfort you, as if the darkness were a thing fighting against you. Doors lead east and south and the cellar stretches further to the southeast, into pitch darkness. Spiral stairs lead upward.

You can see an old key here.

A meager flame emits from your cigar lighter but it's not enough by which to see.
action: Go upward
response: This kitchen is a husk of what it may once have been. The cabinets are now just wooden ribcages as only the frames remain. Everything here seems primitive; as if dating from the 18th century. A wood-burning stove sits to one side and a sideboard sits across from it. In the corner of this room, spiral stairs lead down into darkness.

A meager flame emits from your cigar lighter but it's not enough by which to see.
action: You open the stove
response: You open the wood-burning stove.

A meager flame emits from your cigar lighter but it's not enough by which to see.
action: You put the lighter in the stove
response: The cigar lighter would be useless there.

A meager flame emits from your cigar lighter but it's not enough by which to see.
action: You examine the stove
response: A relic from another time. It is currently open. The thing looks clogged and disused. Surely, if any wood were ever put in there and lit, the house would go up in flames.

A meager flame emits from your cigar lighter but it's not enough by which to see.
action: You break the cabinets with the sickle
response: There's no way to break the cabinets with the sickle.

A meager flame emits from your cigar lighter but it's not enough by which to see.
action: Break cabinets
response: That would hurt your hands.

A meager flame emits from your cigar lighter but it's not enough by which to see.
action: You get the cabinets
response: That's hardly portable.

A meager flame emits from your cigar lighter but it's not enough by which to see.
action: You break the cabinets with the cleaver
response: There's no way to break the cabinets with the cleaver.

A meager flame emits from your cigar lighter but it's not enough by which to see.
action: You examine the cabinets
response: Just a husk of what they once were. Where the hell did the bottoms and doors go? This place is Bananatown.

A meager flame emits from your cigar lighter but it's not enough by which to see.
action: You search the cabinets
response: You find nothing of interest.

A meager flame emits from your cigar lighter but it's not enough by which to see.
action: You take all
response: flashlight: You take the flashlight from the trenchcoat.
train ticket: You take the train ticket from the trenchcoat.
broken spectacles: You take the broken spectacles from the trenchcoat. skeleton key: You take the skeleton key from the trenchcoat.
lab key: (putting the black robe into the trenchcoat to make room)
You take the lab key from the trenchcoat.
silver chalice: (putting the revolver into the trenchcoat to make room)
You take the silver chalice from the trenchcoat.
cigar lighter: (putting the train ticket into the trenchcoat to make room)
You take the cigar lighter from the trenchcoat.
Herald clipping: (putting the broken spectacles into the trenchcoat to make room)
You take the Herald clipping from the trenchcoat.
Times clipping: (putting the skeleton key into the trenchcoat to make room)
You take the Times clipping from the trenchcoat.
ashtray: (putting the lab key into the trenchcoat to make room)
You take the ashtray from the trenchcoat.
paperback book: (putting the silver chalice into the trenchcoat to make room)
You take the paperback book from the trenchcoat.
torn envelope: (putting the cigar lighter into the trenchcoat to make room)
You take the torn envelope from the trenchcoat.
archive key: (putting the Herald clipping into the trenchcoat to make room)
You take the archive key from the trenchcoat.
scrapbook: (putting the Times clipping into the trenchcoat to make room)
You take the scrapbook from the trenchcoat.
cleaver: (putting the ashtray into the trenchcoat to make room)
You take the cleaver from the trenchcoat.
broken pocket watch: (putting the paperback book into the trenchcoat to make room)
You take the broken pocket watch from the trenchcoat.
mysterious letter: (putting the torn envelope into the trenchcoat to make room)
You take the mysterious letter from the trenchcoat.
broken padlock: (putting the archive key into the trenchcoat to make room)
You take the broken padlock from the trenchcoat.
sickle: (putting the scrapbook into the trenchcoat to make room)
You take the sickle from the trenchcoat.

A meager flame emits from your cigar lighter but it's not enough by which to see.
action: You put all in the trenchcoat
response: sickle: Done.
broken padlock: Done.
mysterious letter: Done.
broken pocket watch: Done.
cleaver: Done.
flashlight: Done.

A meager flame emits from your cigar lighter but it's not enough by which to see.
action: You put the paperback book in the stove
response: The paperback book would be useless there.

A meager flame emits from your cigar lighter but it's not enough by which to see.
action: You break the sideboard with the cleaver
response: There's no way to break the sideboard with the cleaver.

A meager flame emits from your cigar lighter but it's not enough by which to see.
action: You break the sideboard with the sickle
response: There's no way to break the sideboard with the sickle.

A meager flame emits from your cigar lighter but it's not enough by which to see.
action: You put the sideboard in the stove
response: The sideboard would be useless there.

A meager flame emits from your cigar lighter but it's not enough by which to see.
action: You go to the south
response: You can't go that way.

A meager flame emits from your cigar lighter but it's not enough by which to see.
action: You take the flashlight
response: You take the flashlight from the trenchcoat.

A meager flame emits from your cigar lighter but it's not enough by which to see.
action: You go west
response: (first opening kitchen door)
It seems to be locked.

A meager flame emits from your cigar lighter but it's not enough by which to see.
action: Go downwards
response: You are in the archetypal creepy cellar. Your flashlight does little to comfort you, as if the darkness were a thing fighting against you. Doors lead east and south and the cellar stretches further to the southeast, into pitch darkness. Spiral stairs lead upward.

You can see an old key here.

A meager flame emits from your cigar lighter but it's not enough by which to see.
action: Go southeast
response: This is the deeper recesses of the cellar of Casa de Diaz. Maybe once it was used for storage, but now, only scraps of debris remain. The rest of the basement is to the northwest.

Collecting dust and rot in the corner is a dry log.

Looking like a zombie or some prehistoric madman, a degenerate imbecile drools as your flashlight bounces around him. He is a living nightmare and he stares at you hungrily. He bears the family traits of the Diaz and Vilheila-Pareira families; long black hair and green eyes.

A meager flame emits from your cigar lighter but it's not enough by which to see.
action: You get the log
response: You make a move to take the dry log but the degenerate imbecile has other plans. He lunges at you and, during the grapple, sinks his teeth into your face.
action: You take revolver
response: (putting the Herald clipping into the trenchcoat to make room)
You take the revolver from the trenchcoat.

Bernardo looks at you quizically.
action: Shoot ring
response: You should wait until you find out what happened to David Lane.

"Don't look at me quizically.", you tell him, "David Lane disappeared and I'm sure as shit your little cult has something to do with it."
action: You wait for a while
response: Time passes.
action: Shoot ring
response: "That is one ass-ugly ring.", you say, squeezing off your shot. The ring explodes in a shower of arcane fire while the bulbs above you explode in a shower of sparks. Bernardo de Diaz quickly rots as he falls to the ground with a wet thwump!
action: You go west
response: In order to really stop this cult, you realize this house needs to be burned to the ground!

You are in the archetypal creepy cellar. Your flashlight does little to comfort you, as if the darkness were a thing fighting against you. Doors lead east and south and the cellar stretches further to the southeast, into pitch darkness. Spiral stairs lead upward.

You can see an old key here.
action: Go southeast
response: This is the deeper recesses of the cellar of Casa de Diaz. Maybe once it was used for storage, but now, only scraps of debris remain. The rest of the basement is to the northwest.

Collecting dust and rot in the corner is a dry log.

Looking like a zombie or some prehistoric madman, a degenerate imbecile drools as your flashlight bounces around him. He is a living nightmare and he stares at you hungrily. He bears the family traits of the Diaz and Vilheila-Pareira families; long black hair and green eyes.
action: You shoot zombie
response: "Tag, you're it.", you say, trying desperately to start a catch-phrase as you blow the degenerate lunatic's head off, "No tag-backs."
action: You put all in the trenchcoat
response: cigar lighter: Done.
revolver: Done.
lab key: Done.
skeleton key: Done.
broken spectacles: Done.
flashlight: Done.
action: You get the log
response: You pick up the dry log from the ground.
action: You go northwest
response: You are in the archetypal creepy cellar. Your flashlight does little to comfort you, as if the darkness were a thing fighting against you. Doors lead east and south and the cellar stretches further to the southeast, into pitch darkness. Spiral stairs lead upward.

You can see an old key here.
action: Ascend
response: This kitchen is a husk of what it may once have been. The cabinets are now just wooden ribcages as only the frames remain. Everything here seems primitive; as if dating from the 18th century. A wood-burning stove sits to one side and a sideboard sits across from it. In the corner of this room, spiral stairs lead down into darkness.
action: You put the log in the stove
response: The wood-burning stove is closed.
action: You open the stove
response: You open the wood-burning stove.
action: You put the log in the stove
response: You put the dry log into the wood-burning stove.
action: Light log
response: You need something with which to light it!.
action: You get lighter
response: You take the cigar lighter from the trenchcoat.
action: Light log
response: Using the cigar lighter, you burn the dry log in the wood-burning stove. Smoke fills the room and the fire spreads quickly. You run, as fast as you can, for the front door. . .
. . . . . . . . . . . . . . . . .
action: You press the space
response: You exit the train amid the throng of other passengers. The station is filled with people and steam. A train stands nearby from which passengers disembark.

Amid the steam and people, a solitary figure stands alone; Claudine Lane, awaiting news about her brother, David.

You approach Claudine and see sadness in her eyes as she sees David is not with you.

A meager flame emits from your cigar lighter but it's not enough by which to see.
action: You turn off lighter
response: You switch the cigar lighter off.

"You don't have to tell me he's dead, detective.", she says. "Well, you still deserve to know what happened.", you say.
action: Wait
response: Time passes.

"I'm all ears, detective.", she says, girding herself for the news. You decide to jump right to it,
action: You wait for a while
response: Time passes.

"Your brother was eaten by a cult of inbred cannibals lead by an immortal sorcerer.", you tell her. She gives a small gasp and immediately goes pale.
action: You wait
response: Time passes.

"Well,", you say, "Keep your tits up, Claudine. You can just mail me the check.", and you walk off; out of the train station and into the sunset.