diff --git a/a1.zil b/a1.zil
new file mode 100644
index 0000000..6d31465
--- /dev/null
+++ b/a1.zil
@@ -0,0 +1,73 @@
+"
+			      INFIDEL
+	(c) Copyright 1983 Infocom, Inc.  All Rights Reserved.
+"
+
+<SNAME "INFIDEL">
+
+<GC-MON <>>
+;<COND (<GASSIGNED? ZILCH> <GC 0 T>)
+      (T <GC 0 T 5>)>
+<GC 0 T 5>
+
+<BLOAT 90000 0 0 3500 0 0 0 0 0 512>
+
+;<SETG SHORT-STRINGS 2>
+
+<SET REDEFINE T>
+
+<GLOBAL BIGFIX 10000>
+
+<OR <GASSIGNED? ZILCH>
+    <SETG WBREAKS <STRING !\" !\= !,WBREAKS>>>
+
+<OR <GASSIGNED? INSERT-CRUFTY>
+    <DEFINE INSERT-CRUFTY (STR) <IFILE .STR T>>>
+
+<DEFINE IFILE (STR "OPTIONAL" (FLOAD? <>) "AUX" (TIM <TIME>))
+	<INSERT-FILE .STR .FLOAD?>>
+
+<PRINC "INFIDEL: Interlogic Adventure Fiction
+">
+
+<COND (<GASSIGNED? PREDGEN>
+       <ID 0>)>
+
+<IFILE "MACROS" T>
+
+<IFILE "GLOBALS" T>
+<PROPDEF SIZE 5>
+<PROPDEF CAPACITY 0>
+<PROPDEF VALUE 0>
+
+<IFILE "SYNTAX" T>
+<ENDLOAD>
+
+<IFILE "CLOCK" T>
+<IFILE "MAIN" T>
+<IFILE "PARSER" T>
+<INSERT-CRUFTY "CRUFTY">
+<IFILE "VERBS" T>
+
+
+
+;"MIKE: Add your files here, as with ROBOTS"
+
+<IFILE "INTERRUPTS" T>
+<IFILE "RA" T>
+<IFILE "ANTE" T>
+<IFILE "DIAMOND" T>
+<IFILE "BARGE" T>
+<IFILE "CUBE" T>
+<IFILE "CAMP" T>
+<IFILE "TEMPLE" T>
+
+<PRINC "INFIDEL: Interlogic Adventure Fiction
+
+
+
+
+
+
+
+Get ready!">
\ No newline at end of file
diff --git a/ante.zil b/ante.zil
index 08048f3..2f1f2ef 100644
--- a/ante.zil
+++ b/ante.zil
@@ -783,14 +783,16 @@ into the walls, one on either side of the passageway.")
 	(DESC "plaster")
 	(SYNONYM PLASTE)
 	(SIZE 5)
-	(TEXT
-"Some hieroglyphics on the plaster say:|
-|
-   *->  #  !!!  ::  ...>  .-")
 	(ACTION PLASTER1-FCN)>
 
 <ROUTINE PLASTER1-FCN ()
-	 <COND (<VERB? TAKE MUNG ATTACK>
+	 <COND (<VERB? EXAMINE READ>
+		<TELL
+"Some hieroglyphics on the plaster say:|
+">
+		<PLASTER1-GLYPHS>
+		<RTRUE>)
+	       (<VERB? TAKE MUNG ATTACK>
 		<COND (<NOT ,PRSI>
 		       <COND (<IN? ,PICK-AXE ,WINNER>
 			      <SETG PRSI ,PICK-AXE>)
@@ -1219,7 +1221,17 @@ far enough above the surface of the table to activate a mechanism. You hear it
 click just before the ceiling comes down to meet the floor.">
 
 <ROUTINE SCARAB-CHECK-FCN ("AUX" L-W R-W (L-OBJ <>) (R-OBJ <>))
-	 <COND (<VERB? TAKE>
+	 <COND (<VERB? EXAMINE READ>
+		<TELL
+"Etched onto its back is the following:|
+">
+		<FIXED-FONT-ON>
+		<TELL "|
+              >*>|
+">
+		<FIXED-FONT-OFF>
+		<RTRUE>)
+	       (<VERB? TAKE>
 		<SETG CAN-TURN-STATUES <>>
 		<SET L-OBJ <FIRST? ,LEFT-DISC>>
 		<SET R-OBJ <FIRST? ,RIGHT-DISC>>
@@ -1269,10 +1281,6 @@ the scarab within the smaller outlined area on the cover." CR>)>
 	(DESC "scarab")
 	(VALUE 10)
 	(SYNONYM SCARAB)
-	(TEXT
-"Etched onto its back is the following:|
-|
-              >*>")
 	(SIZE 8)
 	(MAP 3)
 	(ACTION SCARAB-CHECK-FCN)>
@@ -1294,18 +1302,24 @@ the scarab within the smaller outlined area on the cover." CR>)>
 	(SYNONYM PAGE)
 	(FLAGS NDESCBIT READBIT BURNBIT TURNBIT DONTTAKE TRYTAKEBIT)
 	(ACTION PAGE-FCN)
-	(SIZE 1)
-	(TEXT
+	(SIZE 1)>
+
+<ROUTINE PAGE-FCN ()
+	 <COND (<VERB? EXAMINE READ>
+		<TELL
 "Hieroglyphs can be seen as follows:|
-|
+">
+		<FIXED-FONT-ON>
+		<TELL "|
         =  .           !   !|
 <-*  #  =  -  #  !@!  !---!|
 |
             .           !  !|
-::  #  >*>  -  #  !@!  !--!")>
-
-<ROUTINE PAGE-FCN ()
-	 <COND (<VERB? TURN>
+::  #  >*>  -  #  !@!  !--!|
+">
+		<FIXED-FONT-OFF>
+		<RTRUE>)
+	       (<VERB? TURN>
 		<TELL "Unnecessary page turning may destroy the book." CR>
 		<RTRUE>)
 	       (<VERB? BURN>
@@ -1337,9 +1351,12 @@ referred to, it too has seen better days.")
 		<COND (<NOT <FSET? ,DEAD-BOOK ,OPENBIT>>
 		       <TELL 
 "The book isn't open. On the cover is the following, though:|
-|
+">
+		       <FIXED-FONT-ON>
+		       <TELL "|
        =|
-       =" CR>)
+       =" CR>
+		       <FIXED-FONT-OFF>)
 		      (T
 		       <PERFORM ,V?READ ,PAGE>)>
 		<RTRUE>)
diff --git a/barge.zil b/barge.zil
index b0122a1..c7976b7 100644
--- a/barge.zil
+++ b/barge.zil
@@ -371,11 +371,6 @@ wood. Although only a few feet of it rise above the deck, it was probably used
 at one time as a mast.")
 	(SYNONYM BEAM MAST)
 	(ADJECTIVE WOODEN STURDY)
-	(TEXT
-"This wooden beam is made of an extremely hard wood. It's 10 feet long and has
-a diameter of 12 inches. Scratched into it is the following symbol:|
-|
-     /!\\")
 	(SIZE 10)
 	(VALUE 15)
 	(ACTION BEAM-FCN)
@@ -598,7 +593,18 @@ the deck with a thud." CR>)>)
 	       >>
 
 <ROUTINE DESCRIBE-BEAM-FCN (RARG "AUX" STR)
-	 <COND (<OR <NOT <EQUAL? .RARG ,M-OBJDESC>>
+	 <COND (<VERB? EXAMINE READ>
+		<TELL
+"This wooden beam is made of an extremely hard wood. It's 10 feet long and has
+a diameter of 12 inches. Scratched into it is the following symbol:|
+">
+		<FIXED-FONT-ON>
+		<TELL "|
+     /!\\|
+">
+		<FIXED-FONT-OFF>
+		<RTRUE>)
+	       (<OR <NOT <EQUAL? .RARG ,M-OBJDESC>>
 		    <NOT ,BEAM-PLACED>>
 		<RFALSE>)
 	       (<EQUAL? ,BEAM-PLACED 4> ;"CASE: In N. Ante, beam wedged"
@@ -647,10 +653,13 @@ beam." CR>
 		<RFALSE>)>
 	 <TELL
 "The scroll reads as follows:|
-|
+">
+	 <FIXED-FONT-ON>
+	 <TELL "|
 *->  <.>  <:.>  ...  <::.>|
 |
 ::  :  **  --->>  -)  (*)" CR>
+	 <FIXED-FONT-OFF>
 	 <RTRUE>>
 
 ;<ROUTINE CLEAR-THE-BEAM ("AUX" F N (FLG <>) STR)
diff --git a/camp.zil b/camp.zil
index 9bd1f61..04b420b 100644
--- a/camp.zil
+++ b/camp.zil
@@ -846,18 +846,24 @@ crystal-clear lake glimmering on the horizon, just to the north.">>
 	(ADJECTIVE SQUARE)
 	(CAPACITY 5)
 	(MAP 3)
-	(TEXT
+	(ACTION ENTER-OPENING-FCN)>
+
+<ROUTINE ENTER-OPENING-FCN ()
+	 <COND (<VERB? EXAMINE READ>
+		<TELL
 "The opening sits in the upper right-hand corner of the block. It's a small
 square opening, about four inches square, far too small for you
 to enter, and rather shallow. Some hieroglyphs travel across the block,
 cut off by the opening:|
-|
+">
+		<FIXED-FONT-ON>
+		<TELL "|
        !-!        !-!|
-->  #.  ! !  -  #  ! !  /")
-	(ACTION ENTER-OPENING-FCN)>
-
-<ROUTINE ENTER-OPENING-FCN ()
-	 <COND (<VERB? OPEN CLOSE>
+->  #.  ! !  -  #  ! !  /|
+">
+		<FIXED-FONT-OFF>
+		<RTRUE>)
+	       (<VERB? OPEN CLOSE>
 		<HOW? ,PRSO>)
 	       (<VERB? THROUGH>
 		<TELL
@@ -1171,7 +1177,7 @@ the dotted line unless you want the manual shipped via alternate shipping.
 Include your address unless your mailing address and shipping address differ
 from your postal delivery route. If you are having the manual air-freighted,
 fill in your airport's zip code unless you're within thirty miles of a large
-corn field. After checking whether that box has been checked, check it.
+corn field. After checking whether that box has been checked, check it.|
 |
 Before you mail this, be certain you've read the instructions and have filled
 out all three sides of the form. In case of doubt, contact the Coupon
@@ -1347,11 +1353,6 @@ personality, it has seen better days.")>
 	(IN MAP)
 	(FLAGS TAKEBIT READBIT)
 	(DESC "stone cube")
-	(TEXT
-"This is a small stone cube, almost four inches on a side, with ancient
-markings on it. The markings look like this:|
-|
-#  !@!  ::  (())  !@!  //\\\\")
 	(SYNONYM CUBE)
 	(MAP 3)
 	(ADJECTIVE SMALL STONE)
@@ -1360,7 +1361,18 @@ markings on it. The markings look like this:|
 <GLOBAL PYRAMID-OPENED <>>
 
 <ROUTINE STONE-KEY-FCN ()
-	 <COND (<AND <VERB? PUT>
+	 <COND (<VERB? EXAMINE READ>
+		<TELL
+"This is a small stone cube, almost four inches on a side, with ancient
+markings on it. The markings look like this:|
+">
+		<FIXED-FONT-ON>
+		<TELL "|
+#  !@!  ::  (())  !@!  //\\\\|
+">
+		<FIXED-FONT-OFF>
+		<RTRUE>)
+	       (<AND <VERB? PUT>
 		     <EQUAL? ,PRSI ,ROCK-LOCK>>
 		<TELL "The ancient stones beneath your feet shake and
 tremble as they move the sands. You leap out of the way and manage to
@@ -1545,7 +1557,7 @@ didn't hang you with it.")
 	(TEXT
 "The note reads:|
 |
-Fi aman Allah!
+Fi aman Allah!|
 |
 Hereafter you shall pursue your fool dream of the hidden pyramid and its riches
 alone. May the jackals feed well on your bones. We have left you what you need
@@ -1736,8 +1748,9 @@ face, blinding you for long enough to lose track of the " D ,PRSO "." CR>
 	       656 EX3 706 EX6 751 P6 752 P7 753 P8
 	       754 EX7 755 EX8 756 EX9>>
 
-<ROUTINE DESERT-TO-TABLE (SLOC "AUX" (TBL ,DESERT-TABLE) (CNT 0)
+<ROUTINE DESERT-TO-TABLE (SLOC "AUX" TBL (CNT 0)
 			  (F <FIRST? ,ENDLESS-DESERT>) N)
+	 <SET TBL ,DESERT-TABLE>
 	 <REPEAT ()
 		 <COND (.F <SET N <NEXT? .F>>)
 		       (ELSE <RETURN>)>
@@ -1755,7 +1768,8 @@ face, blinding you for long enough to lose track of the " D ,PRSO "." CR>
 		 <SET F .N>>>
 
 <ROUTINE TABLE-TO-DESERT (SLOC
-			 "AUX" (TBL ,DESERT-TABLE) (CNT 0))
+			 "AUX" TBL (CNT 0))
+	 <SET TBL ,DESERT-TABLE>
 	 <REPEAT ()
 		 <COND (<NOT <L? .CNT 100>>
 			<RETURN>)
diff --git a/crufty.xzap b/crufty.xzap
new file mode 100644
index 0000000..77a67bc
--- /dev/null
+++ b/crufty.xzap
@@ -0,0 +1,22 @@
+
+	.FUNCT	THIS-IT?,OBJ,TBL,SYNS,?TMP1
+	FSET?	OBJ,INVISIBLE /FALSE
+	ZERO?	P-NAM /?THN3
+	GETPT	OBJ,P?SYNONYM >SYNS
+	PTSIZE	SYNS
+	DIV	STACK,2
+	SUB	STACK,1
+	CALL	ZMEMQ,P-NAM,SYNS,STACK
+	ZERO?	STACK /FALSE
+?THN3:	ZERO?	P-ADJ /?ELS8
+	GETPT	OBJ,P?ADJECTIVE >SYNS
+	ZERO?	SYNS /FALSE
+	PTSIZE	SYNS
+	SUB	STACK,1
+	CALL	ZMEMQB,P-ADJ,SYNS,STACK
+	ZERO?	STACK /FALSE
+?ELS8:	ZERO?	P-GWIMBIT /TRUE
+	FSET?	OBJ,P-GWIMBIT /TRUE
+	RFALSE	
+
+	.ENDI
diff --git a/cube.zil b/cube.zil
index d31f114..ff75573 100644
--- a/cube.zil
+++ b/cube.zil
@@ -198,6 +198,7 @@ see one of the cube rooms.")
 ", three rows by three columns. These bricks look as if they could be easily
 removed and are marked with numerical symbols." CR>)>
 		<CRLF>
+		<FIXED-FONT-ON>
 		<TELL ,DASH-STR CR>
 		<TELL ,EX-SP-EX-STR CR>
 		<TELL "!  ">
@@ -243,6 +244,7 @@ removed and are marked with numerical symbols." CR>)>
 		<TELL "  !" CR>
 		<TELL ,EX-SP-EX-STR CR>
 		<TELL ,DASH-STR CR>
+		<FIXED-FONT-OFF>
 		<RTRUE>)
 	       (<VERB? OPEN CLOSE>
 		<HOW? ,PUNCH-PANEL>
@@ -351,7 +353,12 @@ removed and are marked with numerical symbols." CR>)>
 <GLOBAL WRONG-BRICK <>>
 
 <ROUTINE TAKE-BRICK-FCN ()
-	 <COND (<AND <VERB? PUT>
+	<COND (<VERB? EXAMINE READ>
+	       <FIXED-FONT-ON>
+	       <TELL <GETP ,PRSO ,P?TEXT> CR>
+	       <FIXED-FONT-OFF>
+	       <RTRUE>)
+	      (<AND <VERB? PUT>
 		     <EQUAL? ,PRSI ,PUNCH-PANEL>>
 		<FSET ,PRSO ,NDESCBIT>
 		<SETG BRICKS-TAKEN <- ,BRICKS-TAKEN 1>>
diff --git a/globals.zil b/globals.zil
index ac8a1a6..5a92562 100644
--- a/globals.zil
+++ b/globals.zil
@@ -565,31 +565,45 @@ will be too." CR>)
 	(ADJECTIVE STRANGE)
 	(ACTION HIERO-FCN)>
 
+<ROUTINE FIXED-FONT-ON () <PUT 0 8 <BOR <GET 0 8> 2>>>
+
+<ROUTINE FIXED-FONT-OFF() <PUT 0 8 <BAND <GET 0 8> -3>>>
+
+<ROUTINE PLASTER1-GLYPHS ()
+	<FIXED-FONT-ON>
+	<TELL CR "*->  #  !!!  ::  ...>  .-" CR>
+	<FIXED-FONT-OFF>>
+
 <ROUTINE HIERO-FCN ("AUX" TEMP (COUNTER 0) OFFSET)
 	 <COND (<NOT <VERB? READ EXAMINE>>
 		<RFALSE>)>
 	 <COND (<AND <IN? ,WINNER ,STAIRS-BOTTOM>
 		     <IN? ,PLASTER1 ,STAIRS-BOTTOM>>
-		<TELL CR
-"*->  #  !!!  ::  ...>  .-" CR>)
+		<PLASTER1-GLYPHS>
+		<RTRUE>)
 	       (<IN? ,WINNER ,WEST-END-OF-PASSAGE>
 		<COND (<FSET? ,PIT ,INVISIBLE>
+		       <FIXED-FONT-ON>
 		       <TELL CR
 "             .|
 <-*  #  /!\\  -  #  (=  =)|
 |
-::  *->  #  !!!" CR>)
+::  *->  #  !!!" CR>
+		       <FIXED-FONT-OFF>)
 		      (T
 		       <TELL "They're gone with the plaster." CR>)>)
 	       (<AND <ROOM? ,NORTH-ANTECHAMBER>
 		     <NOT <FSET? ,BURIAL-CHAMBER ,RMUNGBIT>>>
+		<FIXED-FONT-ON>
 		<TELL CR
 "             -     !=!|
 <-*  #  /!\\  .   #  ! !|
 |
-::  *->  #  !!!" CR>)
+::  *->  #  !!!" CR>
+		<FIXED-FONT-OFF>)
 	       (<AND <ROOM? SOUTH-ANTECHAMBER>
 		     <NOT <FSET? ,ANNEX-DOOR ,OPENBIT>>>
+		<FIXED-FONT-ON>
 		<TELL CR
 "                      -|
 <-*  #  /!\\  (.)  #  ! !|
@@ -597,7 +611,8 @@ will be too." CR>)
 |
            -|
 ::  (  #  ! !|
-           -" CR>)
+           -" CR>
+		<FIXED-FONT-OFF>)
 	       (<ROOM? ,ROOM-OF-NEPHTHYS ,ROOM-OF-ISIS
 		       ,ROOM-OF-SELKIS ,ROOM-OF-NEITH>
 		<COND (<EQUAL? ,HERE ,ROOM-OF-NEPHTHYS>
@@ -616,6 +631,7 @@ will be too." CR>)
 			<COND (<EQUAL? .TEMP
 				       <GET ,ORDER-LTBL .COUNTER>>
 			       <RETURN>)>>
+		<FIXED-FONT-ON>
 		<TELL CR "       " <GET ,STAR-LTBL .COUNTER> CR>
 		<TELL CR
 "          " <GET ,COMPASS-POINTS-LTBL .OFFSET> CR>
@@ -623,41 +639,52 @@ will be too." CR>)
 "))  /  #  " <GET ,COMPASS-TAILS-LTBL .OFFSET> "  ::|
 |
 <-*  "
-	     <GET ,STAR-LTBL .COUNTER> "  =!=  /  *" CR>)
+	     <GET ,STAR-LTBL .COUNTER> "  =!=  /  *" CR>
+		<FIXED-FONT-OFF>)
 	       (<IN? ,WINNER ,BEND-HALL>
+		<FIXED-FONT-ON>
 		<TELL
 "
           .      =  - -|
 !@!  ...>  -  #  *   =   ::  <...  ;|
 |
 #  *|
-   =" CR>)
+   =" CR>
+		<FIXED-FONT-OFF>)
 	       (<IN? ,WINNER ,CENTRAL-ROOM>
 		<TELL
 "The hieroglyphs look like this:|
-|
+">
+		<FIXED-FONT-ON>
+		<TELL "|
                     !-!|
 ...>  -.  >...  #  !  ! !|
                     !-!|
 |
-/  ...>  /  #  !@!" CR>)
+/  ...>  /  #  !@!" CR>
+		<FIXED-FONT-OFF>)
 	       (<EQUAL? ,HERE ,SOUTH-CENTER>
 		<TELL
-"The hieroglyphs look like this:
-|
-|
+"The hieroglyphs look like this:|
+">
+		<FIXED-FONT-ON>
+		<TELL "|
  <.>     <:>     <:.>|
 |
  <::>    <::.>   <:::>|
 |
- <:::.>  <::::>  <::::.>" CR>)
+ <:::.>  <::::>  <::::.>" CR>
+		<FIXED-FONT-OFF>)
 	       (<EQUAL? <LOC ,WINNER> ,SKELETON-ROOM ,SILVER-ROOM ,GOLDEN-ROOM>
 		<TELL
 "The hieroglyphs look like this:|
-|
+">
+		<FIXED-FONT-ON>
+		<TELL "|
 -!-  #  !*  ::  #  *!  ::|
 |
-*->  #  !@!  >*>" CR>)
+*->  #  !@!  >*>" CR>
+		<FIXED-FONT-OFF>)
 	       (T
 		<TELL "I don't see them here." CR>)>
 	 <RTRUE>>
diff --git a/infidel.str b/infidel.str
new file mode 100644
index 0000000..5000055
--- /dev/null
+++ b/infidel.str
@@ -0,0 +1,1980 @@
+MACROS for
+			      PYRAMID
+	(c) Copyright 1983 Infocom, Inc.  All Rights Reserved.
+
+GLOBALS for
+			      PYRAMID
+	(c) Copyright 1983 Infocom, Inc.  All Rights Reserved.
+
+SUBTITLE GLOBAL OBJECTS
+Yes, this synonym for LOCAL-GLOBALS needs to exist... sigh
+Sitting on your finger is a ring.
+It's part of your hands.
+random object
+The air is as clear as any Egyptian air can be.
+It's stale and musty
+I think you're an air head.
+You can see the block and the opening in there.
+The hole is empty.
+I don't see any hole here.
+It's right here.
+It's just a hole in the sand from your excavation attempts. There's no need to
+put anything into it.
+writing implement
+I see nothing special about the wall.
+empty hands
+I don't read palms.
+Are you really that hungry?
+Come on. Let nature take care of you. I'm sure it will, in time.
+Save yourself. Don't look at me, man.
+Take a course in Zen.
+Auto-eroticism is not the answer.
+Come on. Don't you have enough troubles?
+Hmmm. How do you propose I accomplish that?
+Fine. It couldn't pass for a massage, but consider it done!
+The mast is in the doorway, running from top to bottom.
+The beam is wedged in the doorway from side to side.
+The panels are beautiful pieces of art, to be appreciated by the Queen on her
+journey through the Netherworld.
+The ladder is made of wood, and it looks fairly sturdy.
+Its a small, one-engine plane, similar in shape to the old Piper Cubs.
+The plane dips its wings in salute.
+You wave at the plane through the top of the tent. Somehow, I doubt it
+noticed.
+The plane's returned to its home base.
+I suppose it's up in the air, somewhere.
+It's somewhere up over your head.
+All I can tell you about it is that it's out there.
+The plane's far gone, amigo.
+RRRRRRRrrrrrrr r r r r r   r    r     r.
+What plane? It's gone!
+Leave the plane alone. It's not bothering you.
+It's left with the wind, never to be seen again.
+It's white.
+What parachute?
+The most I can tell you is that it was white.
+Forget the chute, amigo. It's history. And if you don't get on with this, you
+will be too.
+Leave the parachute alone.
+sip of water
+No, I don't think I quite understand.
+Now that's an interesting thought.
+GLOBAL VARIABLES
+******************************************
+	Here come the globals
+********************************************
+hieroglyphs
+*->  #  !!!  ::  ...>  .-
+             .|
+<-*  #  /!\  -  #  (=  =)|
+|
+::  *->  #  !!!
+             -     !=!|
+<-*  #  /!\  .   #  ! !|
+|
+::  *->  #  !!!
+                      -|
+<-*  #  /!\  (.)  #  ! !|
+                      -|
+|
+           -|
+::  (  #  ! !|
+           -
+  ::|
+|
+<-*  
+  =!=  /  *
+
+          .      =  - -|
+!@!  ...>  -  #  *   =   ::  <...  ;|
+|
+#  *|
+   =
+The hieroglyphs look like this:|
+|
+                    !-!|
+...>  -.  >...  #  !  ! !|
+                    !-!|
+|
+/  ...>  /  #  !@!
+The hieroglyphs look like this:
+|
+|
+ <.>     <:>     <:.>|
+|
+ <::>    <::.>   <:::>|
+|
+ <:::.>  <::::>  <::::.>
+The hieroglyphs look like this:|
+|
+-!-  #  !*  ::  #  *!  ::|
+|
+*->  #  !@!  >*>
+I don't see them here.
+decorations
+Quite beautiful, no?
+They're quite huge, aren't they?
+There's no way to do that from here.
+Just where do you think you are?
+You're not on the barge!
+I can't do that from here.
+Don't you think using the plank would be safer?
+It might be easier without these bulkheads around.
+There's nothing on the deck.
+What a cahd! (52 to be exact!)
+You can make out a lot of sand and a small firepit.
+You can make out your cot and the trunk inside the tent.
+You can see nothing distinguishable by trying to look in through the bright
+sunlight.
+I see no thickets here.
+Thicker thickets have never been thicker.
+Parser-related stuff
+This COND is game independent (except the TELL)
+Those things aren't here!
+Here is the default 'cant see any' printer
+You can't see any
+ seems confused. "I don't see any
+Here is where special-case code goes. <MOBY-FIND .TBL> returns
+	   number of matches. If 1, then P-MOBY-FOUND is it. One may treat
+	   the 0 and >1 cases alike or different. It doesn't matter. Always
+	   return RFALSE (not handled) if you have resolved the problem.
+You wouldn't find any
+You can't see any
+SYNTAX for
+			      PYRAMID
+	(c) Copyright 1983 Infocom, Inc.  All Rights Reserved.
+
+SUBTITLE VOCABULARY
+ZORK game commands
+SUBTITLE REAL VERBS
+Take a sip of water
+Simple questions
+<SYNTAX WHAT ...> WHAT is a synonym of EXAMINE
+<SYNTAX WHERE ...> WHERE is a synonym of FIND
+CLOCK for
+			      ENCHANTER
+	(c) Copyright 1983 Infocom, Inc.  All Rights Reserved.
+
+MAIN for
+		 Pyramidal Locomotion
+	Copyright 1983 Infocom, Inc.  All Rights Reserved.
+
+put interrupts on clock chain
+set up and go
+It's too dark to see.
+Better open the 
+There's nothing in that.
+It's not in that.
+There isn't anything to 
+ that you mentioned 
+I don't know what you're referring to.
+I don't see what you are referring to.
+** PERFORM: PRSA = 
+I don't see what you are referring to.
+Room (M-BEG)
+Room (M-END)
+  Default ->
+Not handled
+You wake slowly, sit up in your bunk, look around the tent, and try to ignore
+the pounding in your head, the cottony taste in your mouth, and the ache in
+your stomach. The droning of a plane's engine breaks the stillness and you
+realize that things outside are quiet -- too quiet. You know that this can
+mean only one thing: your workmen have deserted you. They complained over the
+last few weeks, grumbling about the small pay and lack of food, and your
+inability to locate the pyramid. And after what you stupidly did yesterday,
+trying to make them work on a holy day, their leaving is understandable.|
+|
+The Professor's map was just an ancient map -- as worthless as an ice cube in
+the Arctic without an instrument fine enough to accurately measure longitude
+and latitude. You knew that the site was nearby. You dug, and you ordered the
+workers to dig, even without the box. As you listen to the plane and rub your
+aching eyes, you pray they left you supplies enough to find the pyramid and to
+survive, and that the plane's carrying the long-overdue box.
+PARSER for
+			      PYRAMID
+	(c) Copyright 1983 Infocom, Inc.  All Rights Reserved.
+
+Parser global variable convention:  All parser globals will 
+  begin with 'P-'.  Local variables are not restricted in any
+  way.
+
+INBUF - Input buffer for READ
+Parse-cont variable
+Orphan flag
+Parser variables and temporaries
+Byte offset to # of entries in LEXV
+Word offset to start of LEXV entries
+Number of words per LEXV entry
+Offset to parts of speech byte
+Offset to first part of speech
+First part of speech bit mask in PSOFF byte
+ Grovel down the input finding the verb, prepositions, and noun clauses.
+   If the input is <direction> or <walk> <direction>, fall out immediately
+   setting PRSA to ,V?WALK and PRSO to <direction>.  Otherwise, perform
+   all required orphaning, syntax checking, and noun clause lookup.
+I beg your pardon?
+I found too many nouns in that sentence.
+Check whether word pointed at by PTR is the correct part of speech.
+   The second argument is the part of speech (,PS?<part of speech>).  The
+   3rd argument (,P1?<part of speech>), if given, causes the value
+   for that part of speech to be returned.
+ Scan through a noun clause, leave a pointer to its starting location
+Print undefined word in input.
+   PTR points to the unknown word in P-LEXV
+I don't know the word '
+I can't use the word '
+ Perform syntax matching operations, using P-ITBL as the source of
+   the verb and adjectives for this input.  Returns false if no
+   syntax matches, and does it's own orphaning.  If return is true,
+   the syntax is saved in P-SYNTAX.
+I can't find a verb in that sentence!
+I don't understand that sentence.
+I can't answer that question.
+What do you want to 
+ your hands)
+I think that sentence was missing a noun.
+(How about the 
+I couldn't find enough nouns in that sentence!
+"I can't see that here!"
+It's too dark to see!
+ do you mean, 
+You don't have the 
+I can't use multiple 
+direct objects with '
+(c) Copyright 1983 Infocom, Inc.  All Rights Reserved.
+VERBS for
+			      PYRAMID
+	(c) Copyright 1983 Infocom, Inc.  All Rights Reserved.
+
+SUBTITLE DESCRIBE THE UNIVERSE
+SUBTITLE SETTINGS FOR VARIOUS LEVELS OF DESCRIPTION
+Maximum verbosity.
+Brief descriptions.
+Super-brief descriptions.
+SUBTITLE DESCRIBERS
+I see nothing special about the 
+It is pitch black. Off in the distance you hear hideous squealing and what can
+only be the sound of thousands of tiny, clawed feet coming closer.
+I can't see anything in the dark.
+DESCRIBE-OBJECT -- takes object and flag.  if flag is true will print a
+long description (fdesc or ldesc), otherwise will print short.
+ (lit and burning)
+ (tied to the altar)
+ (being worn)
+ (lit and burning)
+ (tied to the 
+ (outside the 
+You are carrying:
+Sitting on the 
+SUBTITLE SCORING
+Your score is 
+ out of a possible 
+This score gives you the rank of a 
+master adventurer
+very good adventurer
+fairly good looter
+poor professor
+fumbling beginner
+Do you wish to leave the game? (Y is affirmative): 
+Do you wish to start the game again? (Y is affirmative): 
+Okay. Restarting...
+Failed. Please reboot your system.
+Ok. See you next time!
+INFIDEL|
+Copyright 1983 by Infocom, Inc.  All rights reserved.|
+INFIDEL is a trademark of Infocom, Inc.|
+Release 
+ / Serial number 
+I can't see the 
+SUBTITLE DEATH AND TRANSFIGURATION
+
+|    ****  You have died  ****
+|
+|
+You feel yourself disembodied in a deep blackness. A voice from the void, or
+perhaps it's just your dying thoughts, rings in your ears.|
+|
+"Obsessions are the torment of men's souls, reaching out for something greater
+than life has offered. Perhaps this is what makes the difference between an
+ordinary mortal and an adventurer!" It is the last thing you hear.
+The great mysteries of the ancient pyramid remain unsolved. Although your
+desperation has served you well in getting this far, to get farther requires a
+wisdom, tempered by experience.
+Do you wish to restart? (Y is affirmative): 
+Restarting.
+Use directions for movement here.
+How in blazes does one launch that?
+You can't go that way.
+ is closed.
+Oh, no! You have been devoured by 6,502 rats!
+You can't go that way.
+You are empty handed.
+You are already wearing it.
+You already have one. One at a time, now!
+You already have it.
+You can't reach that.
+You'd better open the 
+ isn't in the 
+You are in it, loser!
+You are now wearing the 
+Your load is too heavy.
+You're carrying too many individual items already!
+You can't do that.
+There's no good surface on the 
+Better have your eyes checked.
+There's no room. The 
+ is already on the 
+You hear the 
+ crash below.
+You're not holding the 
+You can't do that.
+ isn't open.
+How can you do that?
+ is already in the 
+There's no room.
+That's easy for you to say since you don't even have it.
+You can't give the 
+You're not carrying the 
+You're not carrying the 
+ is closed.
+You must tell me how to do that to the 
+It is already open.
+It is already open.
+ fails to open.
+You must tell me how to do that to the 
+It is already closed.
+ is now closed.
+It is already closed.
+You cannot close that.
+WEIGHT:  Get sum of SIZEs of supplied object, recursing to the nth level.
+If there is a problem here, it is unintentional. You may report
+your problem to the address provided in your documentation.
+ a transcript of interaction with INFIDEL.|
+INFIDEL is a trademark of Infocom, Inc.|
+Copyright (c) 1983 Infocom, Inc.  All rights reserved.|
+Here begins
+I don't juggle objects!
+Sure. But it might be better to be a little more specific in how you want it
+moved.
+Moving the 
+ reveals nothing.
+You can't move the 
+ is already lit.
+You expect to light the torch with your glowing intellect?
+I see no match here.
+That's a little tough to do with an empty book of matches.
+You have now lit a match.
+I don't know how to light the 
+You can't light that.
+Ooops! You didn't remember to close the cover before striking! The matchbook
+bursts into flames, burning your fingertips.
+ is now lit.
+It is already out.
+ is now out.
+You can't extinguish that.
+Time passes...
+You are already on the 
+I suppose you have a theory on getting into the 
+You are now 
+You're not in that!
+You push yourself up and manage to get out of the cot. Your legs are a little
+wobbly, though, and your head swims.
+You are on your feet again.
+You realize, just in time, that getting out here would probably be fatal.
+You can't blast anything by using words.
+You'd better get 
+You can't go there in a
+You can't go there without a vehicle.
+Oh, no! An army of eleventy-seven rats, starved for affection (and food),
+leapt upon your body in a show of rodentine appreciation and devoured you!
+ leaves the room.
+Sorry, my memory isn't that good. You'll have to give a direction.
+You can't pour that.
+You can't pour that into anything.
+You'd have a lot of trouble pouring the 
+ has been filled, but the 
+ is now empty.
+Why bother?
+You'd better open the 
+ It is now pitch black.
+ gets wet, but quickly dries.
+The sand is gone with the wind.
+The sand falls through the cracks in the stone floor.
+You can't pour that on anything.
+Why bother? The jar is empty.
+Why waste precious liquid? But, if you insist, done! The liquid evaporates in
+a few moments.
+A little tough to get that wick through the closed jar, eh?
+The tip of the torch has been covered with the liquid.
+ The torch flares up, singing your eyebrows. Phew! Close call, there!
+How singularly useless.
+You probably put spinach in your gas tank, too.
+That's not very useful.
+There is nothing to fill it with.
+ Except for some sand.
+There's nothing to fill it with.
+ Except for maybe some sand.
+It's already full.
+Tough to do when the 
+ is closed.
+Okay, you have filled the 
+You may know how to do that, but I don't.
+A hollow voice says "Fool."
+You're not holding the 
+How can you drink that?
+That really hit the spot. It did make you a little thirstier, though.
+You feel much refreshed.
+ Some sand from the bottom of the canteen is gritty in your mouth, though.
+You're going to start sloshing around soon.
+You kneel down and drink deeply from the Nile and feel refreshed.
+I'd like to oblige, but it's not within easy reach.
+I don't think that the 
+ would agree with you.
+Insults of this nature won't help you.
+What a loony!
+Such language in a high-class establishment like this!
+ makes no sound.
+Give me a break!
+You will be lost without me!
+If you pray enough, your prayers may be answered.
+No one is listening...
+This was not a very safe place to try jumping.
+I think that only schizophrenics say "Hello" to a
+Nice weather we've been having lately.
+Very good. Now you can go to the second grade.
+Have you tried hopping around, too?
+Are you enjoying yourself?
+Wheeeeeeeeee!!!!!
+Do you expect me to applaud?
+You should have looked before you leaped.
+I'm afraid that leap was a bit much for your weak frame.
+In the movies, your life would be passing in front of your eyes.
+Geronimo.....
+It is impossible to read in the dark.
+How does one look through a
+How can I read a
+There's nothing on the walls worth reading.
+There is nothing but sand there.
+There is nothing but dust there.
+You can't see anything down there.
+There is nothing behind the 
+ is closed.
+There is nothing special to be 
+You're on it!
+There is nothing on the 
+ is closed.
+I don't know how to 
+look inside a
+feel inside a
+It could very well be too late!
+You're out of matches. Sorry.
+(lighting a match first)
+(lighting the match first)
+You'd better light 
+ catches fire and is consumed.
+ catches fire, but before you have a chance to react, the fire spreads.
+ catches fire and is consumed.
+You don't have the 
+I don't think you can burn the 
+You can't turn that!
+This has no effect.
+I really don't see how.
+How can you inflate that?
+Come on, now!
+It doesn't seem to work.
+You can't pick that.
+Be serious. Karate chop it? Come on!
+I doubt that the "cutting edge" of a
+ is adequate.
+Strange concept, cutting the 
+There is nothing here to 
+I've known strange people, but fighting a
+ with your bare hands is suicidal.
+You aren't even holding the 
+ is suicidal.
+Who do you think you are, Benny Goodman?
+Kicking the 
+Waving the 
+Playing in this way with the 
+Playing in this way with the 
+Fiddling with the 
+Pushing the 
+? Get serious.
+There's no need for that. Why not just pick it up and then carry it there?
+You can't push things to that.
+The statue bumps into a wall.
+It won't fit through the door.
+The pushed statue rests on the floor.
+You scratch at the seals with your fingers and accomplish little.
+Trying to destroy the 
+Trying to destroy the 
+ with your bare hands is suicidal.
+Trying to destroy the 
+ is quite self-destructive.
+Nothing much happens.
+ isn't here!
+ doesn't seem to work.
+ isn't notably helpful.
+ doesn't work.
+ has no effect.
+Why knock on a
+I don't know how to do that. I win in all cases!
+The FROBOZZ Corporation created, owns, and operates this programmer.
+Aarrrrrgggggggghhhhhhhhhhh!
+This has no effect.
+What a bizarre concept!
+This seems to have no effect.
+Nice to meet me. Funny, you think I look like myself.
+You can't take it; thus, you can't shake it!
+It sounds like there is something inside the 
+The liquid sloshes around.
+All of the objects spill onto the floor.
+There's nothing in the 
+(with the shovel)
+(with the axe)
+(with your hands)
+Digging with the 
+ is very silly.
+You can't dig in that.
+You dig a small hole, but it quickly fills in with water and sand, almost
+innediately disappearing.
+The ground is too hard here.
+I suppose you also excavate tunnels with a teaspoon?!
+Let's face it, for digging in the sand, the axe is cute but ineffective.
+The walls of the hole collapse around you, smothering you in the shifting
+sands.
+You've uncovered what could only be the top of a pyramid. After clearing it
+away with your hands, you notice a square opening in the top of it.
+You are in the desert, almost out of sight of the encampment to the west. At
+last, though, you've found the ancient pyramid. The top of the pyramid is
+clearly exposed and on one of its sides is a square opening.
+You've dug a small hole. As you stand there and watch it, the sand starts to
+fill it in a little.
+You've enlarged the hole a little, taking out two shovels-full for every one
+which collapses back in from the walls.
+You've made the hole quite sizable, though it's not very deep. The deeper you
+dig, the more the walls collapse and so you widen the base of the hole.
+You're knee-deep in the hole, digging away, taking out more and more sand.
+You've dug yourself into a deep hole. You're actually several feet below the
+surrounding sand. The walls look very unstable.
+It smells like a mixture of gasoline and embalming fluid. Yum Yum.
+Nice way to singe your nostrils!
+It smells quite dead.
+It smells a little musty.
+It smells just like a
+Now that's a cute idea. Maybe I'll try it next century.
+Go jump in a lake!
+This cannot be tied, so it cannot be untied!
+You can't tie it to yourself.
+You can't tie the 
+Don't bother.
+You could certainly never tie it with that!
+I'm not sure that a
+ can be melted.
+You'll have to speak up if you expect me to hear you!
+He's wide awake, or haven't you noticed...
+ isn't sleeping.
+ pays no attention.
+You cannot talk to that!
+You can't climb onto the 
+You can't do that while you're holding the rope.
+You can't climb a direction!
+You can't climb that!
+You're already on the beam.
+You are now standing on the beam.
+You step onto it, see no sense in remaining on it, then step off it.
+Get real. You don't have fly feet.
+You can't go that way.
+Climbing the walls is to no avail.
+It would help if the rope led someplace.
+Why would you send for the 
+That doesn't make sends.
+You cannot wind up a
+There are a lot of stones in the pyramid (about 90,000,000 cubic feet).
+What a maroon! What a cahd!
+a weird sense of counting!
+You can't do that.
+You are so engrossed in the role of the 
+ that
+you kill yourself, just as he would have done!
+How peculiar!
+You can't do that.
+You can't cross that!
+You find nothing unusual.
+Within six feet of your head, assuming you haven't left that somewhere.
+Why don't you try finding it yourself?
+You have it.
+With all this sand around here? Give me a break!
+It's right here.
+Talking to yourself is diverting, but unnecessary.
+You can't talk to the 
+Nobody seems to be awaiting your answer.
+It is hardly likely that the 
+ is interested.
+Yes, it is 
+No, it isn't.
+I'd sooner kiss a pig.
+An ugly idea from an ugly human.
+You must address the 
+Talking to yourself is said to be a sign of impending mental collapse.
+The incantation echoes back faintly, but nothing else happens.
+You can't spin that!
+You hit your head against the 
+ as you attempt this feat.
+That would involve quite a contortion!
+Not within this life cycle.
+With this kind of wisdom, be glad you're not in a Sphinx.
+A totally bizarre concept. For sure.
+Totally different head, man. Like, untubular.
+Kookie, man.
+I've heard better ideas from politicians.
+A truly amazing concept, that.
+Bizarre barely describes that desire.
+Let's face it -- that isn't going to happen.
+You can't wear the 
+You can't throw anything off of that!
+From where you are now? Get serious.
+Thrown. You hear it land in the darkness to the south.
+Don't you think you should be standing on the altar first?
+Verifying game...
+Game correct. Don't panic yet.
+** Game File Failure ** (Panic)
+You are already standing, I think.
+That hiding place is too obvious.
+You should supply a direction!
+Finds the room on the other side of a door
+How peculiar!
+There's nothing to drink in the 
+I don't think there's anything worth drinking in the 
+Better open the 
+I can't see any 
+Are you so very tired, then?
+You can't dip the 
+Poof. There's no need to get burned up about it though...
+You can't do that.
+You manage to destroy the seal. You glance to the right and see fine sand
+running from a crack in the stone. The beam creaks and groans under tremendous
+pressure as the 3 ton stone block above your head starts to lower.  The beam
+holds the weight, saving you from a flattening fate.
+You manage to destroy the seal, but as you stand in the doorway, you hear the
+disntict sound of grinding stone. You glance to your right and see fine sand
+running from a crack in the wall. You're totally unaware of the 3 tons of
+carved stone block falling onto your head from directly above.
+It tastes just like a
+Why bother?
+The statue bumps into a wall.
+Pushing the 
+ in that way isn't particularly helpful.
+I don't know how to do that to a
+Smoking is bad for your health.
+It's already folded up.
+Okay. The map has been folded.
+You manage to wade a few feet into the river, but this makes the crocodiles
+spring into action -- they advance far more quickly than you thought possible.
+You panic and turn to the bank, attempting to flee. Your splashing about makes
+the beasts double their efforts and reach you just as you are about to step on
+shore. The last thought you have is a slight amazement at how many teeth a
+crocodile has and just how sharp they are.
+I don't know how to dig a
+I can't dig in the 
+Okay. There's nothing of interest there.
+You'd better pick it up first.
+There's nothing to read there.
+You can't reach into that.
+ is closed.
+Cleanliness may be next to godliness, but there are limits.
+Why bother?
+That's a little tough to do from here.
+Tickity tockity, sprickity sprockety.
+Comparisons between the 
+ would not really help.
+It looks like the small cube would fit into the opening almost exactly.
+The two chalices are of exactly the same size and dimensions, though empty
+they have different weights.
+ are the same size.
+You have to compare the 
+ to something else.
+Tough to do without a scale.
+Now that's bizarre!
+There's no need for filling that out.
+Okay. Find me a pen or a pencil and I'll do the best I can.
+Please be more specific. LOOKing AT, BEHIND, UNDER, THROUGH, INSIDE, ON, DOWN,
+FOR, or any other method of LOOKing mean different things to me. Please
+specify which preposition you'd like to use next time, like LOOK AT THE 
+, or LOOK INSIDE THE 
+You see a pretty plane. Oh boy!
+You see canvas. How thrilling.
+You see a blue sky with wisps of billowy clouds.
+You see wood. What else?
+You see inky blackness.
+You see stones. What else?
+ doesn't need any help.
+You got yourself into this -- now get yourself out of it.
+It looks like that's just where you are.
+Better get out of the tent first.
+You can't stand under that!
+You close your eyes, but your mind is too active to let you sleep.
+You get into the cot and try to get comfy. 
+That doesn't sound too comfortable to me.
+Better find a good place to lie down.
+I don't know how to fill in the 
+Let time and Mother Nature take care of that.
+There's no need to get on the crate whilst rummaging through a pyramid.
+No sitting down on the job, now.
+ Opening the 
+Everything on the 
+ slides off its top.
+INTERRUPTS for
+			      PYRAMID
+	(c) Copyright 1983 Infocom, Inc.  All Rights Reserved.
+
+		
+		Interrupt Routines for
+			PYRAMID
+You're starting to feel a little woozy. You blink your eyes, but can't seem
+to focus correctly.
+Your ring finger is starting to throb painfully.
+You fall over on your face as a quick-acting poison from the ring makes its
+way to your heart. Bye!
+Like a grape, left out in the sun too long, you turn into a raisin for lack of
+water.
+If you don't drink something, and now, you're gonna be history.
+You'd better drink something, and soon!
+You wipe your fevered brow.
+You scowl at the sun, cursing its searing heat.
+Even in the tent the heat starts to get to you.
+Your match just went out.
+You blow out the match and toss it aside.
+ And it burned your fingers, too! You drop it. 
+ It is now pitch black.
+Your torch is too dry and burns itself out quickly.
+Your torch is beginning to sputter.
+Your torch is getting very, very dim.
+With a final blaze of glory, your torch goes out.
+It is now pitch black.
+The four statues, heavy though they are, effortlessly swing back in unison to
+clamp down on the quartz cover again.
+order was correct
+The statues freeze in their current positions and you hear a light click come
+from the cover of the sarcophagus.
+Your stomach growls in hunger.
+You feel yourself growing weaker. Without nourishment, this is a losing
+cause!
+You fall over on your face, dreaming of Thanksgiving dinner. Needless to say,
+it was you against hunger. And hunger won.
+You hear a plane flying high overhead, outside the tent.
+You crane your neck and see a plane, high overhead, circling the encampment.
+It sounds as if the plane is circling.
+The plane seems to be circling right overhead.
+You look up to see a small speck appear right beneath the plane -- probably a
+parachute. The plane heads off far to the northwest, dipping its wings in a
+salute.
+It sounds as if the plane is flying off.
+A small speck descending from the plane overhead gets larger until you see a
+crate, dangling from a parachute.
+You can barely hear the plane.
+The sound of something heavy landing comes from nearby.
+At last, your luck seems to be changing. A large crate lands right before you,
+its parachute flapping in the breeze. The parachute breaks away from the crate
+and drifts off in the wind.
+Even in this pyramid, you need to drink something, and soon.
+Your throat feels like it's coated with razor blades. Some water would be in
+order.
+Better drink something. NOW!
+Well, your body could only take so much of this heat. Like a car, idling on a
+crowded highway, your body decides it's time to overheat. Such is death.
+RA for
+			      PYRAMID
+	(c) Copyright 1983 Infocom, Inc.  All Rights Reserved.
+
+RA-This is a file of all rooms and objects found in the upper part of the
+pyramid; the Chamber of Ra.
+Chamber of Ra
+wide staircase)
+narrow staircase)
+steep staircase)
+winding staircase)
+You release the free end of the rope as you walk.
+The staircase winds as you walk down, turning you around
+so you face in the opposite direction.
+You take a few steps down the steep staircase when suddenly you lose your
+footing as you try to walk on air. You fall a mere 25 feet straight
+down and, landing on your head, regret your attempt.
+(down the rope)
+(down the steep staircase)
+You grasp the rope firmly in your hands, but the fall is shorter than you
+thought. You reach the bottom with a resounding splat accompanied by a chorus
+of pain led by ganglions you never knew you had. Just before you (thankfully)
+black out, you release your grip from the rope.
+Since there are four staircases going down, you'd better say which staircase.
+(down the rope)
+ Descending the 
+ is one end of the rope.
+ In the center of the room is a large red sandstone altar mounted solidly in
+the floor.
+ The rope is tied to the 
+ The other end of the rope rests on the floor.
+ The other end rests on the altar.
+You are standing in the Chamber of Ra, a tribute to the sun god. Even though
+the only natural light enters through the opening above, the room is
+brilliantly lit as though the walls themselves generated light. The room
+slopes inward and the walls meet at an open point, over your head. The heat of
+the desert filters down through the opening and, as the air slowly circulates,
+the deep, long-dead musty odors from the depths of the pyramid assault your
+senses. Four staircases descend from here: a steep one to the north, a winding
+one to the south, a wide one to the east, and a narrow one to the west.
+steep staircase
+wide staircase
+winding staircase
+narrow staircase
+There's just enough light to see the first few steps.
+You can see far enough down the stairs to make out a landing below.
+You can see the first few steps and then what could only be a sheer dropoff,
+going down into total darkness.
+You release the rope as you walk.
+On the Steep Stairs
+You are two steps down the steep staircase when you see before you a deep
+dropoff going down into nothingness. To go down any further would be suicide.
+stone altar
+The altar is three feet by five feet and is mounted firmly in the solid floor.
+ There is nothing on the altar.
+bronze torch
+Leaning against the altar is a bronze torch.
+The torch has a tapered tip, much like a wick, which should be able to hold
+a large amount of oil.
+ The torch is 
+burning brightly
+burning dimly
+Lying on the floor, partially covered with dust, is a small pink alabaster
+jar.
+Inside the small pink jar is some liquid.
+The jar is empty.
+Opening the jar reveals a small amount of liquid.
+The liquid is oily to the touch and smells as if it could be highly volatile.
+Hmm. It would be easier if you were holding it.
+It tastes horrible.
+Removed from the oil jar routine:
+ Unfortunately, what liquid remained in the jar has spilled and evaporated.
+		ANTECHAMBER for Pyramid
+Antechamber
+You are in the north end of the Chamber of Eternal Royalty. On the eastern
+and western walls are scenes carved in high relief depicting a royal figure,
+possibly meant to represent a new ruler, performing the ritual of the
+"opening of the mouth and eyes", the ceremony of restoring to the mummy
+of the departed Queen the use of its senses. The north wall of this area is
+a thick, solid wall of stone. In the center of this wall is a timber lintel
+on top of a doorway.
+There's no way you can walk through the door.
+There's no way you can walk through the door.
+timber lintel
+Antechamber
+You are in the middle of the Chamber of Eternal Royalty, the antechamber. The
+walls in this section of the antechamber are covered with beveled tiles of deep
+blue lapis lazuli and pink alabaster. At ceiling height, on the west wall, are
+scenes depicting the marriage of the goddess Isis and the god Osiris, carved in
+ivory panels set into the wall. The Antechamber stretches out to the north and
+the south. There's just enough light cast for you to see the outline of the
+bottomless pit in the passage to the east.
+Quite beautiful, no?
+bottomless pit
+It's too deep and dark to see much of anything.
+You hear the squealing of rats. Hungry rats.
+You step into air then plummet into a deep pit, the home of 69,105 hungry rats.
+timber frame
+The timber frame surrounds the doorway.
+You light the timber frame surrounding the door. The wood is slow to catch,
+but then, in a bursting flash, the entire frame is consumed. You shield your
+eyes and move back to keep from being burned, but as you take a step back, 
+your foot lands on empty space and you plummet downward to darkness.
+you loose your balance on the mast. Your foot misses the mast and you slip,
+falling into the darkness below.
+Antechamber
+You are in the southern end of the Chamber of Eternal Royalty. From here you
+can see the room stretching out towards the north. The south wall is painted to
+resemble large baskets of lotus flowers with their blue petals framing an image
+of the Sun God, Amun Ra. The west wall has a timber doorway, inset several feet
+into the rocks, outlining a door.
+The way to the west is blocked by a closed door.
+The way to the west is blocked by a closed door.
+The rocks support the beam.
+I see nothing special about the rocks.
+plaster dust
+The dust and chips are just remnants of your incessant tapping, tapping at the
+chamber door. Only this and nothing more.
+plaster dust
+The dust and chips are just remnants of your incessant tapping, tapping at the
+chamber door. Only this and nothing more.
+Be serious. Have you any acquaintance with particle physics? How about quarks?
+Know anything about quarks? Let me put it to you this way: There are more
+pieces of plaster dust and chips here than you have seconds in your life.
+You are in the Chamber of Rebirth, the Annex. As you gaze about this small
+room, strange kohl-rimmed eyes gaze back at you from the painted figures
+which cover all of the walls. There are scenes of a great procession, with
+white-clad princesses offering gifts of precious oils and papyri to the
+mummified figure of the Queen. Bastet, the cat goddess, holds the mummy
+erect. Above you, painted on the ceiling, is the image of Tueris, the
+hippopotamus goddess. The only way out is through the doorway to the east.
+I see no seam here.
+The seam is barely visible. It goes into the edge of the slab no more than an
+eight of an inch.
+It's not deep enough to wedge anything into it.
+It's already open.
+The slab opens slowly and gracefully as if some internal mechanism balanced
+its huge weight.
+It won't budge.
+Thirt (30) slots to hold objects in the slab
+ Sitting in the 
+Sitting in the middle of this room is a huge stone slab.
+ Around its side runs a seam which is barely detectable. On top of the slab
+are four round holes, one in each corner.
+ Sitting on the top of the slab 
+ The slab is open
+ and holds 
+ and quite empty
+fourth hole
+second hole
+The hole sits in the 
+ corner of the slab.
+The hole is already filled.
+Done. A light click comes from beneath the corner.
+Burial Chamber
+You have entered the Chamber of Departure Towards the Funeral Destinies, the
+Burial Chamber. There is a doorway leading into a small room off to the east.
+In the middle of the chamber, stretching almost from wall to wall, is a huge,
+ancient sarcophagus. Its cover is composed of pure quartz and through the
+shining light you can see the golden, gleaming mummiform coffin. 
+ Four statues surround the sarcophagus, one in each corner: Isis, Nephthys,
+Neith and Selkis. 
+Their outstretched arms clamp down tightly on the quartz cover.
+All four statues face away from the quartz cover, their grip on it released.
+facing inward, 
+ heavy golden arms clamping down tightly over the quartz cover of the
+sarcophagus.
+You are in the Chamber of Reconstitution of the Body, the Treasury. To the
+west is a doorway leading back into the Burial Chamber.
+granite table
+You should have left well enough alone. As you pick it up, the discs go wildly
+out of balance and, before you realize what you've done, the ceiling comes down
+to meet the floor. Unfortunately, you were between them at the time.
+middle disc
+The discs float up and down several times until they come back into balance.
+In the room is a large, granite table. Cut out from the top of this table are
+three circles of polished granite. 
+ is empty, and it is 
+Sitting on the 
+slightly above
+slightly below
+exactly even with
+ the top of the table.
+three inches
+four inches
+five inches
+seven inches
+eight inches
+Top of Stairway
+You are at the top of a sixteen-step stairway. It leads west and down. The
+strange passageway into the cube rooms lies to the south. The walls here are
+painted in somber colors -- deep ochres, browns and blacks, but the scenes the
+paintings depict are oddly gay. Priests smile, their hands lifted up high to
+Amun Ra, offering flower petals in their palms, while a young girl, bedecked
+in black, stands by watching, a twisted smile on her face.
+Bottom of Stairs
+You are at the bottom of the sixteen-step stairway. The stairway goes up to
+the east, while to the west is solid plaster. Painted on the plaster
+are some hieroglyphs.
+Solid plaster is blocking your way.
+Narrow Passageway
+You are at the east end of what seems like a long, straight passageway. After
+carefully looking over the walls, stones and floor, you determine that it is
+safe to proceed.
+Narrow Passageway
+You are in the middle of a long, east/west passage. The passage is narrow and
+seems to be little more than a hallway hewn out of stone.
+Narrow Passageway
+You have reached the west end of the passage. Before you is a door surrounded
+by a heavy timber frame. The door is entirely blocked up with plaster. Toward
+the bottom of the north wall and the south wall, about three inches off the
+floor, are two small niches. There are some hieroglyphs on the plaster.
+You can't walk through a closed door.
+small niche
+Each small niche rests about three inches off the floor. They are recessed
+into the walls, one on either side of the passageway.
+Some hieroglyphics on the plaster say:|
+|
+   *->  #  !!!  ::  ...>  .-
+(with your 
+The chips fly where they may as you relentlessly flail at the plaster with
+your trusty pick axe. In just a few minutes you manage to clear all the
+plaster from the doorway.
+You are at the bottom of the sixteen-step stairway. The stairway goes up to
+the east, while the way to the west has been cleared.
+You scratch at the plaster but accomplish little.
+The door is surrounded by a heavy timber frame and is entirely blocked up
+with plaster. There are some hieroglyphs on the plaster.
+It's already open.
+The door is covered with plaster, which is in turn covered with hieroglyphs.
+The door opens and you are overwhelmed by a musky odor.
+It isn't open.
+Okay. The door is closed.
+The plaster is ancient, applied to the door behind it to prevent people from
+entering the resting place of the queen. Some hieroglyphs are etched into the
+plaster.
+The plaster starts to chip away beneath the incessant tapping of your pick
+axe. You quickly realize, however, that the tapping has started some sand
+flowing out of the bottom of the doorway. Just as you realize the seriousness
+of your situation, the floor gives out beneath you and you plummet down, down,
+down into a den of voracious rats...
+(with your 
+ You wave to the beam stretching across the gap as you hurtle past it.
+The plaster chips fly from the door as the incessant tapping of your pick
+axe does its work. The tapping has started some sand flowing out of
+the bottom of the doorway and the floor starts to give away. In a few
+short moments, the floor has disappeared, but thankfully you're safe while
+standing on the beam.
+You are in the west end of the passage. The plaster has been cleared, allowing
+passage to the west.
+You scratch at the plaster but accomplish little.
+burial door
+It's buried behind 3 tons of stones. Forget it.
+The door is surrounded by small seals and has a hieroglyph on it.
+It's already open.
+With all the stones which fell in the doorway, there's not a chance of ever
+getting through again.
+I don't think it's that simple. Not only isn't there a doorknob, but the door
+is also covered with a seal.
+The door creaks open and you are assaulted by a deep, musty dead smell.
+It isn't open.
+Closing the door isn't the best of ideas.
+It's already open.
+You open the door and two huge stones start to close in on you from either
+side. Thankfully, you had the foresight to wedge the beam in the doorway to
+prevent a flattening experience.
+You open the door but before you can react, two huge stones close in on you --
+one from the left side and one from the right side. Needless to say, you didn't
+quite make it...
+This door seems to present no difficulty in opening. Lightly etched into it
+are some faint symbols.
+Isis statue
+Nephthys statue
+Neith statue
+Selkis statue
+Nothing happens. These statues seem to be beyond all hope.
+ moves slowly, pivoting about its base, 
+releasing its hold on the quartz cover.
+once more clamping down on the quartz cover.
+sarcophagus
+ sits on the sracophagus for a moment, but it quickly slides off its rounded top.
+quartz cover
+smaller recess
+larger recess
+There's already something on it.
+The area is separated from the quartz cover by being recessed about an inch.
+Sitting in the 
+There is a small recess and a large recess on the top of the cover which you
+can make out as thin, outlined areas.
+ Resting in the smaller recess is a
+ Sitting in the larger recess is the 
+You place the 
+ on the cover, but it slides
+right off onto the ground.
+You tug, push, pull, yank and generally tire yourself out trying to open the
+cover until you take a moment, wipe your brow, and look around. You notice that
+the cover is being held in place by the statues.
+As soon as you lift the scarab from the disc, the left and right discs rise
+far enough above the surface of the table to activate a mechanism. You hear it
+click just before the ceiling comes down to meet the floor.
+There's already something on it.
+You'd better not. Not until you know what's going on here.
+You hear a clicking sound come from beneath all of the statues as you place
+the scarab within the smaller outlined area on the cover.
+Looks like a scarab, from where it sits.
+Etched into its back is the following:|
+|
+              >*>
+ancient book
+Hieroglyphs can be seen as follows:|
+|
+        =  .           !   !|
+<-*  #  =  -  #  !@!  !---!|
+|
+            .           !  !|
+::  #  >*>  -  #  !@!  !--!
+Unnecessary page turning may destroy the book.
+ancient book
+This is what is left of the ancient Book of the Dead. Like the queen it once
+referred to, it too has seen better days.
+You'd do more damage putting things on the 
+ than it would be worth.
+The book isn't open. On the cover is the following, though:|
+|
+       =|
+       =
+You open the book carefully using the spatula. You can see some faint
+hieroglyphs written on the page.
+Oops! The ancient papyrus pages crumble due to your less-than-delicate touch.
+There's already something on it.
+The book now rests on the cover of the sarcophagus.
+From beneath each of the four statues there comes a loud click.
+small spatula
+This spatula was originally used for opening books and turning their pages.
+You lift the cover with great care, and in an instant you see all your dreams
+come true. The interior of the sracophagus is lined with gold, inset with
+jewels, glistening in your torchlight. The riches and their dazzling beauty
+overwhelms you. You take a deep breath, amazed that all of this is yours. You
+tremble with excitement, then realize the ground beneath your feet is
+trembling, too.|
+|
+Like a knife cuts through butter, this realization cuts through your mind,
+makes your hands shake and cold sweat appear on your forehead. The Burial
+Chamber is collapsing, the walls closing in. You will never get out of this
+pyramid alive. You earned this treasure. But it cost you your life.|
+|
+And as you sit there, gazing into the glistening wealth of the inner
+sarcophagus, you can't help but feel a little empty, a little foolish.
+If someone were on the other side of the quickly-collapsing wall, they could
+have dug you out. If only you'd treated the workers better. If only you'd cut
+Craige in on the find. If only you'd hired a reliable guide.|
+|
+Well, sometime, someone will discover your bones here. And then you
+will get your fame.
+DIAMOND for
+			      PYRAMID
+	(c) Copyright 1983 Infocom, Inc.  All Rights Reserved.
+
+DIAMOND AREA
+Room of Nephthys
+You have entered the room of the protective goddess Nephthys. The walls here
+are cut from pink granite, elaborately decorated with bright red carnelian and
+pale yellow feldspar. Along the northeast wall are panels of beaten gold, and
+midway up this wall, under the winged symbol of Nephthys, you can see some
+hieroglyphs. To the southeast, cut in the thick granite wall, is an opening.
+diamond cluster
+A large diamond cluster, glittering in your light, sits on the floor directly
+under the hieroglyphs.
+golden cluster
+A large golden cluster sits on the floor.
+ruby cluster
+A beautiful ruby cluster, sparkling like fire, sits on the floor.
+emerald cluster
+Lying on the ground is a brilliant, glowing emerald cluster.
+opal cluster
+Am opal cluster, glistening with the light of a thousand fires, lies on the
+floor.
+Room of Selkis
+You are standing in a small room, that of the protective goddess Selkis.
+There are red, blue and green patterns on the walls formed from small glazed
+tiles that have been carefully arranged in order of shade. The darkest tiles
+border the floor, and become lightest near the ceiling. On the northeast wall,
+inscribed in a beaten gold panel, is the symbol of Selkis, under which you can
+see some hieroglyphic text. An opening through the southwest wall leads out
+of this room.
+They twinkle in the light, making beautiful patterns.
+Room of Isis
+This is the room of the protective goddess Isis. You stand in amazement
+in the center of the room as thousands of tiny lights twinkle around you.
+With great surprise you realize that the light from your torch is being
+reflected by the mirror-like surfaces of innumerable clear quartzite chips.
+These are set artfully into red clay panels in the walls, and are surrounded
+by shiny red jasper fragments. On the southwest wall, under the winged symbol
+of Isis, some hieroglyphic text is inscribed in a gold panel. To the northeast
+is an arched opening, and, looking through it, you can barely make out a
+hallway.
+Room of Neith
+You are standing in the room of the protective goddess Neith. This room
+seems dark and mysterious with its decorations of inky-blue lapis lazuli
+and jet-black obsidian. Gold scrollwork defines an area on the southeast
+wall, in the center of which is the symbol of Neith. Below this you can
+see some hieroglyphs etched into a beaten gold panel. There is a door in
+the northwest wall leading out of the room.
+The gems are quite remarkable, forming a delicate piece of art. To remove
+any of them would be beyond thinking.
+They are quite remarkable, forming a delicate piece of art. To remove
+any of them would be beyond thinking.
+Circular Room
+You are in a strange, round room which sits in the center of four hallways.
+These hallways lead off to the northeast, southeast, southwest and northwest
+like the spokes of a wheel. Above your head is a long tunnel which stretches up
+and out of sight.
+There's no way to get back up there.
+As you peer down the dimly-lit hallways, you 
+see that the doors in all four hallways are balanced halfway open.
+notice that the door to the 
+ is closed, the one in the opposite hallway is all the way open, and the other
+two are halfway open.
+large statue
+Sitting in the middle of the floor is a large statue, which you judge to be
+about two feet shorter than you.
+It is carved out of dark gray basalt and its features resemble a woman at the
+height of her beauty, most probably the ancient queen. The statue itself must
+weigh more than you do.
+broken head
+This head was once part of the magnificent statue of the queen.
+The statue teeters, swaying and rocking back and forth, then falls over,
+its top-heavy structure striking the floor with an ear-ringing smash. As you
+look over the damage you see the head has separated from the statue.
+It's far too heavy.
+The statue rocks over and back on its back. Looks like it's headed nowhere
+fast.
+Haven't you done enough damage to that beautiful relic?
+The statue lies on the floor, its head broken off. In this state, the statue
+weighs a little less than you but it's still far too heavy to carry.
+Northwest Hallway
+You are standing in the middle of the Northwest Hallway. The walls here are
+smooth and undecorated, carved out of granite. The hallway continues to the
+northwest and to the southeast.
+There's no way to get through the stone door.
+You can't. It's got to weigh 50 tons.
+Northeast Hallway
+You are standing midway down the long Northeast Hallway. The high walls
+are undecorated, but bear the marks of the stonecarver's tool. The hallway
+continues to the northeast and the southwest.
+There's no way to get through the stone door.
+Southwest Hallway
+You are midway down the Southwest Hallway. The walls of this narrow passage
+are unadorned and smooth. The hallway continues to the southwest and the
+northeast.
+There's no way to get through the stone door.
+Southeast Hallway
+You are midway down the Southeast Hallway. This corridor is undecorated and
+the walls are polished to a smooth lustre. The hallway continues to the
+southeast and the northwest.
+There's no way to get through the stone door.
+starts @ 0, inc by 3
+As you enter the corridor, a huge stone door begins to slide down from the
+ceiling closing off any further progress. The closer you come to the door, the
+further down the door descends until, eventually, it is close to the floor.
+When you turn around, you can barely see beyond the Circular Room where an
+identical door has risen off the floor an equal amount.
+The path before you remains open, the stone door having risen to the ceiling,
+counterbalanced by the door in the opposite corridor.
+BARGE for
+			      PYRAMID
+	(c) Copyright 1983 Infocom, Inc.  All Rights Reserved.
+
+South Landing
+You are on a landing in the middle of a set of stairs. The staircase goes down
+to the south and up to the north. The walls here are undistinguished, formed by
+the stones of which the pyramid was built.
+Narrow Hallway
+You are at the entrance of a narrow hallway which goes to the northeast. A
+staircase goes up to the north.
+Narrow Hallway
+You are at a bend in the Narrow Hallway. The hallway continues to the
+northwest and to the southwest. Inscribed on the wall are some hieroglyphs.
+Barge Chamber
+You are in the southern section of a huge room which holds the royal barge.
+Before you, to the north, is a plank which provides entrance to the barge.
+There is room to move around the barge to the east and west, while a doorway
+to the southeast leads into a darkened corridor.
+Barge Chamber
+You are in the southeast corner of the Barge Chamber. There's enough room to
+bypass the stern of the barge and continue to the north. To the west you can
+see the entrance to the barge.
+Barge Chamber
+You're standing in the northeast corner of the Barge Chamber. You can get
+around the stern of the barge to the south, while there's enough room to
+continue around the barge to the west.
+Barge Chamber
+You're in the southwest corner of the Barge Chamber. You can still see the
+barge entrance to the east, while there's enough room to continue to the north,
+around the barge.
+Barge Chamber
+You're in the northwest corner of the Barge Chamber. You can see by your light
+that there's room enough to continue around the back of the barge by going to
+the east, while you can bypass the bow of the boat by going south.
+Barge Chamber
+You're at the start of a hallway which goes off to the north. To the south,
+directly behind you, is the back side of the barge. There's enough room to get
+around it to the east and west.
+These rooms are actually part of the barge itself.
+Center of Barge
+You are standing on the deck of an ancient wooden barge. Before you, cut into
+the deck, is a hole. To the south is a plank which leads down off the barge.
+You can see two cabins on the deck, one to the west and the other to the east.
+You are in the forward cabin aboard the barge. There's a doorway to the east
+leading out onto the deck.
+You are in the aft cabin aboard the barge. There's a door to the west which
+leads out to the deck, and a short ladder, permanently mounted to the deck,
+going down into the depths of the barge itself.
+You are below the deck of the barge in what looks like a huge hold. To the
+west you can see the hold continuing, while a ladder leads up and out from
+here.
+West End of Hold
+You are in the westmost portion of the hold, below the deck of the barge.
+On the north side of the hull is a small knothole about three feet down from
+the ceiling. Overhead you can see a hole going through the deck while, directly
+below this hole, on the deck by your feet, is a slot.
+A long wooden plank connects the barge and the entry area.
+The plank is a permanent part of the barge. To remove it might create far more
+destruction than you think.
+The barge immediately catches fire in a tremendous flash and, before you know
+it, you're heated to a toasty 1000 degrees. Not being made of asbestos has its
+disadvantages, as you quickly realize....
+Coming down through the hole above your head and ending in the slot at your
+feet is the beam which served as a mast.
+Lying on the deck of the barge is a long wooden beam.
+Before you, running down through a hole in the deck, is a sturdy beam made of
+wood. Although only a few feet of it rise above the deck, it was probably used
+at one time as a mast.
+I think the mast hole is already being used.
+You'd never squeeze through it.
+The mast is going through the hole.
+ drops through the hole.
+You try to reach up that high, but fail. The 
+ falls to the deck.
+There isn't room for the 
+ and the mast, too.
+All I can see is a 
+Through the knothole is inky blackness.
+A shim is wedged between the slot and the beam.
+The beam is resting in the slot.
+It's a small piece of wood, used as a wedge.
+wooden beam
+Before you, running down through a hole in the deck, is a sturdy beam made of
+wood. Although only a few feet of it rise above the deck, it was probably used
+at one time as a mast.
+This wooden beam is made of an extremely hard wood. It's 10 feet long and has
+a diameter of 12 inches. Scratched into it is the following symbol:|
+|
+     /!\
+Well, you were never very good at walking on air and so, with a scream on your
+lips, you plunge to a horrible death in a pit of voracious rats.
+How fitting -- to be trapped forever in the Burial Chamber, waiting slowly,
+painfully, for your oxygen to run out -- a true testimony to the brilliance of
+the Queen and her protection.
+The doorway suddenly closes as heavy, immovable stones crush in from both
+sides. You slowly and painfully suffocate in the Annex, cursing the Gods for
+ever revealing this horrible place to you.
+When you remove the beam, you remove the only thing between you and 3 heavy
+tons of solid rock, poised over your head. Knowing the situation, though, has
+saved your life and you leap out of the way just in time.
+The way into the Burial Chamber has been forever blocked by massive stones.
+The way into the Annex is forever blocked by huge, immovable stones.
+The doorway disappears behind two huge stones which slide horizontally from
+the doorway. Luckily, you stepped out of their way just in time.
+You are in the southern end of the Chamber of Eternal Royalty. From here you
+can see the room stretching out towards the north. The south wall is painted to
+resemble large baskets of lotus flowers with their blue petals framing an image
+of the Sun God, Amun Ra. The west wall once held a door but is now forever
+blocked.
+It's already been done.
+Consider it done.
+Taken. Oh oh....
+It seems to be securely wedged in the mast hole.
+You can't lift it that high over your head to get it out of the deck.
+It's wedged into the slot.
+The mast hole won't allow a steep enough angle for removing it.
+(getting off the beam first)
+Well, you were never very good walking on air and so, with a scream on your
+lips, you plunge to a horrible death in a pit of voracious rats.
+Done. The beam immediately falls to the floor, though.
+You're now standing on the ground.
+You try to raise the mast but it seems to be wedged into something.
+You'll need two hands to do that. Better put everything down.
+Lying on the deck of the barge is a long wooden beam.
+You have managed to lift the beam up through the hole and you hear it land on
+the deck with a thud.
+It's wedged too tightly in the slot.
+This piece of wood is virtually petrified due to its age and original strength.
+CASE: In N. Ante, beam wedged
+Wedged under the top of the doorway, perpendicular to the floor, is the wooden
+beam.
+Stretching across the floor from niche to niche
+, spanning a deep pit,
+ is the wooden beam.
+ You are standing on the beam.
+Through the doorway you can see the beam spanning the pit.
+Case: S. Ante, wedged beam
+Wedged between the 
+, from side to side, is the stout beam.
+papyrus scroll
+Sitting on the deck is a papyrus scroll.
+This scroll was placed here for the Queen's passage to the afterlife.
+The scroll reads as follows:|
+|
+*->  <.>  <:.>  ...  <::.>|
+|
+::  :  **  --->>  -)  (*)
+CUBE for
+			      PYRAMID
+	(c) Copyright 1983 Infocom, Inc.  All Rights Reserved.
+
+You are in a room whose symmetry is uncanny, at least to the unaided eye: the
+dimensions of the room seem to form a perfect cube. There are three square
+doorways cut into the walls -- one to the north, and another to the west. A
+wide staircase leads up through the square doorway to the east.
+You are in a room whose walls, floor and ceiling seem to form a perfect cube.
+There are four square doorways cut into the walls -- to the north, the south,
+the east and the west. Through the west doorway you can see a flight of stairs
+heading up.
+You are in a room whose dimensions seem to measure a perfect cube. On the
+floor of this room is a series of symbols, inscribed in the stone. The walls
+bear strange pictures of a queen, one of which shows her being wrapped in
+linen, another one showing her being lowered into what appears to be a solid
+gold sarcophagus. Four identical square doorways lead out of this chamber to
+the north, south, east and west.
+You are in a room in the shape of a perfect cube. There are three square
+doorways cut into the walls -- one to the west, one to the east, and another
+to the south.
+You are in a room whose symmetry is uncanny, at least to the unaided eye: the
+dimensions of the room seem to form a perfect cube. There are two square
+doorways cut into the walls -- one to the north, and another to the west.
+A panel, recessed into the south wall, glows softly in your reflected light,
+while some hieroglyphs are visible on the wall.
+You can't go that way.
+You are in a room whose symmetry is uncanny, at least to the unaided eye: the
+dimensions of the room seem to form a perfect cube. There are two square
+doorways cut into the walls -- one to the north, and another to the east. The
+uncannily-shaped room seems to form a corner for this entire area.
+You are in a room whose dimensions seem to form a perfect cube. There are two
+square doorways cut into the walls -- one to the south, and another to the
+west. This room seems to form a corner for this entire area.
+You are in a room whose shape is that of a perfect cube. There are two square
+doorways cut into the walls -- one to the south, and another to the east.
+Turning Passage
+You are in a strange, turning passageway. The floor here descends, reminding
+you of a ramp, and turns off toward the north. Judging from what you remember
+of the cube rooms, the ramp most probably passes beneath the ascending east
+staircase. Through the open doorway to the west you can still see one of the
+cube rooms.
+Connection to ANTE
+recessed panel
+-----------------------------
+!                           !
+It won't fit in there.
+ recessed into the panel
+, three rows by three columns. These bricks look as if they could be easily
+removed and are marked with numerical symbols.
+first brick
+ninth brick
+eighth brick
+seventh brick
+sixth brick
+fifth brick
+fourth brick
+third brick
+second brick
+As soon as you grasp this brick a square doorway swings open making eastern
+movement from this cube room possible.
+You are in a cubicle-room whose walls, floor and ceiling are of an
+identical size. There are three square doorways cut into the walls --
+to the north, to the west, and a newly opened one to the east. Engraved
+in the center of the floor are some hieroglyphs, while a panel, recessed in
+the east wall, glows softly in your reflected light.
+CAMP for
+			      PYRAMID
+	(c) Copyright 1983 Infocom, Inc.  All Rights Reserved.
+
+Hmmm. Looks potable. And dangerous.
+floats away on the current
+They're thick. What else can I say about them?
+blackened rock
+Sitting by the firepit is a matchbook.
+There's no need to get yourself all dirty.
+The pit's just a pit. Nothing more. 
+Sitting in the pit is 
+The pit is empty
+Looks like a canvas tent to me.
+Get serious.
+I can't see it from here!
+I don't think that striking the tent would do any good.
+Get serious.
+What are those canvas walls around you? Just where do you think you are?
+You can't enter the tent from here.
+There's not much to see of it yet -- just the tip of it is exposed showing the
+block and its small opening.
+You can see down into what looks like a large chamber.
+You can't see any pyramid here.
+Where do you think you are, Times Square?
+The stone blocks don't move.
+It looks open to me.
+You hear the 
+ fall down below.
+Get serious. Let's find it first.
+You can't enter the pyramid from here.
+You are on the bank of the river Nile. The shoreline is sandy and cool, and
+reeds wave in a light but warm breeze. Directly to the north and the south
+thickets make strolling along the bank impossible. You're hot, and the cool
+rippling water to the west looks inviting, but you're not alone in that
+thought -- crocodiles bask on the west bank, eyeing you hungrily, just
+waiting for you to enter their watery domain.
+The thickets chew on your skin as you attempt to make a path through them. You finally give up.
+The thickets chew on your skin as you attempt to make a path through them. You finally give up.
+Can't you see the crocs? If you insist on entering the water, you'll have to swim.
+Can't you see the crocs? If you insist on entering the water, you'll have to swim.
+Can't you see the crocs? If you insist on entering the water, you'll have to swim.
+Near the Nile
+You are on an east/west path on the north side of the encampment. A path to
+the south starts here, and you can see the riverbank clearly to the west. A
+warm, light breeze reaches your face, drying your sweat into a thin mask of
+salt. You glance to the north and are greeted by a disheartening sight: an
+endless stretch of searing desert.
+Some thickets near the river chew on your skin as you attempt to make a path through them. You finally give up.
+Outside Your Tent
+You are on an east/west path on the north side of the encampment. To the south
+you can see a firepit and to the north is the entrance to your tent. Everything
+is oddly quiet, unsettling, creating a feeling of floating anxiety. The
+stillness seems to enhance the eerie quality of the desert, the feeling of
+being truly alone.
+You are in your tent. Golden rays of the sun filter through the open tent
+flaps on the southern wall, but no breeze makes its way through. The dry,
+searing heat in the tent would be bearable if only the air stirred, even a
+little.
+Northern Path
+You are on an east/west path on the northern side of the encampment. To the
+east you can see the sites of previous excavations you and your party had
+begun before they deserted you. Low, gentle sand dunes roll out of sight to
+north, but your camp's eastern border has a path, heading off to the south,
+which starts here.
+Supply Tent
+You are in a tent, very much like your own -- a tent which had originally
+contained the supplies for your expedition. You notice, however, that most of
+the items which were here just yesterday have vanished with your party. The
+tent looks as if it's been cleaned out and, as your stomach growls, the empty
+tent ironically reminds you of a turkey carcass picked clean after a huge
+Thanksgiving meal. Through the open tent flaps to the east you can see the
+firepit.
+Outside Supply Tent
+You're on a north/south path on the west edge of the encampment. Directly to
+the west is the supply tent, its flaps open, still in the hot, quiet air. To
+the east you can see the central firepit, a reminder of your being alone. A row
+of thickets, impossible to make any progress through even with a machete,
+grows along the western edge of the camp directly to the north and south of the
+tent.
+The thickets chew on your skin as you attempt to make a path through them. You finally give up.
+The thickets chew on your skin as you attempt to make a path through them. You finally give up.
+You are in the center of the encampment, standing before a charred pit, a hole
+dug in the sand surrounded by blackened rocks. The night breezes have already
+started the reclamation work of the desert, covering most of the pit's bottom.
+You can see your tent to the north, the work tent to the south, and the supply
+tent to the west. Far off to the east, through the heat waves rising off the
+shifting sands, you can see gentle, rolling dunes.
+Middle Path
+You are at the eastern edge of an east/west path in the middle of the camp.
+To the west you can see the firepit and beyond that the supply tent. To the
+east you can see the desert -- a vista difficult to avoid seeing from just
+about anywhere in the camp. A north/south path intersects here, traveling along
+the eastern border of the camp.
+Southern Path
+You are at the west edge of an east/west path on the southern side of the
+encampment. Directly to the west is a heavy growth of thickets, making any
+attempt at western movement a painful and futile task. Through the thickets you
+can hear the sound of water running gently by.
+You scratch yourself on the thickets as you attempt this.
+You scratch yourself on the thickets as you attempt this.
+Outside Work Tent
+You are on an east/west path, directly to the north of the work tent. To the
+north you can see the firepit and, beyond that, your tent. The work tent
+borders an endless vista of fine, burning sand stretching out to the south.
+Southern Path
+You are at the start of a path which heads north along the eastern border of
+the encampment. To the east you can see the horror and the beauty which brought
+you here, the desert sand and its hidden treasure. The firepit is visible to
+the northwest.
+You are in a tent which used to house the workers, several of your partners,
+and their personal effects. Looking around, taking in the stripped and bare
+surroundings, you feel surprised that they even left the canvas walls. You
+quickly realize that they took what they needed -- taking everything would have
+been more trouble than it was worth. From the looks of things they cleared out
+quickly but quietly.
+You are in the broiling sands of the desert, a short distance from the camp.
+Off to the west you can just make out a slight discoloration in the sand, the
+start of an east/west path which borders the northern edge of the camp.
+You are in the desert, almost out of sight of the encampment, your only link
+with civilization. You are just close enough to make out a tiny dot on the
+western horizon which could be one of the tents. The searing sand is making
+walking a difficult and painful experience.
+You are deep in desert, the encampment little more than a memory. You think
+for a moment, closing your eyes, trying to picture the coolness of the Nile,
+the comfort of your cot, and are overcome with doubts. When you open your eyes
+again you are greeted with the same nightmare: All around you, all you can see
+for mile after mile is sand and more sand.
+You are in the desert, still within sight of the encampment, now just a tiny
+oasis to the west. The tents, shimmering behind the heat waves rising from the
+sand, seem to be calling you back, beckoning, offering safety and refuge.
+You are standing on the top of a sand dune, looking all around at a place on
+Earth where man was never meant to be. That is the only conclusion you can draw
+as you force yourself to breathe the hot, arid air of the desert through your
+nose. Breathing through your mouth makes you instantly thirsty, a dangerous
+state to find yourself in while surrounded by sand.
+You are deep into the desert, as deep as anyone in his right mind would ever
+care to venture. A small but strong gust of wind reaches your face, pelting you
+with grains of sand so small they remind you of fine sugar. Even with your lips
+tightly closed, the wind manages to drive a few grains into your mouth. You are
+thankful that none got into your eyes.
+You are in the desert, east of the encampment. From this distance the camp
+seems little more than a mirage, an image of another reality which has little
+to do with the brutal, searing reality of the desert, your quickly dehydrating
+body, or your painfully broiling feet.
+You are in the desert, out of sight of the encampment. You are thankful
+there's no wind, even though a cooling breeze would be welcomed, since the
+fine sand particles would sting your face and hands. All around is the desert,
+a sweeping expanse of disheartening sand.
+You are far into the desert, sand and more sand stretching out endlessly
+around you in all directions. You think of going back, of giving up this
+attempt at riches, but what awaits you back in the States? What is there worth
+going back to, with nothing to show for this lifelong quest? You glance around
+at the rolling dunes and force back the fear eating away your confidence.
+ in the sand, a remnant of your excavation attempts.
+ small hole
+n enlarged hole
+ sizable hole
+ knee-deep hole
+You hear a whirring overhead and look up in time to see a gyrocopter settling
+to the sand on the horizon.
+You think you see a spaceship settling on the horizon and, as you strain your
+eyes through the wafting waves of heat, you see a man and a huge robot. You can
+almost hear them saying "Gort, Klaatu Barada Nikto."
+A small lizard pokes its head up from the sands and asks the shortest route to
+Times Square. You scratch your head for a moment and when you remember the
+proper subway line to recommend to it, you notice it's disappeared.
+Five maids amilking sit on sandy stools before you, grinning maniacally.
+A large rainbow trout walks by, holding a pet snail on a leash.
+A strong gust of wind kicks up a herd of buffalo on the horizon. You think it
+strange that the buffalo are riding sidesaddle.
+Far off in the distance, dancing on the horizon, you see a shimmering oasis.
+A cool pool of water seems to dance in the heat waves just a mile away.
+A caravan of camels, led by a nomadic tribe, wanders a few miles off.
+You wipe your sweating brow, gazing off into the distance, and notice a cool,
+crystal-clear lake glimmering on the horizon, just to the north.
+The opening sits in the upper right-hand corner of the block. It's a small
+square opening, about four square inches in size, far too small for you
+to enter, and rather shallow. Some hieroglyphs travel across the block,
+cut off by the opening:|
+|
+       !-!        !-!|
+->  #.  ! !  -  #  ! !  /
+I think the opening is a little too small to get through.
+It's too bulky and unstable a structure to be carrying around.
+Where do you think you are?
+This is no time for sitting down on the job!
+It's just an army cot.
+ And you're in it!
+ Sitting on the cot 
+Don't you think it would be wise to get out of the cot first?
+You'd better take everything off of it first.
+It's already unfolded.
+You'd better get out of the cot first.
+Better put it down first.
+Hmmm. Seems like you beat yourself to it. It's already folded up.
+Sitting by a rock is what looks like a matchbook.
+You'd better open the matchbook first.
+The inside says: Send away now!! Mushrooms can be taught a foreign
+language, and make fine pets! Easy to feed and they can be walked on a leash!
+Read and fill out the enclosed coupon now!
+Printed on the outside is a small coupon for an instruction manual,
+"GROW MUSHROOMS IN YOUR BASEMENT FOR FUN & PROFIT". Close Before
+Striking.
+One match at a time, eh?
+few matches
+single match
+burned matchbook
+Why? There's no matches left in the matchbook.
+There's no match to light!
+I see no match here.
+You're not holding the match.
+The match disappears somewhere beneath the cot.
+The current of the river sweeps it away.
+The match, however, is quickly lost in the sand.
+The match, however, is lost between the wooden decking.
+The match flutters down into the abyss.
+The match falls into a crack in the stone floor, lost forever.
+You're already holding one.
+Well, I tried, but the match seems to have missed the mark entirely.
+One match at a time!
+Sure. As soon as a postman walks by, I'd be glad to give the coupon to him.
+The coupon for the manual is as clear as any coupon ever was:|
+|
+Fill in Last Name first, unless First Name is Last. Check the box beside
+the dotted line unless you want the manual shipped via alternate shipping.
+Include your address unless your mailing address and shipping address differ
+from your postal delivery route. If you are having the manual air-freighted,
+fill in your airport's zip code unless you're within thirty miles of a large
+corn field. After checking whether that box has been checked, check it.
+|
+Before you mail this, be certain you've read the instructions and have filled
+out all three sides of the form. In case of doubt, contact the Coupon
+Customer Service Department, 122 East Accardi Street, Youknow, Alaska.
+If you live west of the Atlantic or the Pacific, this offer is
+null and void except where prohibited by law.
+There's not much to read unless you're holding the matchbook.
+It tries valiantly to burn, but the inside of it is made of foil, and you
+manage to burn your fingertips instead of the package.
+burned wrapper
+There's not much left to the outside of this package that's distinguishable.
+cigarette pack
+Half covered with sand is a bright piece of foil which catches your eye.
+It's an empty pack of Camel cigarettes.
+broken lock
+This is a slightly messed-up lock which once functioned. Alas, it has seen
+better days.
+At the foot of the cot is a large, unwieldy trunk.
+A large, unwieldy trunk sits on the sand.
+ The trunk is closed and locked with a padlock.
+ The trunk is closed with a broken padlock.
+A padlock holds it shut.
+You'd better remove the broken lock first.
+You don't have a key.
+It's an old steamer trunk, very heavy and too clumsy to carry for one person.
+You can't. It's locked.
+The padlock breaks open.
+You'll have to hit the lock with something stronger.
+It's locked.
+It's made of hardened steel and is very sturdy. It's also very locked.
+Stuck in the sand, handle down, is a small pick axe.
+It's a small hand axe, similar to those used in mountain climbing.
+This is a small stone cube, almost four inches on a side, with ancient
+markings on it. The markings look like this:|
+|
+#  !@!  ::  (())  !@!  //\\
+The ancient stones beneath your feet shake and tremble as they move the sands.
+You leap out of the way and manage to avoid being sucked down into the vortex.
+Through the sands, an entrance down into the pyramid is revealed.
+You are in the desert at a site of successful excavation. Beneath you lies the
+open pyramid, its stone door at last open. The desert is all around you, but
+down there lie the secrets of the ages.
+piece of dried beef
+ancient map
+You're not carrying the map.
+You'd better unfold it first.
+This is a reproduction of the map the Professor made while on his expedition.
+It indicates where he hoped to find the lost pyramid. It is included in your
+game package.
+Taken. It feels fairly heavy, though, as though it were folded around
+something solid.
+Half buried in the sand, in the corner of the tent, is a shovel.
+It's a standard-issue garden shovel.
+This rope is made of the finest Manila hemp and guaranteed to hold at least
+250 pounds of weight. There's about thirty feet of it.
+Descending from above is the end of a long rope.
+ It travels down into the darkness.
+It's already tied to the 
+The rope has been tied to the 
+That's cute. It's not tied!
+(free end of rope)
+It seems to be tied to something up overhead.
+The rope is securely fastened to the altar.
+The rope descends into the 
+The rope doesn't go up.
+farewell note
+Tacked up to the inside of one of the tent flaps is a note.
+The note reads:|
+|
+Fi aman Allah!
+|
+Hereafter you shall pursue your fool dream of the hidden pyramid and its riches
+alone. May the jackals feed well on your bones. We have left you what you need
+to get back, though we hope you do not. We put several things you treasure
+above life itself inside your trunk, locked with your precious padlock, but we
+could not bear to part with the key. Especially after what you said of our
+rites. We hope the drug we placed in your drink did you harm. If not, we are at
+least satisfied you slept especially soundly while we cleaned out the camp.|
+|
+Farewell
+quantity of water
+quantity of water
+Some water sloshes around inside.
+Some sand shakes around inside.
+It's empty.
+All the water spills out and quickly evaporates.
+You empty the canteen of most of the sand.
+Okay, but shaking an empty canteen will get you nowhere fast.
+I see no sand here.
+It would help if you opened the canteen first.
+Okay. The canteen has been filled with sand.
+ So much for the water that was left in it.
+inspection sticker
+The small inspection sticker says:
+|
+This trunk inspected by numbers 8 and 6.5. This reality was manufactured by
+tiny elves from the Bozbar Pyramid Construction Company, a jointly-owned
+subsidiary of the FrobozzCo Magic Village Industries, Michael Berlyn and
+Patricia Fogleman, Chief Engineers.
+You are in the desert, a vast wasteland of sand and heat.
+Without a helicopter?
+Let's not rush things.
+Come on! Don't waste your life on illusions.
+A brief but strong gust of wind comes up off a dune, whipping sand in your
+face, blinding you for long enough to lose track of the 
+length should be 2*number of takeable objects
+WARNING: The Surgeon General has determined that wandering about like this is
+dangerous to your health.
+You start dropping things to lighten your load. Before you know it, you're
+empty-handed. A gust of wind comes up off the dune before you, covering over
+what you've dropped. So much for that.
+quantity of sand
+Sitting in the sand, bulging a little, is a beaten-up knapsack.
+(wearing it)
+You swing the knapsack over your shoulders and it settles on your back as its
+cover flap closes.
+Sure. Just like a Klein Bottle, eh?
+You take the knapsack off and place it on the 
+. As it settles on
+the 
+, the cover flaps open.
+You reach around behind to lift the flap on the top of the knapsack, but it
+keeps falling back down.
+Better take it off first. Unless you want to do a few headstands.
+It's on your back!
+Your neck doesn't crane back that far. Better take it off first.
+You weren't wearing it!
+You take the knapsack off and place it on the ground. As it settles on the
+ground, the cover flaps open.
+You already have it.
+Don't you think you should put out the 
+That's like trying to fit a Beethoven Symphony into a music box.
+It would only seep through the roughly-stitched seams, so why bother?
+Your arms don't reach back that far, and groping around in the sack isn't the
+best of ideas. It would help if you took it off first.
+The knapsack isn't open.
+packing crate
+Lying in the sand is a wooden packing crate.
+The crate is slightly beaten up from the landing, but it seems to have held
+together fairly well. There's a small label on it that says "This crate
+contains 1 (one) black box (tm)."
+It's coming down, and it looks like it should land near you!
+I think you've got crates on the mind!
+Wood chips fly from the crate, hurtling into the sand all around, as the crate
+suffers your frenzied attack. The defenseless packing crate looks as if to flee
+but before it can react (growing legs is a time-consuming task) there is
+nothing left of it but a mere memory. (You really should seek some
+psychological counselling.)
+You're going to need some gasoline or something to make this baby catch on
+fire.
+You couldn't fit in there unless you put yourself through a trash compacter.
+Hey, give it a chance to get here. I know you're impatient to get on with
+this, but be reasonable!
+The crate opens slowly, the boards creaking with the strain.
+Thirty (30) slots to hold objects in the crate
+navigation box
+This is an expensive, state-of-the-art piece of electronic equipment. It was
+designed to automatically determine longitude and latitude when the button on
+it is pressed. Thankfully, it has at last arrived.
+To do that to the 
+ would most probably
+ruin the delicate equipment inside.
+I didn't know it was open.
+It turns itself off after each button press.
+Rattle, rattle, jostle, crunch. Oh oh...
+Crinkle fweep
+Bleeeeeeeeeep
+Screetchle frop
+Breeble grungle
+The box comes to life, its L.E.D.s lighting, and then flashes 
+ seconds N latitude, 
+ seconds E longitude.
+There's no need for that here. It's obvious where you are.
+The box comes to life, its L.E.D.s lighting, and then flashes 24 degrees 11
+minutes 
+ seconds N latitude, 32 degrees 12 minutes 
+ seconds E longitude.
+It's on the top of the box.
+(opening matchbook first)
+ Loc    Long   Lat    seconds only!
+TEMPLE for
+			      PYRAMID
+	(c) Copyright 1983 Infocom, Inc.  All Rights Reserved.
+
+TEMPLE--This is the file for the Temple area, the passage(s) leading
+to it, and any objects found there. TEMPLE will articulate with the
+BARGE area.
+Steep Passageway
+You are at the top of a steep, descending passage that plunges down to the
+north. Although the angle is steep, it looks as if you should have firm enough
+footing to travel safely. From the angle, it appears as though the passage
+is actually leaving the pyramid, cutting down through the sand high overhead
+to an adjoining building.
+Articulates with BARGE area here
+Steep Passageway
+You are about midway down a steep, descending, north/south passageway which
+seems to lead out of the pyramid to the north. The walls of stone are polished
+and as smooth as glass, glistening in your light, lighting the passage far to
+the north and the south.
+Steep Passageway
+You are at the north end of a descending passageway. You can see the smoothly
+polished passageway rising up and out of sight to the south, heading back into
+the pyramid. A large doorway cut into the stone walls lies to the north and,
+through it, you can see an immense chamber.
+Temple Chamber
+You are in a huge chamber, immense in its size and scope, especially since it
+is far underground. Your light seems to climb and fall from the high walls,
+making their top boundaries undefined as they melt into inky darkness,
+flickering into the unknown reaches high overhead. There is a huge doorway
+carved out of the south wall, the arch at its top barely discernable in your
+light. To the north is a similar doorway, slightly scaled down, with pillars on
+either side of it, their shadows playing strange tricks on the wall behind
+them. You can just barely make out the paintings on the walls, pictures of the
+ancient queen, her servants, and the priests in attendance.
+Inner Chamber
+You are in the temple's inner chamber. The ceiling here is lower, low enough
+for your light to reach it. There are openings in the east and west walls, and
+a large, arched doorway to the south. The walls are covered with paintings,
+most of which depict the queen in different stages of preparation for her trip
+on the royal barge. One in particular, larger than any of the others, shows the
+queen and all of her attendants aboard the barge, floating through the air on
+their way to the netherworld. There are some detailed hieroglyphs on one of the
+walls.
+Golden Room
+You are in a room whose walls are covered with gold leaf. Your light reflects
+off the walls with a rich, warm tone and reveal the outlines of hieroglyphics
+engraved in the gold itself. There is a doorway cut into the south wall and,
+through the reflected light, you can tell it leads into a small chamber. There
+is another doorway leading out to the east.
+glittering leaf
+The walls are covered with it. And it's very beautiful.
+Golden Alcove
+You are in a small alcove off the Golden Room. Sitting in the middle of this
+small room is a roughly-hewn slab of granite, much like a legless table.
+Silver Room
+You are in the Silver Chamber, a room whose walls reflect your light
+brilliantly due to their silver surface. A doorway leads west and out, while
+another doorway leads into a smaller room to the south.
+Silver Alcove
+You are in a small alcove off the Silver Room. Sitting in the middle of this
+small room is a roughly-hewn slab of granite, much like a legless table.
+granite table
+golden chalice
+Sitting in the middle of the granite table is a gleaming chalice made
+of gold.
+The cup is heavier than you thought it might be. The outside of it is
+beautifully etched with scenes of the queen and her handmaidens.
+silver chalice
+There's a thin line etched inside the chalice which travels all the way
+around it. The chalice is not very heavy.
+Sitting in the middle of the granite table is a chalice made of gleaming silver.
+The line goes around the interior of the silver cup.
+I can't see any 
+oily liquid
+ fills the cup up to the line.
+Taken. Hmmm... the 
+ is lighter than the golden one.
+Taken. Hmmm... the 
+ is heavier than the silver one.
+granite table
+There's nothing on the table.
+There's nothing on the table.
+Lying before you in tortured repose are the bony remains of a former
+adventurer, someone who tried looting the pyramid long, long ago. As you bend
+over to pay your respects, something glitters, catching your eye as you move
+your head.
+If you tried to take the skeleton it would fall apart, bone by bone.
+On the bony digits of one hand is a jeweled ring.
+I see nothing special about the 
+calcified hand
+jeweled ring
+At first glance, you are overwhelmed with the beauty and richness of the ring.
+On close examination you notice the ring has a tiny needle on the inside of
+the band.
+Ouch! It seems you've pricked your finger while putting on the ring.
+Lying before you in tortured repose are the bony remains of a former adventurer.
+Lying before you in tortured repose are the bony remains of a former adventurer.
+It's stuck on your finger.
+tiny needle
+Inside the band is a small needle set at an angle designed to pierce the skin.
+You prick your finger on the tiny needle sticking out from the inside of the
+ring.
+It smells very faintly of almonds.
+Ugh! It tastes terrible!|
+|
+You stand there in horrified amazement, feeling the poison creeping down your
+throat and acting on your body almost instantaneously. Time to shuffle off...
diff --git a/infidel.xzap b/infidel.xzap
new file mode 100644
index 0000000..6fe5ed4
--- /dev/null
+++ b/infidel.xzap
@@ -0,0 +1,58 @@
+       
+        .INSERT "INFIDELFREQ"
+
+   
+	.INSERT "INFIDELDAT"			; DATA IS IN THIS FILE
+
+
+	.INSERT "MACROS"
+
+
+	.INSERT "GLOBALS"
+
+
+	.INSERT "SYNTAX"
+
+
+	.INSERT "CLOCK"
+
+
+	.INSERT "MAIN"
+
+
+	.INSERT "PARSER"
+
+
+	.INSERT "CRUFTY"
+
+
+	.INSERT "VERBS"
+
+
+	.INSERT "INTERRUPTS"
+
+
+	.INSERT "RA"
+
+
+	.INSERT "ANTE"
+
+
+	.INSERT "DIAMOND"
+
+
+	.INSERT "BARGE"
+
+
+	.INSERT "CUBE"
+
+
+	.INSERT "CAMP"
+
+
+	.INSERT "TEMPLE"
+
+
+	.INSERT "INFIDELSTR"
+
+	.END
diff --git a/infidelfreq.xzap b/infidelfreq.xzap
new file mode 100644
index 0000000..1da2b60
--- /dev/null
+++ b/infidelfreq.xzap
@@ -0,0 +1,200 @@
+	.FSTR FSTR?1,"the "	;2234	1117
+	.FSTR FSTR?2,"You "	;819	273
+	.FSTR FSTR?3,"The "	;642	214
+	.FSTR FSTR?4,", "	;625	625
+	.FSTR FSTR?5,"you "	;520	260
+	.FSTR FSTR?6,"your "	;483	161
+	.FSTR FSTR?7,"and "	;446	223
+	.FSTR FSTR?8,". "	;409	409
+	.FSTR FSTR?9,"of "	;393	393
+	.FSTR FSTR?10,"to "	;385	385
+	.FSTR FSTR?11,"are "	;330	165
+	.FSTR FSTR?12,"There's "	;312	39
+	.FSTR FSTR?13,"can't "	;290	58
+	.FSTR FSTR?14,"is "	;262	262
+	.FSTR FSTR?15,"in "	;243	243
+	.FSTR FSTR?16,"It's "	;235	47
+	.FSTR FSTR?17,"through "	;234	39
+	.FSTR FSTR?18,"into "	;225	75
+	.FSTR FSTR?19,"with "	;219	73
+	.FSTR FSTR?20,"that "	;216	72
+	.FSTR FSTR?21,"from "	;192	64
+	.FSTR FSTR?22,"already "	;174	29
+	.FSTR FSTR?23,"There "	;170	34
+	.FSTR FSTR?24,"You're "	;161	23
+	.FSTR FSTR?25,"see "	;160	80
+	.FSTR FSTR?26,"small "	;160	40
+	.FSTR FSTR?27,"which "	;156	39
+	.FSTR FSTR?28,"nothing "	;150	25
+	.FSTR FSTR?29,"on "	;141	141
+	.FSTR FSTR?30,"this "	;141	47
+	.FSTR FSTR?31,"don't "	;140	28
+	.FSTR FSTR?32,"down "	;138	46
+	.FSTR FSTR?33,"can "	;136	68
+	.FSTR FSTR?34,"walls "	;132	33
+	.FSTR FSTR?35,"out "	;130	65
+	.FSTR FSTR?36,"room "	;129	43
+	.FSTR FSTR?37,"have "	;129	43
+	.FSTR FSTR?38,"doorway "	;126	21
+	.FSTR FSTR?39,"around "	;125	25
+	.FSTR FSTR?40,"Sitting "	;119	17
+	.FSTR FSTR?41,"would "	;112	28
+	.FSTR FSTR?42,"west "	;105	35
+	.FSTR FSTR?43,"enough "	;105	21
+	.FSTR FSTR?44,"It "	;104	52
+	.FSTR FSTR?45,"like "	;102	34
+	.FSTR FSTR?46,"Chamber"	;102	17
+	.FSTR FSTR?47,"This "	;100	25
+	.FSTR FSTR?48,"but "	;98	49
+	.FSTR FSTR?49,"yourself "	;98	14
+	.FSTR FSTR?50,"sand "	;96	32
+	.FSTR FSTR?51,"just "	;96	32
+	.FSTR FSTR?52,"about "	;96	24
+	.FSTR FSTR?53,"something "	;96	12
+	.FSTR FSTR?54,"encampment"	;96	12
+	.FSTR FSTR?55,"standing "	;91	13
+	.FSTR FSTR?56,"it "	;90	90
+	.FSTR FSTR?57,"before "	;90	18
+	.FSTR FSTR?58,"hieroglyphs "	;90	9
+	.FSTR FSTR?59,"seems "	;88	22
+	.FSTR FSTR?60,"isn't "	;85	17
+	.FSTR FSTR?61,"think "	;84	21
+	.FSTR FSTR?62,"light "	;84	21
+	.FSTR FSTR?63,"ancient "	;84	14
+	.FSTR FSTR?64,"You'd "	;84	14
+	.FSTR FSTR?65,"for "	;80	40
+	.FSTR FSTR?66,"that"	;78	39
+	.FSTR FSTR?67,"here"	;78	39
+	.FSTR FSTR?68,"pyramid "	;78	13
+	.FSTR FSTR?69,"staircase"	;77	11
+	.FSTR FSTR?70,"stone "	;76	19
+	.FSTR FSTR?71,"first"	;75	25
+	.FSTR FSTR?72,"door "	;75	25
+	.FSTR FSTR?73,"square "	;75	15
+	.FSTR FSTR?74,"better "	;75	15
+	.FSTR FSTR?75,"north"	;72	24
+	.FSTR FSTR?76,"floor"	;72	24
+	.FSTR FSTR?77,"Your "	;72	18
+	.FSTR FSTR?78,"you're "	;72	12
+	.FSTR FSTR?79,"plaster "	;72	12
+	.FSTR FSTR?80,"sarcophagus"	;72	8
+	.FSTR FSTR?81,"Chamber "	;70	10
+	.FSTR FSTR?82,"one "	;68	34
+	.FSTR FSTR?83,"its "	;68	34
+	.FSTR FSTR?84,"north "	;68	17
+	.FSTR FSTR?85,"quickly "	;66	11
+	.FSTR FSTR?86,"Hallway"	;66	11
+	.FSTR FSTR?87,"middle "	;65	13
+	.FSTR FSTR?88,"little "	;65	13
+	.FSTR FSTR?89,"I "	;64	64
+	.FSTR FSTR?90,"has "	;64	32
+	.FSTR FSTR?91,"while "	;64	16
+	.FSTR FSTR?92,"their "	;64	16
+	.FSTR FSTR?93,"back "	;63	21
+	.FSTR FSTR?94,"doorways "	;63	9
+	.FSTR FSTR?95,"hieroglyphs"	;63	7
+	.FSTR FSTR?96,"off "	;62	31
+
+
+;word frequency table of 96 most common words
+
+WORDS::	.TABLE
+	FSTR?1
+	FSTR?2
+	FSTR?3
+	FSTR?4
+	FSTR?5
+	FSTR?6
+	FSTR?7
+	FSTR?8
+	FSTR?9
+	FSTR?10
+	FSTR?11
+	FSTR?12
+	FSTR?13
+	FSTR?14
+	FSTR?15
+	FSTR?16
+	FSTR?17
+	FSTR?18
+	FSTR?19
+	FSTR?20
+	FSTR?21
+	FSTR?22
+	FSTR?23
+	FSTR?24
+	FSTR?25
+	FSTR?26
+	FSTR?27
+	FSTR?28
+	FSTR?29
+	FSTR?30
+	FSTR?31
+	FSTR?32
+	FSTR?33
+	FSTR?34
+	FSTR?35
+	FSTR?36
+	FSTR?37
+	FSTR?38
+	FSTR?39
+	FSTR?40
+	FSTR?41
+	FSTR?42
+	FSTR?43
+	FSTR?44
+	FSTR?45
+	FSTR?46
+	FSTR?47
+	FSTR?48
+	FSTR?49
+	FSTR?50
+	FSTR?51
+	FSTR?52
+	FSTR?53
+	FSTR?54
+	FSTR?55
+	FSTR?56
+	FSTR?57
+	FSTR?58
+	FSTR?59
+	FSTR?60
+	FSTR?61
+	FSTR?62
+	FSTR?63
+	FSTR?64
+	FSTR?65
+	FSTR?66
+	FSTR?67
+	FSTR?68
+	FSTR?69
+	FSTR?70
+	FSTR?71
+	FSTR?72
+	FSTR?73
+	FSTR?74
+	FSTR?75
+	FSTR?76
+	FSTR?77
+	FSTR?78
+	FSTR?79
+	FSTR?80
+	FSTR?81
+	FSTR?82
+	FSTR?83
+	FSTR?84
+	FSTR?85
+	FSTR?86
+	FSTR?87
+	FSTR?88
+	FSTR?89
+	FSTR?90
+	FSTR?91
+	FSTR?92
+	FSTR?93
+	FSTR?94
+	FSTR?95
+	FSTR?96
+	.ENDT
+
+	.ENDI
diff --git a/main.zil b/main.zil
index 9b780cd..2af3fb5 100644
--- a/main.zil
+++ b/main.zil
@@ -28,6 +28,7 @@
 <CONSTANT M-OBJDESC 5>
 
 <ROUTINE GO () 
+	 <PUTB ,P-LEXV 0 59>
 ;"put interrupts on clock chain"
 	 <RANDOMIZE-HOLES>
 	 <ENABLE <QUEUE I-GINANDTONIC -1>>
@@ -195,7 +196,9 @@
 	   (T
 	    <SETG P-CONT <>>)>
      <COND (,P-WON
-	    <COND (<VERB? TELL BRIEF SUPER-BRIEF VERBOSE SAVE VERSION> T)
+	    <COND (<VERB? TELL BRIEF SUPER-BRIEF VERBOSE SAVE VERSION
+			  QUIT RESTART SCORE SCRIPT UNSCRIPT RESTORE>
+		   <VERB? TELL BRIEF SUPER-BRIEF VERBOSE SAVE VERSION> T)
 		  (T <SET V <CLOCKER>>)>)>>>
  
 <GLOBAL P-MULT <>>
diff --git a/verbs.zil b/verbs.zil
index 91f79d5..1900366 100644
--- a/verbs.zil
+++ b/verbs.zil
@@ -285,8 +285,9 @@ long description (fdesc or ldesc), otherwise will print short."
 <ROUTINE V-VERSION ("AUX" (CNT 17))
 	 <TELL
 "INFIDEL|
-Copyright 1983 by Infocom, Inc.  All rights reserved.|
-INFIDEL is a trademark of Infocom, Inc.|
+Infocom interactive fiction - an adventure story|
+Copyright (c) 1983 by Infocom, Inc.  All rights reserved.|
+INFIDEL is a registered trademark of Infocom, Inc.|
 Release ">
 	 <PRINTN <BAND <GET 0 1> *3777*>>
 	 <TELL " / Serial number ">
@@ -785,7 +786,7 @@ your problem to the address provided in your documentation." CR>>
 
 <GLOBAL COPR-NOTICE
 " a transcript of interaction with INFIDEL.|
-INFIDEL is a trademark of Infocom, Inc.|
+INFIDEL is a registered trademark of Infocom, Inc.|
 Copyright (c) 1983 Infocom, Inc.  All rights reserved.|">
 
 <ROUTINE V-SCRIPT ()
@@ -1301,7 +1302,7 @@ a few moments." CR>
 
 <ROUTINE V-LEAP ("AUX" T S) #DECL ((T) <OR FALSE TABLE>)
 	 <COND (<AND ,PRSO
-		     <NOT <PRSO? ,INTDIR>>>
+		     <NOT <PRSO? ,INTDIR ,MAST-HOLE>>>
 		<PERFORM V?BOARD ,PRSO>
 		<RTRUE>)
 	       (<SET T <GETPT ,HERE ,P?DOWN>>
@@ -1342,10 +1343,11 @@ a few moments." CR>
 	       "Wheeeeeeeeee!!!!!"
 	       "Do you expect me to applaud?">>
 
-<GLOBAL JUMPLOSS
-	<LTABLE "You should have looked before you leaped."
-	       "I'm afraid that leap was a bit much for your weak frame."
-	       "In the movies, your life would be passing in front of your eyes."
+<GLOBAL JUMPLOSS <LTABLE "You should have looked before you leaped."
+	         "I'm afraid that leap was a bit much for your weak
+frame."
+	       "In the movies, your life would be passing in front of
+your eyes."
 	       "Geronimo.....">>
 
 <ROUTINE PRE-READ ()
@@ -2571,7 +2573,10 @@ specify which preposition you'd like to use next time, like LOOK AT THE " D ,PRS
 		<COND (<NOT <EQUAL? ,PRSO ,WINNER>>
 		       <TELL "The " D ,PRSO " doesn't need any help." CR>
 		       <RTRUE>)>)>
-	 <TELL "You got yourself into this -- now get yourself out of it." CR>>
+	 <TELL
+"You got yourself into this -- now get yourself out of it.|
+[If you really need help, you can order an InvisiClues Hint Booklet
+and a complete map by using the order form that came in your package.]" CR>>
 
 <ROUTINE V-STAND-UNDER ()
 	 <COND (<AND <EQUAL? ,PRSO ,CRATE ,PLANE ,PARACHUTE>
diff --git a/zload.zil b/zload.zil
new file mode 100644
index 0000000..fe7abe4
--- /dev/null
+++ b/zload.zil
@@ -0,0 +1,73 @@
+"
+			      INFIDEL
+	(c) Copyright 1983 Infocom, Inc.  All Rights Reserved.
+"
+
+<SNAME "INFIDEL">
+
+<GC-MON <>>
+;<COND (<GASSIGNED? ZILCH> <GC 0 T>)
+      (T <GC 0 T 5>)>
+<GC 0 T 5>
+
+<BLOAT 90000 0 0 3500 0 0 0 0 0 512>
+
+;<SETG SHORT-STRINGS 2>
+
+<SET REDEFINE T>
+
+<GLOBAL BIGFIX 10000>
+
+<OR <GASSIGNED? ZILCH>
+    <SETG WBREAKS <STRING !\" !\= !,WBREAKS>>>
+
+<OR <GASSIGNED? INSERT-CRUFTY>
+    <DEFINE INSERT-CRUFTY (STR) <IFILE .STR T>>>
+
+<DEFINE IFILE (STR "OPTIONAL" (FLOAD? <>) "AUX" (TIM <TIME>))
+	<INSERT-FILE .STR .FLOAD?>>
+
+<PRINC "INFIDEL: Interlogic Adventure Fiction
+">
+
+<COND (<GASSIGNED? PREDGEN>
+       <ID 0>)>
+
+<IFILE "MACROS" T>
+
+<IFILE "GLOBALS" T>
+<PROPDEF SIZE 5>
+<PROPDEF CAPACITY 0>
+<PROPDEF VALUE 0>
+
+<IFILE "SYNTAX" T>
+<ENDLOAD>
+
+<IFILE "CLOCK" T>
+<IFILE "ZMAIN" T>
+<IFILE "PARSER" T>
+<INSERT-CRUFTY "CRUFTY">
+<IFILE "VERBS" T>
+
+
+
+;"MIKE: Add your files here, as with ROBOTS"
+
+;<IFILE "INTERRUPTS" T>
+<IFILE "RA" T>
+;<IFILE "ANTE" T>
+;<IFILE "DIAMOND" T>
+;<IFILE "BARGE" T>
+;<IFILE "CUBE" T>
+<IFILE "CAMP" T>
+;<IFILE "TEMPLE" T>
+
+<PRINC "INFIDEL: Interlogic Adventure Fiction
+
+
+
+
+
+
+
+Get ready!">
\ No newline at end of file
diff --git a/zmain.zil b/zmain.zil
new file mode 100644
index 0000000..d08d6e0
--- /dev/null
+++ b/zmain.zil
@@ -0,0 +1,364 @@
+"MAIN for
+		           INFIDEL
+	Copyright 1983 Infocom, Inc.  All Rights Reserved.
+"
+
+<GLOBAL PLAYER <>>
+
+<GLOBAL P-WON <>>
+
+<CONSTANT M-FATAL 2>
+ 
+<CONSTANT M-HANDLED 1>   
+ 
+<CONSTANT M-NOT-HANDLED <>>   
+ 
+<CONSTANT M-OBJECT <>>
+
+<CONSTANT M-BEG 1>  
+ 
+<CONSTANT M-END 6> 
+ 
+<CONSTANT M-ENTER 2>
+ 
+<CONSTANT M-LOOK 3> 
+ 
+<CONSTANT M-FLASH 4>
+
+<CONSTANT M-OBJDESC 5>
+
+<ROUTINE GO () 
+;"put interrupts on clock chain"
+	 ;<RANDOMIZE-HOLES>
+	 ;<ENABLE <QUEUE I-GINANDTONIC -1>>
+	 ;<ENABLE <QUEUE I-PARACHUTE -1>>
+	 ;<ENABLE <QUEUE I-GROWL -1>>
+	 <REMOVE ,WATER>
+;"set up and go"
+	 <SETG LIT T>
+	 <SETG WINNER ,ADVENTURER>
+	 <SETG PLAYER ,WINNER>
+	 <SETG HERE ,TENT>
+	 <SETG P-IT-LOC ,HERE>
+	 <SETG P-IT-OBJECT <>>
+	 <COND (<NOT <FSET? ,HERE ,TOUCHBIT>>
+		<TELL ,START-STR CR>
+		<CRLF>
+		<V-VERSION>
+		<CRLF>)>
+	 <MOVE ,WINNER ,COT>
+	 <V-LOOK>
+	 <MAIN-LOOP>
+	 <AGAIN>>    
+
+
+<ROUTINE MAIN-LOOP ("AUX" ICNT OCNT NUM CNT OBJ TBL V PTBL OBJ1 TMP) 
+   #DECL ((CNT OCNT ICNT NUM) FIX (V) <OR 'T FIX FALSE> (OBJ) <OR FALSE OBJECT>
+	  (OBJ1) OBJECT (TBL) TABLE (PTBL) <OR FALSE ATOM>)
+   <REPEAT ()
+     <SET CNT 0>
+     <SET OBJ <>>
+     <SET PTBL T>
+     <COND (<SETG P-WON <PARSER>>
+	    <SET ICNT <GET ,P-PRSI ,P-MATCHLEN>>
+	    <SET NUM
+		 <COND (<0? <SET OCNT <GET ,P-PRSO ,P-MATCHLEN>>> .OCNT)
+		       (<G? .OCNT 1>
+			<SET TBL ,P-PRSO>
+			<COND (<0? .ICNT> <SET OBJ <>>)
+			      (T <SET OBJ <GET ,P-PRSI 1>>)>
+			.OCNT)
+		       (<G? .ICNT 1>
+			<SET PTBL <>>
+			<SET TBL ,P-PRSI>
+			<SET OBJ <GET ,P-PRSO 1>>
+			.ICNT)
+		       (T 1)>>
+	    <COND (<AND <NOT .OBJ> <1? .ICNT>> <SET OBJ <GET ,P-PRSI 1>>)>
+	    <COND (<==? ,PRSA ,V?WALK> <SET V <PERFORM ,PRSA ,PRSO>>)
+		  (<0? .NUM>
+		   <COND (<0? <BAND <GETB ,P-SYNTAX ,P-SBITS> ,P-SONUMS>>
+			  <SET V <PERFORM ,PRSA>>
+			  <SETG PRSO <>>)
+			 (<NOT ,LIT>
+			  <TELL "It's too dark to see." CR>)
+			 (T
+;"** M"			  <COND (.OBJ
+				 <COND (<AND <FSET? .OBJ ,CONTBIT>
+					     <NOT <FSET? .OBJ ,OPENBIT>>>
+					<TELL "Better open the " D .OBJ
+					      " first." CR>
+					<THIS-IS-IT .OBJ>
+					<SET V <>>)
+				       (<NOT <FSET? .OBJ ,CONTBIT>>
+					<TELL "There's nothing in that." CR>
+					<SET V <>>)
+				       (T
+					<TELL "It's not in that." CR>
+					<SET V <>>)>) 
+			        (T
+				 <TELL "There isn't anything to ">
+				 <SET TMP <GET ,P-ITBL ,P-VERBN>>
+				 <COND (,P-OFLAG
+					<PRINTB <GET .TMP 0>>)
+				       (T
+					<WORD-PRINT <GETB .TMP 2>
+						    <GETB .TMP 3>>)>
+				 <TELL "!" CR>
+				 <SET V <>>)>)>)
+		  (T
+		   <SETG P-NOT-HERE 0>
+		   <SETG P-MULT <>>
+		   <COND (<G? .NUM 1> <SETG P-MULT T>)>
+		   <SET TMP <>>
+		   <REPEAT ()
+			   <COND (<G? <SET CNT <+ .CNT 1>> .NUM>
+				  <COND (<G? ,P-NOT-HERE 0>
+					 <TELL "The ">
+					 <COND (<NOT <EQUAL? ,P-NOT-HERE .NUM>>
+						<TELL "other ">)>
+					 <TELL "object">
+					 <COND (<NOT <EQUAL? ,P-NOT-HERE 1>>
+						<TELL "s">)>
+					 <TELL " that you mentioned ">
+					 <COND (<NOT <EQUAL? ,P-NOT-HERE 1>>
+						<TELL "are">)
+					       (T <TELL "is">)>
+					 <TELL "n't here." CR>)
+					(<NOT .TMP>
+					 <TELL 
+"I don't know what you're referring to." CR>)>
+				  <RETURN>)
+				 (T
+				  <COND (.PTBL <SET OBJ1 <GET ,P-PRSO .CNT>>)
+					(T <SET OBJ1 <GET ,P-PRSI .CNT>>)>
+				  <SETG PRSO <COND (.PTBL .OBJ1) (T .OBJ)>>
+				  <SETG PRSI <COND (.PTBL .OBJ) (T .OBJ1)>>
+				  <COND (<VERB? COMPARE> T)
+					(<G? .NUM 1>
+					 <COND (<EQUAL? .OBJ1
+							 ,NOT-HERE-OBJECT>
+						 <SETG P-NOT-HERE
+						       <+ ,P-NOT-HERE 1>>
+						 <AGAIN>)
+						(<AND <VERB? TAKE>
+						      ,PRSI
+						      <EQUAL? <GET <GET ,P-ITBL
+									,P-NC1>
+								   0>
+							      ,W?ALL>
+						      <NOT <IN? ,PRSO ,PRSI>>>
+						 <AGAIN>)
+						(<AND <EQUAL? ,P-GETFLAGS
+							      ,P-ALL>
+						      <VERB? TAKE>
+						      <OR <AND <NOT <EQUAL?
+								    <LOC .OBJ1>
+								     ,WINNER
+								     ,HERE>>
+							       <NOT <FSET?
+								    <LOC .OBJ1>
+								   ,TRANSBIT>>>
+							  <FSET? .OBJ1
+								 ,DONTTAKE>
+							  <EQUAL? .OBJ1
+								  ,PLASTER
+								  ,PLASTER1>>>
+						 <AGAIN>)
+						(<AND <EQUAL? ,P-GETFLAGS
+							      ,P-ALL>
+						      <VERB? DROP>
+						      <NOT <IN? .OBJ1 ,WINNER>>
+						      <NOT <IN? ,P-IT-OBJECT
+								,WINNER>>>
+						 <AGAIN>)
+						(T
+						 <COND (<EQUAL? .OBJ1 ,IT>
+							<PRINTD ,P-IT-OBJECT>)
+						       (T <PRINTD .OBJ1>)>
+						 <TELL ": ">)>)>
+				  <SET TMP T>
+				  <SET V <PERFORM ,PRSA ,PRSO ,PRSI>>
+				  <COND (<==? .V ,M-FATAL> <RETURN>)>)>>)>
+	    <COND (<NOT <==? .V ,M-FATAL>>
+		   ;<COND (<==? <LOC ,WINNER> ,PRSO>
+			  <SETG PRSO <>>)>
+		   ;"Removing this code should fix the problem that AGAIN
+		     loses when in a vehicle and it is the PRSO."
+		   <SET V <APPLY <GETP <LOC ,WINNER> ,P?ACTION> ,M-END>>)>
+	    <COND (<VERB? AGAIN WALK SAVE RESTORE SCORE VERSION WAIT> T)
+		  (T
+		   <SETG L-PRSA ,PRSA>
+		   <SETG L-PRSO ,PRSO>
+		   <SETG L-PRSI ,PRSI>)>
+	    <COND (<==? .V ,M-FATAL> <SETG P-CONT <>>)>)
+	   (T
+	    <SETG P-CONT <>>)>
+     <COND (,P-WON
+	    <COND (<VERB? TELL BRIEF SUPER-BRIEF VERBOSE SAVE VERSION> T)
+		  (T <SET V <CLOCKER>>)>)>>>
+ 
+<GLOBAL P-MULT <>>
+
+<GLOBAL P-NOT-HERE 0>
+
+<GLOBAL L-PRSA <>>  
+ 
+<GLOBAL L-PRSO <>>  
+ 
+<GLOBAL L-PRSI <>>  
+
+%<COND (<GASSIGNED? PREDGEN>
+
+'<ROUTINE PERFORM (A "OPTIONAL" (O <>) (I <>) "AUX" V OA OO OI) 
+	#DECL ((A) FIX (O) <OR FALSE OBJECT FIX> (I) <OR FALSE OBJECT> (V) ANY)
+	<SET OA ,PRSA>
+	<SET OO ,PRSO>
+	<SET OI ,PRSI>
+	<COND (<AND <EQUAL? ,IT .I .O>
+		    <NOT <EQUAL? ,P-IT-LOC ,HERE>>>
+	       <TELL "I don't see what you are referring to." CR>
+	       <RFATAL>)>
+	<COND (<==? .O ,IT> <SET O ,P-IT-OBJECT>)>
+	<COND (<==? .I ,IT> <SET I ,P-IT-OBJECT>)>
+	<SETG PRSA .A>
+	<SETG PRSO .O>
+	<COND (<AND ,PRSO <NOT <EQUAL? ,PRSI ,IT>> <NOT <VERB? WALK>>>
+	       <SETG P-IT-OBJECT ,PRSO>
+	       <SETG P-IT-LOC ,HERE>)>
+	<SETG PRSI .I>
+	<COND (<AND <EQUAL? ,NOT-HERE-OBJECT ,PRSO ,PRSI>
+		    <SET V <NOT-HERE-OBJECT-F>>>
+	       <SETG P-WON <>>
+	       .V)
+	      (T
+	       <SET O ,PRSO>
+	       <SET I ,PRSI>
+	       <COND
+		(<SET V <APPLY <GETP ,WINNER ,P?ACTION>>> .V)
+		(<SET V <APPLY <GETP <LOC ,WINNER> ,P?ACTION> ,M-BEG>> .V)
+		(<SET V <APPLY <GET ,PREACTIONS .A>>> .V)
+		(<AND .I <SET V <APPLY <GETP .I ,P?ACTION>>>> .V)
+		(<AND .O
+		      <NOT <==? .A ,V?WALK>>
+		      <LOC .O>
+		      <SET V <APPLY <GETP <LOC .O> ,P?CONTFCN>>>>
+		 .V)
+		(<AND .O
+		      <NOT <==? .A ,V?WALK>>
+		      <SET V <APPLY <GETP .O ,P?ACTION>>>>
+		 .V)
+		(<SET V <APPLY <GET ,ACTIONS .A>>> .V)>)>
+	<COND (<NOT <==? .V ,M-FATAL>>
+	       <COND (<==? <LOC ,WINNER> ,PRSO>
+		      <SETG PRSO <>>)>
+	       <SET V <APPLY <GETP <LOC ,WINNER> ,P?ACTION> ,M-END>>)>
+	<SETG PRSA .OA>
+	<SETG PRSO .OO>
+	<SETG PRSI .OI>
+	.V>)
+       (T
+	
+'<PROG ()
+
+<SETG PDEBUG <>>
+
+<ROUTINE PERFORM (A "OPTIONAL" (O <>) (I <>) "AUX" V OA OO OI) 
+	#DECL ((A) FIX (O) <OR FALSE OBJECT FIX> (I) <OR FALSE OBJECT> (V) ANY)
+	<COND (,PDEBUG
+	       <TELL "** PERFORM: PRSA = ">
+	       <PRINC <NTH ,ACTIONS <+ <* .A 2> 1>>>
+	       <COND (<AND .O <NOT <==? .A ,V?WALK>>>
+		      <TELL " | PRSO = " D .O>)>
+	       <COND (.I <TELL " | PRSI = " D .I>)>)>
+	<SET OA ,PRSA>
+	<SET OO ,PRSO>
+	<SET OI ,PRSI>
+	<COND (<AND <EQUAL? ,IT .I .O>
+		    <NOT <EQUAL? ,P-IT-LOC ,HERE>>>
+	       <TELL "I don't see what you are referring to." CR>
+	       <RFATAL>)>
+	<COND (<==? .O ,IT> <SET O ,P-IT-OBJECT>)>
+	<COND (<==? .I ,IT> <SET I ,P-IT-OBJECT>)>
+	<SETG PRSA .A>
+	<SETG PRSO .O>
+	<COND (<AND ,PRSO <NOT <EQUAL? ,PRSI ,IT>> <NOT <VERB? WALK>>>
+	       <SETG P-IT-OBJECT ,PRSO>
+	       <SETG P-IT-LOC ,HERE>)>
+	<SETG PRSI .I>
+	<COND (<AND <EQUAL? ,NOT-HERE-OBJECT ,PRSO ,PRSI>
+		    <SET V <D-APPLY "Not Here" ,NOT-HERE-OBJECT-F>>>
+	       <SETG P-WON <>>
+	       .V)
+	      (T
+	       <SET O ,PRSO>
+	       <SET I ,PRSI>
+	       <COND (<SET V <D-APPLY "Actor"
+				      <GETP ,WINNER ,P?ACTION>>> .V)
+		     (<SET V <D-APPLY "Room (M-BEG)"
+				      <GETP <LOC ,WINNER> ,P?ACTION>
+				      ,M-BEG>> .V)
+		     (<SET V <D-APPLY "Preaction"
+				      <GET ,PREACTIONS .A>>> .V)
+		     (<AND .I <SET V <D-APPLY "PRSI"
+					      <GETP .I ,P?ACTION>>>> .V)
+		     (<AND .O
+			   <NOT <==? .A ,V?WALK>>
+			   <LOC .O>
+			   <SET V <D-APPLY "Container"
+					   <GETP <LOC .O> ,P?CONTFCN>>>>
+		      .V)
+		     (<AND .O
+			   <NOT <==? .A ,V?WALK>>
+			   <SET V <D-APPLY "PRSO"
+					   <GETP .O ,P?ACTION>>>>
+		      .V)
+		     (<SET V <D-APPLY <>
+				      <GET ,ACTIONS .A>>> .V)>)>
+	<COND (<NOT <==? .V ,M-FATAL>>
+	       <COND (<==? <LOC ,WINNER> ,PRSO>
+		      <SETG PRSO <>>)>
+	       <SET V <D-APPLY "Room (M-END)"
+			       <GETP <LOC ,WINNER> ,P?ACTION> ,M-END>>)>
+	<SETG PRSA .OA>
+	<SETG PRSO .OO>
+	<SETG PRSI .OI>
+	.V>
+
+<DEFINE D-APPLY (STR FCN "OPTIONAL" FOO "AUX" RES)
+	<COND (<NOT .FCN> <>)
+	      (T
+	       <COND (,PDEBUG
+		      <COND (<NOT .STR>
+			     <TELL CR "  Default ->" CR>)
+			    (T <TELL CR "  " .STR " -> ">)>)>
+	       <SET RES
+		    <COND (<ASSIGNED? FOO>
+			   <APPLY .FCN .FOO>)
+			  (T <APPLY .FCN>)>>
+	       <COND (<AND ,PDEBUG .STR>
+		      <COND (<==? .RES 2>
+			     <TELL "Fatal" CR>)
+			    (<NOT .RES>
+			     <TELL "Not handled">)
+			    (T <TELL "Handled" CR>)>)>
+	       .RES)>>
+
+>)>  
+ 
+<GLOBAL START-STR
+"You wake slowly, sit up in your bunk, look around the tent, and try to ignore
+the pounding in your head, the cottony taste in your mouth, and the ache in
+your stomach. The droning of a plane's engine breaks the stillness and you
+realize that things outside are quiet -- too quiet. You know that this can
+mean only one thing: your workmen have deserted you. They complained over the
+last few weeks, grumbling about the small pay and lack of food, and your
+inability to locate the pyramid. And after what you stupidly did yesterday,
+trying to make them work on a holy day, their leaving is understandable.|
+|
+The Professor's map was just an ancient map -- as worthless as an ice cube in
+the Arctic without an instrument fine enough to accurately measure longitude
+and latitude. You knew that the site was nearby. You dug, and you ordered the
+workers to dig, even without the box. As you listen to the plane and rub your
+aching eyes, you pray they left you supplies enough to find the pyramid and to
+survive, and that the plane's carrying the long-overdue box.">
\ No newline at end of file