667 lines
21 KiB
Plaintext
667 lines
21 KiB
Plaintext
|
Somewhere near Los Angeles. A cold Friday evening in February 1938. In this
|
||
|
climate, cold is anywhere below about fifty degrees. Storm clouds are swimming
|
||
|
across the sky, their bottoms glowing faintly from the city lights in the
|
||
|
distance. A search light pans slowly under the clouds, heralding another film
|
||
|
premiere. The air seems expectant, waiting for the rain to begin, like a cat
|
||
|
waiting for the ineffable moment to ambush.
|
||
|
|
||
|
The taxi has just dropped you off at the entrance to the Linders' driveway. Th!
|
||
|
e
|
||
|
driver didn't seem to like venturing into this maze of twisty streets any more
|
||
|
than you did. But the house windows are full of light, and radio music drifts
|
||
|
toward you. Your favorite pistol, a snub-nosed Colt .32, is snug in its
|
||
|
holster. You just picked up a match book off the curb. It might come in handy.
|
||
|
Good thing you looked up the police file on Mrs. Linder's death. Her suicide
|
||
|
note and the newspaper story told you all you know about the family. The long
|
||
|
week is finished, except for this appointment. But why does an ominous feeling
|
||
|
grip you?
|
||
|
|
||
|
The WITNESS: An INTERLOGIC Mystery
|
||
|
Copyright (c) 1983 Infocom, Inc. All rights reserved.
|
||
|
WITNESS and INTERLOGIC are trademarks of Infocom, Inc.
|
||
|
Revision number 23 / Serial number 840925
|
||
|
|
||
|
You are now in the driveway entrance.
|
||
|
You are standing at the foot of the driveway, the entrance to the Linder
|
||
|
property. The entire lot is screened from the street and the neighbors by a
|
||
|
wooden fence, except on the east side, which fronts on dense bamboo woods. The
|
||
|
house looks like a mixture of a California bungalow and East Asian influences.
|
||
|
From here you can see the driveway leading north and, beyond that, the front
|
||
|
door.
|
||
|
|
||
|
What should you, the detective, do now?
|
||
|
>WALK NORTH
|
||
|
|
||
|
You are now on the driveway.
|
||
|
The driveway, paved with peastone, runs from the entrance at the south end in a
|
||
|
curve to a two-car garage at the east end. North of you is the front porch, the
|
||
|
entrance to the house.
|
||
|
|
||
|
What next?
|
||
|
>N
|
||
|
|
||
|
You are now on the front porch.
|
||
|
The front porch is in an alcove, sheltered from the weather by the walls and
|
||
|
overhanging roof. A yellowish electric light hangs near the closed front door
|
||
|
to the east, giving you a dim view of the driveway to the south and the front
|
||
|
yard behind a gate to the north.
|
||
|
The gate is closed. A door bell glows at you, almost daring you to ring it.
|
||
|
|
||
|
What next?
|
||
|
>N
|
||
|
|
||
|
Too bad, but the front gate is closed.
|
||
|
|
||
|
What next?
|
||
|
>OPEN IT
|
||
|
|
||
|
Okeh, the front gate is now open.
|
||
|
|
||
|
What next?
|
||
|
>N
|
||
|
|
||
|
You are now in the front yard.
|
||
|
You are in the front yard of the Linder property. Most of the space is occupied
|
||
|
by a kitchen garden full of vegetables and herbs. A wooden fence surrounds the
|
||
|
yard on the west and north sides. To the east is the house, with a French door
|
||
|
and two windows. To the south is a gate that leads to the front porch.
|
||
|
|
||
|
What next?
|
||
|
>LOOK THROUGH THE WINDOW
|
||
|
|
||
|
(Which window do you mean, the kitchen window or the bedroom window?)
|
||
|
|
||
|
>KITCHEN
|
||
|
|
||
|
The window is damp and foggy, but you can see someone in the kitchen inside.
|
||
|
Suddenly, a clap of thunder rolls across the hills nearby.
|
||
|
|
||
|
What next?
|
||
|
>KNOCK ON IT
|
||
|
|
||
|
Someone looks up at you inquisitively.
|
||
|
Someone shouts "Go to the front door!"
|
||
|
|
||
|
What next?
|
||
|
>GO TO THE FRONT DOOR
|
||
|
|
||
|
You are now on the front porch.
|
||
|
|
||
|
What next?
|
||
|
>RING THE BELL
|
||
|
|
||
|
Someone turns off the radio. You hear footsteps inside the house. Then the door
|
||
|
swings open.
|
||
|
"Good evening," says a smiling face, "I am Phong. Please come in." He leads you
|
||
|
into the house and closes the door behind you.
|
||
|
|
||
|
You are now in the entry.
|
||
|
Here in the entry is a small Shinto shrine, with a hanging scroll and an
|
||
|
arrangement of flowers, as well as a coat closet and a platform for storing
|
||
|
shoes. You can see a hallway to the east. The front door, on the west wall, is
|
||
|
closed.
|
||
|
Phong's straight black hair and folded eyelids make him obviously Asian, but no
|
||
|
definite nationality. His open, almost gentle face holds a quick smile and eyes
|
||
|
that seem to miss nothing. He carries his stout body lightly, but you can see
|
||
|
great strength under his light shirt and dark trousers. You guess his age at
|
||
|
about fifty, but who knows how many lifetimes of experience he carries?
|
||
|
Without warning, lightning flashes outside, and a few seconds later thunder
|
||
|
rattles the house.
|
||
|
|
||
|
What next?
|
||
|
>ASK PHONG ABOUT MR LINDER
|
||
|
|
||
|
"Frankly, Detective, I can't say I like him much. He always promised me wealth
|
||
|
here in America, but I've never seen it. I could manage the Asian branch of his
|
||
|
business if he'd let me. If I had any money, I'd quit on the spot and return
|
||
|
home."
|
||
|
Phong says, "I believe the Linders are in the living room. Please follow me."
|
||
|
He leads you into a hallway and turns left. This hallway seems to run the
|
||
|
length of the house, from the garage at the south end to the living room at the
|
||
|
north. There is enough warm yellow light flooding from the living room for you
|
||
|
to see a few doors on each side of the hall. As you get near the living room,
|
||
|
you hear voices talking, half-loud and fast.
|
||
|
|
||
|
You are now in the living room.
|
||
|
A huge fieldstone fireplace on the south wall holds a blazing fire, filling the
|
||
|
living room with warmth and light. Grouped in front of the fire are a
|
||
|
glass-topped coffee table and a rattan davenport and club chair, with cushions
|
||
|
covered in a print showing bamboo plants in the style of Japanese
|
||
|
brush-painting. A lamp with a printed shade and a telephone sit on the table.
|
||
|
On the north wall are a liquor cabinet and a console radio made of
|
||
|
light-colored wood. A single door in the east wall is closed, and at the west
|
||
|
end of the room is a double door.
|
||
|
|
||
|
"Excuse me, sir," says Phong, "but the detective has arrived."
|
||
|
|
||
|
Monica stops talking and looks at you sharply. She is a woman in her
|
||
|
mid-twenties. Her grey eyes flash, emphasizing her dark waved hair and light
|
||
|
but effective make-up. She wears a navy Rayon blouse, tan slacks, and tan pumps
|
||
|
with Cuban heels. She acts as though you were a masher who just gave her a
|
||
|
whistle.
|
||
|
Linder stands at least six foot, with a powerful frame but quick actions, like
|
||
|
a cat. His eyeglasses sit on top of his head, where thin strands of long black
|
||
|
hair go here and there, mostly combed backward. His wide-set hazel eyes size
|
||
|
you up quickly from within their pouches in his ruddy face. He wears a silk
|
||
|
peach-colored Mandarin shirt and chocolate trousers, impeccably tailored and
|
||
|
laundered, but sweat gleams on his high forehead, and he looks as though he
|
||
|
hasn't slept much lately.
|
||
|
|
||
|
Linder turns to you and says, "Detective, am I glad to see you! This is my
|
||
|
daughter, Monica, and of course you've met Phong already." He looks at a wrist
|
||
|
watch with a gleaming silver bracelet. "I see you're a little late. I'll be
|
||
|
with you as soon as I finish my drink."
|
||
|
Mr. Phong heads off to the south.
|
||
|
|
||
|
(Aren't you getting tired of seeing "What next?" and "You are now in the ...."?
|
||
|
From here on, the prompt will be much shorter.)
|
||
|
|
||
|
>ASK LINDER FOR A DRINK
|
||
|
|
||
|
"I think we both need one." And so you both have one.
|
||
|
|
||
|
>LINDER, TELL ME ABOUT THE THREAT
|
||
|
|
||
|
"I'll explain all that shortly, after I finish this drink."
|
||
|
Rain begins to fall outside in a sprinkle.
|
||
|
|
||
|
>TURN ON THE RADIO THEN SIT ON THE COUCH
|
||
|
|
||
|
You turn on the radio, spin the dial and find an Amos 'n' Andy serial.
|
||
|
|
||
|
You are now sitting on the davenport.
|
||
|
The rain outside is falling heavily now.
|
||
|
Linder gulps down the rest of his drink. "Well, Detective," he says, "I'm
|
||
|
anxious to get on with our business. Let's you and I go to my office so we can
|
||
|
talk undisturbed." You are on your own feet again.
|
||
|
He takes you by the arm and leads you through the hallway. Just south of the
|
||
|
entry, he opens a door to the east and leads you through it.
|
||
|
(office)
|
||
|
This is obviously the office of Mr. Linder's company, Pacific Trade Associates.
|
||
|
At the west end of the office, a massive desk of teak and mahogany faces toward
|
||
|
the window. It has no drawers, but the top is covered with piles of letters,
|
||
|
some newspapers, a telephone, and various souvenirs from the Far East.
|
||
|
Behind it is a large ornately-carved chair, like a cruiser escorting a battle
|
||
|
ship. A simple wooden chair, polished smooth by visitors, flanks the desk on
|
||
|
the other side. On the north wall is a lounge, upholstered in green velvet and
|
||
|
a bit lumpy, with a framed wood-block picture hanging over it. On the outside
|
||
|
wall, next to a door and window, stands a grandfather clock, ticking
|
||
|
relentlessly. A file cabinet stands in the corner.
|
||
|
The door to the interior hallway is open.
|
||
|
A cat is sleeping in the corner.
|
||
|
Linder sits down in the carved chair.
|
||
|
|
||
|
>PET THE CAT
|
||
|
|
||
|
The cat purrs a little louder and curls one paw.
|
||
|
"If you'll just take a chair, I'll explain what this is all about."
|
||
|
|
||
|
>TAKE A CHAIR
|
||
|
|
||
|
(Which chair do you mean, the wooden chair or the carved chair?)
|
||
|
|
||
|
>THE WOODEN CHAIR
|
||
|
|
||
|
You are now sitting on the wooden chair.
|
||
|
Linder begins his story. "My late wife, may she rest in peace, got involved
|
||
|
with a young man named Stiles. Naturally I tried to stop this affair, but
|
||
|
without much success. Since my wife passed away, this Stiles fellow has gone
|
||
|
off the deep end, I'm afraid, and blamed me for her death. I tried my best to
|
||
|
ignore him, but he seems to have lost his senses. This morning I received this
|
||
|
note and decided to ask your help." He hands the note to you.
|
||
|
|
||
|
>READ IT
|
||
|
|
||
|
The note is written in a spidery hand on fine rag paper. It says:
|
||
|
"Linder --
|
||
|
Since Virginia died, I've lost too much sleep because of you and your
|
||
|
harrassments. The time has come to put this matter to rest once and for all.
|
||
|
I'll be seeing you sooner than you imagine.
|
||
|
-- Stiles"
|
||
|
|
||
|
>ASK LINDER ABOUT STILES
|
||
|
|
||
|
"All I know about Stiles is that he's a writer of some kind, and sometimes he
|
||
|
plays bit parts in films. I've never really met the man."
|
||
|
|
||
|
>ASK LINDER ABOUT VIRGINIA
|
||
|
|
||
|
"It's still too painful for me to talk about, I'm afraid."
|
||
|
|
||
|
>LINDER, TELL ME ABOUT YOURSELF
|
||
|
|
||
|
"You've probably read about me in the papers. In fact they just published
|
||
|
something about me when I won that award. And I've heard lots about you. That's
|
||
|
why I asked you here."
|
||
|
|
||
|
>HELP LINDER
|
||
|
|
||
|
You'll have to be more specific.
|
||
|
|
||
|
>GIVE THE NOTE TO THE CAT
|
||
|
|
||
|
You can't give a threatening note to a cat!
|
||
|
|
||
|
>SEARCH ME
|
||
|
|
||
|
You'd do a much better job if you stood up.
|
||
|
The rain outside begins to taper off.
|
||
|
|
||
|
>STAND UP
|
||
|
|
||
|
You are on your own feet again.
|
||
|
|
||
|
>SEARCH ME
|
||
|
|
||
|
You find nothing unusual.
|
||
|
|
||
|
>SEARCH THE ROOM
|
||
|
|
||
|
(You'd do better to examine or search one thing at a time. Searching a whole
|
||
|
room or area thoroughly would take hours. A cursory search would take about 7
|
||
|
minutes, and it might not reveal much. Would you like to do it anyway?) (Answer
|
||
|
YES or NO.) >YES
|
||
|
|
||
|
The rain storm outside has passed now.
|
||
|
The clock chimes once to mark the half hour.
|
||
|
Your cursory search revealed nothing new.
|
||
|
|
||
|
>SEARCH THE DESK
|
||
|
|
||
|
You find nothing unusual.
|
||
|
Monica bursts into the office, wearing a felt hat and wool coat, and struggling
|
||
|
to get her driving gloves on. She glances icily in your direction and then back
|
||
|
to her father. "I'm off to the pictures with Terry, Dad. Good-bye." She hugs
|
||
|
him briefly but firmly, burying her head in his shoulder. He pushes her away
|
||
|
and says, "You're leaving now?! I thought you'd be talking to the detective
|
||
|
here. What about the threat on my life?" He has the hurt look of an orphan pup.
|
||
|
She answers, "You don't need me here. I need to get away now and then. I'm not
|
||
|
like Mother, you know." Tears well up in her eyes but she brushes them away
|
||
|
before they drop. She turns to leave.
|
||
|
|
||
|
>MONICA, WAIT!
|
||
|
|
||
|
Monica stops and turns toward you.
|
||
|
Monica is acting impatient.
|
||
|
|
||
|
>MONICA, TELL ME ABOUT STILES
|
||
|
|
||
|
"Oh, that lover boy thinks he's a smooth apple, all right. If you ask me, he's
|
||
|
just a harmless grifter."
|
||
|
Monica is acting impatient.
|
||
|
|
||
|
>TELL ME ABOUT THE MOVIE
|
||
|
|
||
|
(said to Monica)
|
||
|
"I think we'll see 'Dead End'. Terry wants to check out this guy named Bogart."
|
||
|
Monica is acting impatient.
|
||
|
|
||
|
>TELL ME ABOUT TERRY
|
||
|
|
||
|
(said to Monica)
|
||
|
"That has nothing to do with why Dad asked you here."
|
||
|
Monica is acting impatient.
|
||
|
|
||
|
>SHOW THE NOTE TO HER
|
||
|
|
||
|
"I don't know anything about it, shamus."
|
||
|
Monica looks more nervous. "I really must go now, or I'll be late for the
|
||
|
film." She hugs her father again and dashes out the door.
|
||
|
Monica heads off to the west.
|
||
|
|
||
|
>FOLLOW HER
|
||
|
|
||
|
Linder says with frustration, "I wish you wouldn't try to go off while we're
|
||
|
trying to talk."
|
||
|
Outside somewhere, a car roars to life and speeds away.
|
||
|
|
||
|
>ASK LINDER ABOUT TERRY
|
||
|
|
||
|
"I can't help you there."
|
||
|
|
||
|
>ASK HIM ABOUT THE MOVIE
|
||
|
|
||
|
"That has nothing to do with why I asked you here."
|
||
|
|
||
|
>EXAMINE THE NOTE
|
||
|
|
||
|
The note is written in a spidery hand on fine rag paper. It says:
|
||
|
"Linder --
|
||
|
Since Virginia died, I've lost too much sleep because of you and your
|
||
|
harrassments. The time has come to put this matter to rest once and for all.
|
||
|
I'll be seeing you sooner than you imagine.
|
||
|
-- Stiles"
|
||
|
|
||
|
>ANALYZE THE NOTE
|
||
|
|
||
|
You haven't met Sergeant Duffy yet tonight. You'll need his help to do that.
|
||
|
|
||
|
>FIND DUFFY
|
||
|
|
||
|
Sergeant Duffy is probably at the station, working late as usual.
|
||
|
|
||
|
>PHONE DUFFY
|
||
|
|
||
|
The night clerk at the station says he'll give Duffy your message.
|
||
|
|
||
|
>ASK LINDER ABOUT THE NOTE
|
||
|
|
||
|
"Yes, that's the note that Stiles sent to me."
|
||
|
|
||
|
>FIND PHONG
|
||
|
|
||
|
You last saw him about half an hour ago.
|
||
|
|
||
|
>PUSH THE BUTTON
|
||
|
|
||
|
Linder grabs your wrist and looks you hard in the eye. Then a wide smile breaks
|
||
|
out on his face as he lets go. "Sorry if I'm rough, but I don't want any
|
||
|
interruptions right now."
|
||
|
|
||
|
>SIT ON THE COUCH
|
||
|
|
||
|
(You can't see any couch here!)
|
||
|
|
||
|
>LOOK AROUND
|
||
|
|
||
|
(office)
|
||
|
This is obviously the office of Mr. Linder's company, Pacific Trade Associates.
|
||
|
At the west end of the office, a massive desk of teak and mahogany faces toward
|
||
|
the window. It has no drawers, but the top is covered with piles of letters,
|
||
|
some newspapers, a telephone, and various souvenirs from the Far East.
|
||
|
Behind it is a large ornately-carved chair, like a cruiser escorting a battle
|
||
|
ship, where Linder sits imperiously. A simple wooden chair, polished smooth by
|
||
|
visitors, flanks the desk on the other side. On the north wall is a lounge,
|
||
|
upholstered in green velvet and a bit lumpy, with a framed wood-block picture
|
||
|
hanging over it. On the outside wall, next to a door and window, stands a
|
||
|
grandfather clock, ticking relentlessly. A file cabinet stands in the corner.
|
||
|
The door to the interior hallway is open.
|
||
|
A cat is sleeping in the corner.
|
||
|
|
||
|
>EXAMINE THE CLOCK
|
||
|
|
||
|
This is a full-blown "grandfather" clock, seven feet tall, run by weights and
|
||
|
regulated by a pendulum, whose dial shows day, date, and phase of the moon
|
||
|
besides the time. According to the dial, today is Friday the 18th, the moon is
|
||
|
just past full, and the time is now 8:52 p.m.
|
||
|
|
||
|
>LOOK AT THE PICTURE
|
||
|
|
||
|
There's nothing special about the picture.
|
||
|
|
||
|
>SIT ON THE LOUNGE
|
||
|
|
||
|
You are now sitting on the lounge.
|
||
|
|
||
|
>ASK LINDER ABOUT THE CLOCK
|
||
|
|
||
|
"I've always admired elaborate machines, and that's the finest example I could
|
||
|
hope to own."
|
||
|
|
||
|
>GET A DRINK
|
||
|
|
||
|
You are now carrying the drink.
|
||
|
|
||
|
>DRINK IT
|
||
|
|
||
|
You could drink this stuff all night, but you have work to do.
|
||
|
|
||
|
>SMOKE A CIGARET
|
||
|
|
||
|
You light up a Camel, take a deep drag, and watch the smoke drift through the
|
||
|
air. A few more puffs, and you're ready to go to work again.
|
||
|
|
||
|
>LINDER, TELL ME ABOUT MONICA
|
||
|
|
||
|
"She's a loyal and intelligent girl. I'm very proud of her."
|
||
|
The clock chimes 9 times to mark the hour.
|
||
|
|
||
|
>TELL ME ABOUT PHONG
|
||
|
|
||
|
"He and I go back a long time. Met in Asia, you know. And since I spend as much
|
||
|
time there as here, he takes care of the house for me. A fine fellow, and I
|
||
|
trust him implicitly."
|
||
|
|
||
|
>TELL ME ABOUT THE PICTURE
|
||
|
|
||
|
"I can't help you there."
|
||
|
|
||
|
>TELL ME ABOUT DUFFY
|
||
|
|
||
|
Sergeant Duffy is probably at the station, working late as usual.
|
||
|
You hear the door bell ring.
|
||
|
|
||
|
Linder looks toward the window and says, "I don't think Phong has answered the
|
||
|
door bell yet." He reaches toward the butler's button and at the same instant
|
||
|
shouts "Stiles!" You turn around and dimly see a figure outside. Suddenly there
|
||
|
is a flash of light and an explosion, and the window falls into dozens of shiny
|
||
|
shards. The cat bolts and disappears somewhere. The figure outside turns and
|
||
|
runs before you can see the face. When you turn back around, you see Linder
|
||
|
slumping down in his chair, with a bloody stain spreading across his silk
|
||
|
shirt. He teeters on the edge of the seat, then falls onto the floor, quite
|
||
|
dead.
|
||
|
|
||
|
>STAND UP
|
||
|
|
||
|
You are on your own feet again.
|
||
|
|
||
|
>OPEN DOOR
|
||
|
|
||
|
(Which door do you mean, the office door, the back door, or the grandfather
|
||
|
clock?)
|
||
|
|
||
|
>BACK
|
||
|
|
||
|
You'll have to unlock it first.
|
||
|
|
||
|
>UNLOCK IT
|
||
|
|
||
|
Okeh, the back door is now unlocked.
|
||
|
Suddenly Phong enters the office. When he sees that Linder has cashed in his
|
||
|
chips, he turns away for a minute and bows his head.
|
||
|
|
||
|
>OPEN IT
|
||
|
|
||
|
Okeh, the back door is now open.
|
||
|
|
||
|
>GO OUT
|
||
|
|
||
|
(office porch)
|
||
|
You are standing on a small concrete slab outside Linder's office. A sign
|
||
|
between the door and the window reads "PACIFIC TRADE ASSOCIATES". To the north
|
||
|
is a tidy lawn, extending east to the edge of the woods. A path of stepping
|
||
|
stones leads south to the back gate.
|
||
|
You notice some fresh foot prints heading east.
|
||
|
You hear the door bell ring.
|
||
|
|
||
|
>FOLLOW THEM
|
||
|
|
||
|
You would probably get lost in the woods. Even with a path to follow.
|
||
|
|
||
|
>S
|
||
|
|
||
|
(office path)
|
||
|
You are on a path made of stepping stones, which leads from the back gate at
|
||
|
the south to Linder's office at the north. In the east you can see a thick
|
||
|
woods. To the west is the side yard.
|
||
|
There's a muddy handgun here.
|
||
|
|
||
|
>PICK IT UP
|
||
|
|
||
|
You are now carrying the muddy handgun.
|
||
|
|
||
|
>N
|
||
|
|
||
|
(office porch)
|
||
|
|
||
|
>IN
|
||
|
|
||
|
(office)
|
||
|
The body of Mr. Linder is still crumpled in a heap on the floor.
|
||
|
|
||
|
>EXAMINE BODY
|
||
|
|
||
|
The blood on Linder's shirt has clotted and turned dark.
|
||
|
|
||
|
>EXAMINE GUN
|
||
|
|
||
|
(Which gun do you mean, the muddy handgun or the snub-nosed Colt?)
|
||
|
|
||
|
>MUDDY
|
||
|
|
||
|
The gun is muddy from the ground, but you can see it's just a cheap low-quality
|
||
|
handgun.
|
||
|
Suddenly your assistant, Sgt. Duffy, appears from out of nowhere. "Detective,
|
||
|
I'm glad you're safe! I thought I should come here on the streetcar, in case
|
||
|
you needed help. I'm familiar with the house, since I was here to help
|
||
|
investigate Mrs. Linder's death. Just as I walked up tonight, I heard a shot!
|
||
|
The next thing I knew, this man, who calls himself Stiles, burst out of the
|
||
|
woods behind the house. Naturally, I put the nippers on him and brought him
|
||
|
along. I've stowed him in the living room. I'll stand by to help you." He
|
||
|
scurries off to go about his work.
|
||
|
|
||
|
>DUFFY, ANALYZE THE MUDDY GUN
|
||
|
|
||
|
Sergeant Duffy, quiet as a mouse, walks up and takes the muddy handgun from
|
||
|
you. "I'll return soon with the results," he says, and leaves as silently as he
|
||
|
came.
|
||
|
|
||
|
>W
|
||
|
|
||
|
(hallway)
|
||
|
This is the south end of a hallway that runs the length of the house. At the
|
||
|
far end, to the north, you can see the living room; immediately to the south is
|
||
|
a door. Other doors on both sides lead to other rooms.
|
||
|
Mr. Phong, off to the north, ducks into a room to the west.
|
||
|
|
||
|
>N
|
||
|
|
||
|
(hallway)
|
||
|
|
||
|
>N
|
||
|
|
||
|
(hallway)
|
||
|
This is near the middle of the central hallway. At the north end, you can see
|
||
|
the living room; to the east and west are bedroom doors. The door to the east
|
||
|
is open.
|
||
|
|
||
|
>N
|
||
|
|
||
|
(hallway)
|
||
|
This is the north end of the central hallway. Just to the north, you can see
|
||
|
warm yellow light in the living room.
|
||
|
|
||
|
>W
|
||
|
|
||
|
(kitchen)
|
||
|
The Linder kitchen is full of electric appliances: range and hood,
|
||
|
refrigerator, mixer, toaster, clock, and so on. Several white steel cabinets
|
||
|
make for plenty of storage space. To the north is the dining room, to the east
|
||
|
the hall.
|
||
|
Phong is here, opening a can of worms.
|
||
|
|
||
|
>ASK HIM ABOUT THE WORMS
|
||
|
|
||
|
"I didn't think you had any interest in gardening! Those little babies are the
|
||
|
best thing for the clay soil around here. You can just order them by mail and
|
||
|
open them up when they arrive."
|
||
|
|
||
|
>LOOK IN THE FRIDGE
|
||
|
|
||
|
Too bad, but the refrigerator is closed.
|
||
|
|
||
|
>OPEN IT
|
||
|
|
||
|
You open the refrigerator and see a bunch of cold food.
|
||
|
|
||
|
>CLOSE IT
|
||
|
|
||
|
You'd have to be more clever to do that to the bunch of cold food.
|
||
|
|
||
|
>CLOSE THE FRIDGE
|
||
|
|
||
|
Closed.
|
||
|
|
||
|
>N
|
||
|
|
||
|
(dining room)
|
||
|
A table and benches, built out of blond wood for six people, sit in the middle
|
||
|
of the room. On the south wall is a swinging door that leads to the kitchen,
|
||
|
and on the east wall a double door to the living room. Through a French door on
|
||
|
the west wall you can see the front yard.
|
||
|
|
||
|
>E
|
||
|
|
||
|
(living room)
|
||
|
Stiles is fastened to the davenport, looking sullen.
|
||
|
|
||
|
>TALK TO STILES
|
||
|
|
||
|
Mr. Stiles is listening.
|
||
|
|
||
|
>TELL ME ABOUT LINDER
|
||
|
|
||
|
(Which Linder do you mean, the late Mrs. Linder or Mr. Linder?)
|
||
|
|
||
|
>MR
|
||
|
|
||
|
(said to Mr. Stiles)
|
||
|
"He's a smooth operator. I can think of many people who'd like to plug him. Not
|
||
|
me, of course. I still don't understand why he sounded so urgent when he called
|
||
|
me today and asked me to come here tonight."
|
||
|
|
||
|
>I
|
||
|
|
||
|
You are carrying:
|
||
|
a threatening note
|
||
|
a drink
|
||
|
a telegram
|
||
|
a pair of handcuffs
|
||
|
a snub-nosed Colt
|
||
|
a match book
|
||
|
|
||
|
>SHOW HIM THE NOTE
|
||
|
|
||
|
"Holy smoke! That sort of looks like my writing, but I didn't write it."
|
||
|
|
||
|
>ASK ABOUT VIRGINIA
|
||
|
|
||
|
"Virginia was a special woman. Repressed for years. I think that, if only ...
|
||
|
Say, I don't have to answer your questions!"
|
||
|
|
||
|
>LOOK AT HIS SHOES
|
||
|
|
||
|
They're pointed wing tips with sensational welt features, but a bit shabby and
|
||
|
more than a bit muddy.
|
||
|
|
||
|
>SHOW THE GUN TO HIM
|
||
|
|
||
|
"That has nothing to do with me."
|
||
|
|
||
|
>SHOW THE MATCH BOOK TO STILES
|
||
|
|
||
|
"That's my phone number! Linder must have jotted it down the day we had lunch
|
||
|
at that restaurant, when he first offered me money to leave town."
|
||
|
|
||
|
>WAIT FOR DUFFY
|
||
|
|
||
|
Time passes...
|
||
|
Suddenly, Sergeant Duffy returns with the muddy handgun. For a moment you muse
|
||
|
on his almost magical appearances. "The gun has recently been fired, and it
|
||
|
contains traces of cheap gun powder." With that, he leaves, handing you the
|
||
|
muddy handgun as he whisks away.
|
||
|
It's now 9:42 p.m.
|
||
|
|
||
|
>SHOW THE GUN TO STILES
|
||
|
|
||
|
(Which gun do you mean, the muddy handgun or the snub-nosed Colt?)
|
||
|
|
||
|
>MUDDY
|
||
|
|
||
|
"I've never seen it before. Anyhow, I don't like guns."
|
||
|
|
||
|
>Q
|
||
|
|
||
|
(If you want to continue from this point at another time, you must "SUSPEND"
|
||
|
first.) Do you want to stop your investigation now? (Answer YES or NO.) >YES
|