"Sherlock Indomitable" by Brian Rushton

[why do you need staff still after solving case?]

[handle answering it that?]

[examine all? you don't want to think of too much at one time. Focus, and the evidence will appear quickly enough.]

Understand "* [text]" as a mistake ("Noted.").

ThingTesting is an action applying to nothing. Understand "thingtest" as thingtesting.

Include Glulx Text Effects by Emily Short.

When play begins:
	now ClueTime is 0;
	say "On your eightieth birthday, you find yourself alone in a quiet sanatorium, in a room that you know will, at the last, be your death chamber.";
	now the right hand status line is "Sherlock Holmes". 

QuipCounter is a number that varies. Quipcounter is 0.

Carry out thingTesting:
	repeat with current running through quips:
		now QuipCounter is QuipCounter plus one;
	say "Quipcounter is [QuipCounter]."

The printed name of down is "downstairs".

Volume 1 - Mechanics

Release along with an interpreter.

The story genre is "Mystery". The story headline is "A glimpse into Sherlock's mind". The story description is "See Sherlock's cases through his own eyes, as you eliminate the impossible to find the truth." The story creation year is 2017. The release number is 1.

Release along with cover art ("The words Sherlock Indomitable over a red image of Sherlock.").

Understand "who" or "what" or "when" or "where" or "why" or "how" or "who's" or "what's" or "when's" or "where's" or "why's" or "how's" as "[query]". 

Understand "[query] [text]" or "[query]" as a mistake ("[story title] understands commands, such as 'GO NORTH', but not questions. For more instructions, type COMMANDS."). 

Abouting is an action out of world. Understand "about" or "info" or "credits" or "credit" or "help" as abouting.

Carry out abouting:
	say "This game is written by Brian Rushton. 

Unlike some Sherlock Holmes games, it is based more on deduction than physical action and effort. It uses standard commands, except that thoughts need to be linked to each other once your investigation is complete. For instance, if you had a thought called Dog and a thought called Bark, you could LINK DOG TO BARK to either receive a new thought or more information about the two thoughts.

For speech, you can  SAY a thought TO someone. At times, Sherlock loses interest in the case, and can only TALK TO the characters.

Both stories have been edited due to some strong racial prejudice.

This game has been beta-tested by Mike Spivey, Denk, fos1, Cory Roush, dgtziea, Andrew Schultz, and by heartless zombie. Thanks to all the testers! And thanks to all who submitted Introcomp feedback. HowToPhil (Phillip J Rhoades) provided helpful technical support.

Texture image for cover by Eric Matyas at www.soundimage.org (6-1-17d.jpg).

You can use HINT at any time to get a hint. Some hints are layered, so you would have to type HINT multiple times."

After reading a command:
	let T be "[the player's command]";
	replace the regular expression "(?i)(Dr|Mr|Ms|Mrs)\." in T with "\1";
	change the text of the player's command to T.

Understand "observe" as examining.

GoToing is an action applying to one thing. Understand "go to  [any room]" as gotoing.

Carry out GoToing:
	let way be the best route from the location of the player to the noun;
	if way is nothing:
		say "You don't know the best way to get there.";
	otherwise:
		say "You go to [way].";
		try going way;

To playerchange (target - a person):
	now the right hand status line is "[target]";
	now the player is target;

Book 1 -Conversation and Thoughts

Part 1 - Basic quip rules

ClueTime is a number that varies. ClueTime is 0.

TurnCounter is a number that varies. TurnCounter is 0.

[Every turn:
	now TurnCounter is TurnCounter plus one;
	say "You have used [turncounter] moves."]
	
A thing can be physical or not physical. A thing is usually physical.

A quip is a kind of thing.  A quip is never physical. A quip has some text called the preview. The preview of a quip is usually "Insert preview here.". 

Rule for deciding whether all includes quips: it does not.

Understand "think about [something]" or "think [something]" as examining.

Before inserting a quip into a container:
	if the player is not Mind Holmes:
		say "That's not a physical object." instead;

Instead of putting a quip on a supporter:
	say "That's not a physical object.";

Instead of dropping a quip:
	say "That's not a physical object.";

Part 2 - Quip dynamics

After printing the name of a quip (called currentquip) when topicing:
	Say " - '[the preview of currentquip]'".

A quip can be linebreakish or not linebreakish. A quip is usually linebreakish. 

Cigars is not linebreakish.

Murder is not linebreakish.

Understand the command "murder" as something new.

FakeQuip is a quip.

To deliver (CurrentQuip - a quip):
	if CurrentQuip is carried by Sherlock Holmes:
		do nothing;
	otherwise if CurrentQuip is FakeQuip:
		do nothing;
	otherwise:
		say "[bracket]New [if currentquip is private]conjecture[otherwise]thought[end if] - [CurrentQuip][close bracket][first time][paragraph break][bracket]You can find a running list of Sherlock's thoughts by typing THOUGHTS, or just T.[close bracket][only][if CurrentQuip is linebreakish][line break][end if]";
		now CurrentQuip is carried by Sherlock Holmes;
		now CurrentQuip is relevant;
	if the player is Mind Holmes:
		if currentquip is Timing:
			say "The dates here seem familiar; something in the back of your mind nags at you. Perhaps you can look up more details about the Timing, somewhere.";

To say QuipExample:
	say "[if pertinentcase is SpeckledBand]SAY GREETING LADY[otherwise]SAY REPORTS LESTRADE[end if]"

A quip can be relevant or not relevant. A quip is usually not relevant.

A quip can be discarded or undiscarded. A quip is usually not discarded.

To discard (CurrentQuip - a quip):
	if CurrentQuip is not relevant:
		do nothing;
	otherwise:
		say "[line break][bracket]Finished with thought - [CurrentQuip][close bracket][line break]";
		now CurrentQuip is not relevant;
		now CurrentQuip is discarded;

MotiveTimeNow is a number that varies. MotiveTimeNow is 0.

A quip can be specialmotive or not. A quip is usually not specialmotive.

Hatred is specialmotive. Revenge is specialmotive.

To eliminate (CurrentQuip - a quip):
	if CurrentQuip is not relevant:
		do nothing;
	otherwise:
		discard CurrentQuip;
		if the number of relevant specialmotive quips carried by the player is 0:
			now MotiveTimeNow is 1; [this starts a scene later]

To renew (CurrentQuip - a quip):
	now CurrentQuip is not LestradeGiven;
	if CurrentQuip is not carried by the player:
		deliver CurrentQuip;
	otherwise if CurrentQuip is relevant:
		do nothing;
	otherwise:
		say "[line break][bracket]Newly relevant - [CurrentQuip][close bracket][line break]";
		now CurrentQuip is relevant.

Speeching it to is an action applying to two things. Understand "say [something] to [someone]" or "tell [something] to [someone]" or "t [something] to [someone]" or "a [something] to [someone]" or "talk about [something] to [someone]" or "say [something] [someone]" or "tell [something] [someone]" or "t [something]  [someone]" or "a [something] [someone]" or "talk about [something] [someone]" as speeching it to.

Singlespeeching is an action applying to one thing.


ExitSwitch is a number that varies. ExitSwitch is 0.

Carry out singlespeeching:
	now ExitSwitch is 0;
	repeat with current running through people enclosed by the location of the player:
		if current is not the player:
			if current is not Watson:
				if current is not Inspector Lestrade:
					say "(to [current])";
					try speeching the noun to current;
					now ExitSwitch is 1;
					break;
	if ExitSwitch is 1:
		do nothing;
	otherwise if Inspector Lestrade is in the location of the player:
		say "(to Lestrade)";
		try speeching the noun to Inspector Lestrade;
	otherwise if Watson is in the location of the player:
		say "(to Watson)";
		try speeching the noun to Watson;
	otherwise if the player is not Sherlock Holmes:
		say "[bracket]During flashbacks, conversation is handled by TALKing TO characters.[close bracket]";
	otherwise:
		say "There's no one here but you."

Keywording is an action applying to one thing. Understand  "say [something]" or "talk about [something]" as keywording.

Carry out keywording:
	if the noun is not a quip:
		say "I didn't understand that word; there was a typo, or it wasn't in the list of thoughts.";
	otherwise:
		if the number of people enclosed by the location of the player is at least two:
			try singlespeeching the noun;
		otherwise:
			say "There [iswas] no one to talk to [here].";

Carry out Speeching it to:
	if the noun is not a quip:
		say "You can only SAY a thought in your list (which you can reach by typing THOUGHTS) to another person.";
	otherwise if the second noun is not a person:
		say "You can only speak to people.";
	otherwise if the second noun is the player:
		say "You have no need to speak with yourself.";
	otherwise if ClueTime is 0:
		if the second noun is Horace Harker:
			say "You gotten all you can from Harker; you can talk to the others, though.";
		otherwise:
			say "[bracket]It is not time for discussing individual clues. The only method of conversing at this time is TALKing TO individuals.[close bracket]";
	otherwise if ClueTime is 1:
		if the second noun is horace harker:
			if HoraceTalked is 1:
				say "You have no need to talk to Horace Harker any more at this time.";
			otherwise:
				say "You need to ask him about his testimony.";
		otherwise if the second noun is Miss Helen Stoner:
			do nothing;
		otherwise if the second noun is Inspector Lestrade:
			do nothing;
		otherwise if the second noun is Watson:
			do nothing;
		otherwise if the second noun is OldWatson:
			do nothing;
		otherwise:
			do nothing;
			say "You have no need of talking to [the second noun].";

[A thing can be quippish or unquippish. A thing is usually unquippish. A quip is always quippish. ]

[Understand "[an unquippish thing] [a person]" as a mistake ("[bracket]I am reading this as a noun ('[the noun]') and a person ('[the second noun]'). This doesn't make sense, unless you're trying to talk to [the second noun], in which case '[the noun]' is not the name of a thought.[close bracket]").

Understand "[an unquippish thing] [an unpersonable thing]" as a mistake ("[bracket]I am reading this as two nouns: '[the noun]' and '[the second noun]'. This doesn't make sense.[close bracket]").]

Before speeching a quip to Miss Helen Stoner:
	now ClueTime is 1;
	if the noun is StonerGiven:
		say "You've already discussed this with her. All important information (if any) from the conversation can be found in your list of THOUGHTS." instead;

QuerySmalling is an action applying to two things. Understand "ask [something] to [someone]" as querysmalling.

Carry out QuerySmalling:
	try speeching the noun to the second noun. 

Querying it to is an action applying to two things. Understand "ask [someone] about [something]" as querying it to.

Carry out querying:
	try speeching the second noun to the noun;

Talking to is an action applying to one thing. Understand "talk to [someone]" or "talk [someone]" as talking to.

Carry out talking to someone (called the talkee):
	say "[if the player is Sherlock Holmes][bracket]When Sherlock is interested in a case, he prefers to SAY  thoughts TO people. Type THOUGHTS to access your full list of thoughts.[close bracket][line break][otherwise][We] [are] not interested in talking to them at the moment.[end if]";
	if the talkee is Miss Helen Stoner:
		now QuipSwitch is 0;
		say "[line break][bold type]Thoughts you haven't talked to [Miss Helen Stoner] about:[roman type]";
		repeat with currentquip running through all relevant quips carried by Sherlock Holmes:
			if currentquip is not StonerGiven:
				now QuipSwitch is 1;
				say "[line break]   ";
				say currentquip;
		if QuipSwitch is 0:
			say "[line break]   You have nothing left to tell [Miss Helen Stoner]. ";	
		say "[line break]";
	otherwise if the talkee is OldWatson:
		now QuipSwitch is 0;
		say "[line break][bold type]Thoughts you haven't talked to Watson about:[roman type]";
		repeat with currentquip running through all relevant quips carried by Sherlock Holmes:
			if currentquip is not OldWatsonGiven:
				now QuipSwitch is 1;
				say "[line break]   ";
				say currentquip;
		if QuipSwitch is 0:
			say "[line break]   You have nothing left to tell Watson. ";	
		say "[line break]";
	otherwise if the talkee is Inspector Lestrade:
		now QuipSwitch is 0;
		say "[line break][bold type]Thoughts you haven't talked to Lestrade about:[roman type]";
		repeat with currentquip running through all relevant quips carried by Sherlock Holmes:
			if currentquip is not LestradeGiven:
				now QuipSwitch is 1;
				say "[line break]   ";
				say currentquip;
		if QuipSwitch is 0:
			say "[line break]   You have nothing left to tell Lestrade. ";	
		say "[line break]";
	otherwise if the talkee is Horace Harker:
		now QuipSwitch is 0;
		say "[line break][bold type]Thoughts you haven't talked to Horace Harker about:[roman type]";
		if Testimony is relevant:
			if Testimony is carried by the player:
				if Testimony is not HarkerGiven:
					now QuipSwitch is 1;
					say "[line break]  Testimony";
		if QuipSwitch is 0:
			say "[line break]   You have nothing left to tell Harker. ";	
		say "[line break]";

Instead of talking to watson:
	if ClueTime is 1:
		say "[bracket]You can only communicate with Watson about thoughts, at this time. You can SAY a thought TO WATSON.[close bracket][paragraph break]";
		now QuipSwitch is 0;
		say "[bold type]Thoughts you haven't talked to Watson about:[roman type]";
		repeat with currentquip running through all relevant quips carried by Sherlock Holmes:
			if currentquip is not WatsonGiven:
				now QuipSwitch is 1;
				say "[line break]   ";
				say currentquip;
		if QuipSwitch is 0:
			say "[line break]   You have nothing left to tell Watson. ";	
		say "[line break]";
	otherwise:
		if the number of people enclosed by the location of the player > 2:
			say "Watson is paying attention to someone else, right now.";
		otherwise:
			say "You have nothing more to say to Watson at this time.";

Greeting is a quip. The preview of greeting is "Good morning; my name is Sherlock Holmes."

Carry out speeching greeting to Watson:
	say "You say, 'Good morning, Watson; my name is Sherlock Holmes.'

Watson looks puzzled."

After deciding the scope of the player when examining: 
	repeat with current running through quips carried by sherlock holmes:
		place current in scope.

After deciding the scope of the player when keywording: 
	repeat with current running through quips carried by sherlock holmes:
		place current in scope.

After deciding the scope of the player when linking: 
	repeat with current running through quips carried by sherlock holmes:
		place current in scope.

After deciding the scope of the player when lookuping: 
	repeat with current running through quips carried by sherlock holmes:
		place current in scope.

Rule for reaching inside a room: 
	if the current action is lookuping:
		if the player is not Mind Holmes:
			say "[bracket]Sherlock can only LOOK UP subjects while THINKing.[close bracket][line break]";
			deny access;
		otherwise:
			allow access;
	otherwise if the current action is inserting into:
		allow access;
	otherwise:
		say "[bracket]During flashbacks, conversation is handled by TALKing TO characters.[close bracket][line break]"; 
		deny access.

Instead of examining a quip:
	if the noun is not relevant:
		say "This thought is no longer relevant.";
	otherwise:
		say "[noun] - '[preview of noun]'[paragraph break]";
		if EasyFlag is 1:
			let TempQuipList be a list of quips;
			repeat with current running through the list of TempQuips which relate to the noun by the connecting relation:
				repeat with current2 running through the list of quips which current relates to by the connecting relation:
					if current2 is not the noun:
						if current is not onceused:
							if current2 is relevant:
								add current2 to TempQuipList;
			if the TempQuipList is not {}:
				say "[noun] can be linked with [TempQuipList].";
			otherwise:
				say "[noun] has no strong connections to any other thoughts."

Part 3 -Inventory

A case is a kind of thing.  BaseCase is a case. 

PertinentCase is a case that varies. PertinentCase is BaseCase.

A quip has a case called QuipCase. QuipCase is BaseCase.

QuipSwitch is a number that varies. QuipSwitch is 0.

[Figure this part out after you have a demo: should only pertinent topics be listed? move all impertinent topics to something else?]

EmptyText is some text that varies. EmptyText is "[line break]   nothing[first time]

[bracket]You can see current thoughts by typing T or THOUGHTS[close bracket][only]".

Instead of taking inventory:
	say "[We] [are] carrying:";
	repeat with currentitem running through physical things carried by the player:
		now EmptyText is "";
		say "[line break]   [currentitem]";
	say "[EmptyText]";
	now EmptyText is "[line break]   nothing. Your THOUGHTS are the most important thing right now.";
	say "[line break]";

A quip can be public or private. A quip is usually public.
	
Topicing is an action out of world. Understand "t" or "thoughts" as topicing.

To say PublicTopic:
	now QuipSwitch is 0;
	say "[bold type]Thoughts[if the player is not Sherlock Holmes] (in Sherlock's mind)[end if]:[roman type]";
	repeat with currentquip running through all public relevant quips carried by Sherlock Holmes:
		now QuipSwitch is 1;
		say "[line break]   ";
		say currentquip;
	if QuipSwitch is 0:
		say "[line break]   You have no pertinent thoughts. ";	
	say "[line break]";

To say PrivateTopic:
	now QuipSwitch is 0;
	say "[bold type]Private Conjectures[if the player is not Sherlock Holmes] (in Sherlock's mind)[end if]:[roman type]";
	repeat with currentquip running through all private relevant quips carried by Sherlock Holmes:
		now QuipSwitch is 1;
		say "[line break]   ";
		say currentquip;
	if QuipSwitch is 0:
		say "[line break]   You have no pertinent conjectures. ";	
	say "[line break]";

Carry out topicing:
	now QuipSwitch is 0;
	say "[PublicTopic]";
	say "[PrivateTopic]";
	if pertinentcase is not basecase:
		say "[if the player is Sherlock Holmes][line break]You can THINK to go back to your conscious mind to look up topics, or to determine the criminal's means, motive, and opportunity.[otherwise if the player is Mind Holmes][line break]You can LINK one topic to another if they are related, and this will give you new topics. Only a few topics can be LINKed.[end if]";

Part 4 - Linking

Linking it with is an action applying to two visible things. Understand "link [something] with [something]" or "link [something] to [something]"  as linking it with.

BadLinking is an action applying to one thing. Understand "link [things]" as badlinking. 

Carry out badlinking:
	let L be the multiple object list;
	if the number of entries in L is 2:
		try linking entry 1 of L with entry 2 of L;
	otherwise if the number of entries in L > 2:
		say "[bracket]You can only link two things at a time.[close bracket][paragraph break]";
	otherwise:
		say "[bracket]You need to use LINK A WITH B to link two things together.[close bracket][paragraph break]"

To say NoLink:
	say "You don't see an important connection between those thoughts[one of][or][or][or][or]. Very few thoughts have connections between them; you should focus on important connections, like means, motive, or opportunity[or][or][or]. Consider using hints if you just want to move on[cycling].";

To say incrementsnake:
	now snakelevel is snakelevel plus one;

HatredLevel is a number that varies. HatredLevel is 0.

RevengeLevel is a number that varies. RevengeLevel is 0.

SeekingLevel is a number that varies. SeekingLevel is 0.

To say incrementhatred:
	now HatredLevel is HatredLevel plus one;

To say incrementrevenge:
	now RevengeLevel is RevengeLevel plus one;
	
To say incrementseeking:
	now SeekingLevel is SeekingLevel plus one;
	
A TempQuip is a kind of thing. A TempQuip has a quip called DeliveryQuip. DeliveryQuip is usually FakeQuip.

Connecting relates various TempQuips to various quips. 

The verb to connect means the connecting relation.

LoopEnder is a number that varies. LoopEnder is 0.

A TempQuip can be onceused or not onceused. A tempquip is usually not onceused.

Carry out linking something (called firstquip) with something (called secondquip):
	now LoopEnder is 0;
	if firstquip is not a quip:
		say "You can only link thoughts.";
	otherwise if secondquip is not a quip:
		say "You can only link thoughts.";
	otherwise if firstquip is not relevant:
		say "That first thought is no longer relevant.";
	otherwise if secondquip is not relevant:
		say "That second thought is no longer relevant.";
	otherwise if firstquip is secondquip:
		say "There's no benefit in linking a thought with itself.";
	otherwise:
		repeat with current running through the list of TempQuips which relate to firstquip by the connecting relation:
			if current connects secondquip:
				if current is not onceused:
					now current is onceused;
					say the description of current;
					say "[line break]";
					deliver DeliveryQuip of current;
					now LoopEnder is 1;
					break;
				otherwise:
					say "You have already linked these two thoughts.";
					now LoopEnder is 1;
					break;
		if LoopEnder is 0:	
			say "[NoLink]";


DogcartTrain is a TempQuip. DogcartTrain connects Dogcart and Trainride.

The description of DogcartTrain is  "Yes, it seems that she rode on the dogcart first before reaching the train.";

CigarsFresh is a TempQuip. CigarsFresh connects Cigars and Fresh.

The description of CigarsFresh is "There must be some sort of small connection, like a ventilator, between Julia's room and Dr. Roylott's, for her room always smells of cigars, while miss Stoner's does not.[CFAct]";

DeliveryQuip of CigarsFresh is Connected;

To say CFAct:
		discard fresh;
		discard cigars;
		
CigarsHallway is a TempQuip. CigarsHallway connects Cigars and Hallway.

The description of CigarsHallway is "Perhaps the smoke came in through the door, though something's not right about that.[paragraph break]"

CigarsShutters is a TempQuip. CigarsShutters connects Cigars and Shutters.

The description of CigarsShutters is "Perhaps the smoke came in through the windows, though something's not right about that."

LaborersSpeckled is a TempQuip. LaborersSpeckled connects Laborers and Speckled.

The description of LaborersSpeckled is  "Yes, the speckled band may be some reference to the band of laborers. The speckles could refer to their mortar-spotted clothing."

LaborersNeedless is a TempQuip. LaborersNeedless connects Laborers and Needless.

The description of LaborersNeedless is "The band of laborers must be here for some other purpose, then.";

LaborersWhistle is a TempQuip. LaborersWhistle connects Laborers and Whistle.

The description of LaborersWhistle is "Yes, the whistle may have been a signal by the laborers.";

LaborersClang is a TempQuip. LaborersClang connects Laborers and Clang. The description of LaborersClang is "[if bolted is not carried by sherlock holmes]It is possible that the band of laborers entered and exited through the window, and that the clang was from the bolt closing behind them.[otherwise]The clang may have come from the band of laborers leaving, but the windows are so secure as to make that an impossibility.[end if]";

LaborersHallway is a TempQuip. LaborersHallway connects Laborers and Hallway.

The description of LaborersHallway is "Yes, the band of laborers may have entered through the doorway.";

LaborersSafety is a TempQuip. LaborersSafety connects Laborers and Safety.

The description of LaborersSafety is "Yes, it seems unlikely the laborers would have entered in through the doorway while it was locked.[DisHall]";

To say DisHall:
	discard Hallway;
	
LaborersShutters is a TempQuip. LaborersShutters connects Laborers and Shutters.

The description of LaborersShutters is "Yes, the band of laborers could have entered through the window.";

LaborersBolted is a TempQuip. LaborersBolted connects Laborers and Bolted.

The description of LaborersBolted is "Yes, is seems unlikely that the laborers would have entered in through the window while it was bolted.[DisShu]";

To say DisShu:
	discard shutters;

SpeckledCreature is a TempQuip. SpeckledCreature connects Speckled and Creature.

The description of SpeckledCreature is "[first time][incrementsnake][only]Yes, perhaps the creature was the speckled band; you are [snaketext] that the creature was a snake, but you need more evidence.[DisCre]";

DeliveryQuip of SpeckledCreature is Snake.
			
To say DisCre:
	discard creature;
	
SpeckledPredator is a TempQuip. SpeckledPredator connects Speckled and Predator.

The description of SpeckledPredator is "[first time][incrementsnake][incrementsnake][only]Yes, perhaps the dangerous creature was the speckled band; you are [snaketext] that the creature was a snake, but you need more evidence.[DisCre]";

DeliveryQuip of SpeckledPredator is Snake.

SpeckledDangerous is a TempQuip. SpeckledDangerous connects Speckled and Dangerous.

To say DisDan:
	discard Dangerous;

The description of SpeckledDangerous is "Yes, it must have been a dangerous creature.[DisCre][DisDan]"

DeliveryQuip of SpeckledDangerous is predator.

SpeckledConnected is a TempQuip. SpeckledConnected connects Speckled and Connected.

The description of SpeckledConnected is "Yes, the connection from Roylott's room must have been the means of attack of the speckled band.";

WhistleClang is a TempQuip. WhistleClang connects Whistle and Clang.

The description of WhistleClang is "Yes, both sisters heard whistles, but only Helen heard a clang, which came after the whistle.[DisCla][DisWhi]";

To say DisCla:
	discard Clang;
	
To say DisWhi:
	discard Whistle;

DeliveryQuip of WhistleClang is Whistles.

SafetyHallway is a TempQuip. SafetyHallway connects Safety and Hallway.

The description of SafetyHallway is "No, there's no way that someone could have entered through the door with the doors locked.[DisHal]";

To say DisHal:
	discard Hallway;

ClangShutters is a TempQuip. ClangShutters connects Clang and Shutters.

The description of ClangShutters is "Yes, the clang may have been from the windows closing.";

ClangFake is a TempQuip. ClangFake connects Clang and Fake.

The description of ClangFake is "It doesn't seem likely that the clang came from a fake bell.";

ClangBolted is a TempQuip. ClangBolted connects Clang and Bolted.

The description of ClangBolted is "It does not seem likely that the clang was from the windows closing, given how strong the windows are bolted.[DisShu]".

ClangSecured is a TempQuip. ClangSecured connects Clang and Secured.

The description of ClangSecured is "Yes, the safe closing may have caused the clang.";

SecuredSnake is a TempQuip. SecuredSnake connects Secured and Snake.

The description of SecuredSnake is "[first time][incrementsnake][only]Yes, a snake could be kept in a safe, unlike many other animals. You are [snaketext] that the speckled band is a snake.[DisSec]";

To say DisSec:
	discard Secured;

SecuredPredator is a TempQuip. SecuredPredator connects Secured and Predator.

The description of SecuredPredator is "Yes, some sort of animal could have been kept in the safe. Perhaps you should revisit this when you know more about the animal.";

SecuredCreature is a TempQuip. SecuredCreature connects Secured and Creature.

The description of SecuredCreature is "Yes, some sort of animal could have been kept in the safe. Perhaps you should revisit this when you know more about the animal.";

SecuredDangerous is a TempQuip. SecuredDangerous connects Secured and Dangerous.

The description of SecuredDangerous is "Yes, some sort of animal could have been kept in the safe. Perhaps you should revisit this when you know more about the animal.";

NeedlessConnected is a TempQuip. NeedlessConnected connects Needless and Connected.

The description of NeedlessConnected is "It seems like the needless repair work was intended to place Miss Stoner in this room, rather than her own.";

NeedlessFake is a TempQuip. NeedlessFake connects Needless and Fake.

The description of NeedlessFake is "It seems like the needless repair work was intended to place Miss Stoner in this room, rather than her own.";

NeedlessCigars is a TempQuip. NeedlessCigars connects Needless and Cigars.

The description of NeedlessCigars is  "This connection seems fairly thin.".

FakeCreature is a TempQuip. FakeCreature connects Fake and Creature.

The description of FakeCreature is "Yes, the bell pull may have been the means of travel for a creature.";

FakePredator is a TempQuip. FakePredator connects Fake and Predator.

The description of FakePredator is "Yes, the bell pull may have been the means of travel for a dangerous creature.";

FakeDangerous is a TempQuip. FakeDangerous connects Fake and Dangerous.

The description of FakeDangerous is "Yes, the bell pull may have been the means of travel for some dangerous creature.";

FakeConnected is a TempQuip.  FakeConnected connects Fake and Connected.

The description of FakeConnected is "Yes, the bell pull and the ventilator may have formed a continuous means of entrance for something.";

FakeSnake is a TempQuip. FakeSnake connects Fake and Snake.

The description of FakeSnake is "[first time][incrementsnake][only]Yes, the bell pull would be a perfect bridge for a snake to crawl down from the ventilator. You are [snakeText] that the speckled band was a snake.[DisFak]";

To say DisFak:
	discard fake;

ConnectedCreature is a TempQuip. ConnectedCreature connects Connected and Creature.

The description of ConnectedCreature is "Yes, a creature small enough could enter through the ventilator.";

ConnectedDangerous is a TempQuip. ConnectedDangerous connects Connected and Dangerous.

The description of ConnectedDangerous is "Yes, something dangerous could enter through the ventilator.";

ConnectedSnake is a TempQuip. ConnectedSnake connects Connected and Snake.

The description of ConnectedSnake is "[first time][incrementsnake][only]Yes, a snake could fit through; you are [snaketext] that the speckled band is a snake.[DisCon]";

To say DisCon:
	discard connected;

ConnectedCommunication is a TempQuip. ConnectedCommunication connects Connected and Communication.

The description of ConnectedCommunication is "That is odd, that the bellpull is near the ventilator; perhaps one should ring the bell to see if it has an effect in the doctor's room.";

CreatureDangerous is a TempQuip. CreatureDangerous connects Creature and Dangerous.

The description of CreatureDangerous is "Yes, it must have been a dangerous creature indeed.[DisCre][DisDan]";

DeliveryQuip of CreatureDangerous is Predator.

DangerousSnake is a TempQuip. DangerousSnake connects Dangerous and Snake.

The description of DangerousSnake is "[first time][incrementsnake][only]Yes, the lash could be used to control a snake. You are [snaketext] that the speckled band was a snake.[DisDan]";

ShuttersBolted is a TempQuip. ShuttersBolted connects Shutters and Bolted.

The description of ShuttersBolted is "Yes, it seems unlikely that anything could have gotten through those shutters.[DisShu]".

To say DisShut:
	discard Shutters;
	
PresenceCigars is a TempQuip. PresenceCigars connects Presence and Cigars.

The description of PresenceCigars is "Yes, the smell of cigars is related to Dr. Roylott's presence, but it brings you no new insights.";

PresenceConnected is a TempQuip. PresenceConnected connects Presence and Connected.

The description of PresenceConnected is "Yes, Dr. Roylott was in a room connected to Miss Julia Stoner's room.";

PresenceWhistle is a TempQuip. PresenceWhistle connects Presence and Whistle.

The description of PresenceWhistle is "Dr. Roylott may indeed have blown the whistle.";

PresenceWhistles is a TempQuip. PresenceWhistles connects Presence and Whistles.

The description of PresenceWhistles is "Dr. Roylott may indeed have blown the whistle.";

PresenceSafety is a TempQuip. PresenceSafety connects Presence and Safety.

The description of PresenceSafety is "The presence of Dr. Roylott is no doubt what induced the sisters to lock their doors.";

CheapRevenge is a TempQuip. CheapRevenge connects Cheap and Revenge.

The description of CheapRevenge is "The plaster busts were cheap; that implies that they would be an ineffective vehicle for revenge.[DisChe][EliRev]";

To say DisChe:
	discard Cheap;	

To say EliRev:
	eliminate revenge;
	

DuplicatesHatred is a TempQuip. DuplicatesHatred connects Duplicates and Hatred.

The description of DuplicatesHatred is "No, it doesn't make any sense; why would someone with a general hate of Napoleon seek out these specific busts?[EliHat]";

To say EliHat:
	eliminate hatred;

DuplicatesRevenge is a TempQuip. DuplicatesRevenge connects Duplicates and Revenge.	

The description of DuplicatesRevenge is "[first time][incrementrevenge][only]Yes, the fact that only a few specific busts were taken strengthens the revenge hypothesis.";

DuplicatesSeeking is a TempQuip. DuplicatesSeeking connects Duplicates and Seeking.

The description of DuplicatesSeeking is "[first time][incrementseeking][only]Yes, the fact that only a few specific busts were taken strengthens your hypothesis that the perpetrator was looking for something.";

MuffledHatred is a TempQuip. MuffledHatred connects Muffled and Hatred.

The description of MuffledHatred is "No, it makes no sense; why would someone who had an irrational hatred of busts take care to smash them in a secluded space?[EliHat]";

RemovedMuffled is a TempQuip. RemovedMuffled connects Removed and Muffled.

The description of RemovedMuffled is "Yes, it hints at a certain premeditation for one bust to be carried to a quiet place, and the other smashed in the surgery where it was already quiet.[line break][disRem][disMuf]";

To say disRem:
	discard Removed;
	
To say disMuf:
	discard Muffled;

DeliveryQuip of RemovedMuffled is Methodical.

IlluminationRevenge is a TempQuip. IlluminationRevenge connects Illumination and Revenge.

The description of IlluminationRevenge is "No, it makes no sense for the perpetrator to bring the bust to a well-lit area if revenge was their only motive.[EliRev]";

IlluminationHatred is a TempQuip. IlluminationHatred connects Illumination and Hatred.

The description of IlluminationHatred is "No, it makes no sense for the perpetrator to bring the bust to a well-lit area if hatred was their only motive.[EliHat]";

To say EliHat:
	eliminate Hatred;

RecognitionEmployed is a TempQuip. RecognitionEmployed connects Recognition and Employed. 

The description of RecognitionEmployed is "Tommy is a common thread, having been employed at [if CommonCounter is 0]two[otherwise]three[end if] locations linked to the busts.[DisEmp][DisRec]";

To say DisEmp:
	discard Employed;
	
To say DisRec:
	discard Recognition;

DeliveryQuip of RecognitionEmployed is Common.

RecognitionStaff is a TempQuip. RecognitionStaff connects Recognition and Staff.

The description of RecognitionStaff is "Yes, Tommy seems to have been involved in many locations where the busts were sold.[disSta]";

To say disSta:
	discard Staff;

To say IncrementCommon:
	now CommonCounter is 1;

MethodicalHatred is a TempQuip. MethodicalHatred connects Methodical and Hatred.

The description of MethodicalHatred is "It makes no sense for the perpetrator to be motivated by hatred, and yet to be so methodical in their destruction.[EliHat]";

CommonStaff is a TempQuip. CommonStaff connects Common and Staff.

The description of CommonStaff is "[IncrementCommon]Yes, Tommy was likely involved with all three of these locations.[disSta]";

MurdererRevenge is a TempQuip. MurdererRevenge connects Murderer and Revenge.

The description of MurdererRevenge is "No, even if he was smashing the busts to have revenge on the fellow he murdered, he would have smashed the busts before killing. Revenge is not his motive.[EliRev]";

MurdererHatred is a TempQuip. MurdererHatred connects Murderer and Hatred.

The description of MurdererHatred is "There is no hatred of Napoleon that would induce one to murder! The motive can not be hatred.[EliHat]";

MurdererSeeking is a TempQuip. MurdererSeeking connects Murderer and Seeking.

The description of MurdererSeeking is "[first time][incrementseeking][only]Yes, only some precious item concealed in the bust could induce one to murder another.";

SalesIncarceration is a TempQuip. SalesIncarceration connects Sales and Incarceration.

The description of SalesIncarceration is "Yes, it looks like the busts were sold after Tommy was incarcerated; he had the opportunity to alter them before selling them.[line break][disSal][disInc]".

To say disSal:
	discard Sales;
	
To say disInc:
	discard Incarceration;

DeliveryQuip of SalesIncarceration is Timing.

StaffEmployed is a TempQuip. StaffEmployed connects Staff and Employed.

The description of StaffEmployed is "[IncrementCommon]Yes, it seems that Tommy was involved in many of the locations the busts were sold.[disSta]";

MedicalSick is a TempQuip. MedicalSick connects Medical and Sick.

The description of MedicalSick is "John is suffering from an advanced disease, but he has extensive medical knowledge. Thus, the disease is one which cannot be cured; combined with his visit here today, you must conclude that Watson is dying.[first time][line break][only][disMed][disSic]"

To say disMed:
	discard Medical;
	
To say disSic:
	discard Sick;

DeliveryQuip of MedicalSick is Incurable.

[LoopKiller is a number that varies.

Every turn:
	now LoopKiller is 0.

A quip can be flipping or not flipping. A quip is usually not flipping.

Snake is flipping. Communication is flipping. Predator is flipping. Income is flipping. Murder is flipping. Destroyed is flipping. Muffled is flipping. Employed is flipping. Hatred is flipping. Revenge is flipping. Seeking is flipping. Incarceration is flipping.

A quip can be dull or not dull. A quip is usually not dull. Reports is dull.

Carry out linking something (called firstquip) with something (called secondquip):
	now LoopKiller is LoopKiller plus one;
	if LoopKiller > 3:
		say NoLink;
	otherwise if firstquip is not a quip:
		say "You can only link thoughts.";
	otherwise if secondquip is not a quip:
		say "You can only link thoughts.";
	otherwise if firstquip is not relevant:
		say "That first thought is no longer relevant.";
	otherwise if secondquip is not relevant:
		say "That second thought is no longer relevant.";
	otherwise if firstquip is secondquip:
		say "There's no benefit in linking a thought with itself.";
	otherwise if firstquip is dull:
		say "That thought need never be linked to anything else.";
	otherwise if firstquip is flipping:
		if secondquip is not firstquip:
			try linking secondquip with firstquip;
		otherwise:
			say NoLink;
	otherwise if firstquip is abuse:
		say NoLink;
	otherwise if firstquip is dogcart:
		if secondquip is Train:
			say "Yes, it seems that she rode on the dogcart first before reaching the train.";
		otherwise:
			say NoLink;
	otherwise if firstquip is Train:
		if secondquip is dogcart:
			try linking dogcart with train;
		otherwise:
			say NoLink;
	otherwise if firstquip is Cigars:
		if secondquip is fresh:
			say "There must be some sort of small connection, like a ventilator, between Julia's room and Dr. Roylott's, for her room always smells of cigars, while mine does not.";
			deliver Connected;
			discard fresh;
			discard cigars;
		otherwise if secondquip is hallway:
			say "Perhaps the smoke came in through the door, though something's not right about that.";
		otherwise if secondquip is shutters:
			say "Perhaps the smoke came in through the windows, though something's not right about that.";
		otherwise if secondquip is Presence:
			try linking Presence with Cigars;
		otherwise:
			say NoLink;
	otherwise if firstquip is fresh:
		if secondquip is cigars:
			say "There must be some sort of small connection, like a ventilator, between Julia's room and Dr. Roylott's, for her room always smells of cigars, while mine does not.";
			deliver Connected;
		otherwise:
			say NoLink;
	otherwise if firstquip is Laborers:
		if secondquip is speckled:
			say "Yes, the speckled band may be some reference to the band of laborers. The speckles could refer to their mortar-spotted clothing.";
		otherwise if secondquip is needless:
			say "The band of laborers must be here for some other purpose, then.";
		otherwise if secondquip is whistle:
			say "Yes, the whistle may have been a signal by the laborers.";
		otherwise if secondquip is whistles:
			say "Yes, the whistles may have been a signal by the laborers.";
		otherwise if secondquip is clang:
			if bolted is not carried by sherlock holmes:
				say "It is possible that the band of laborers entered and exited through the window, and that the clang was from the bolt closing behind them.";
			otherwise:
				say "The clang may have come from the band of laborers leaving, but the windows are so secure as to make that an impossibility.";
		otherwise if secondquip is hallway:
			say "Yes, the band of laborers may have entered through the doorway.";
		otherwise if  secondquip is safety:
			say "Yes, it seems unlikely the laborers would have entered in through the doorway while it was locked.";
			discard Hallway;
		otherwise if secondquip is shutters:
			say "Yes, the band of laborers could have entered through the window.";
		otherwise if secondquip is bolted:
			say "Yes, is seems unlikely that the laborers would have entered in through the window while it was bolted.";
			discard shutters;
		otherwise:
			say NoLink;
	otherwise if firstquip is speckled:
		if secondquip is Laborers:
			try linking Laborers with speckled;
		otherwise if secondquip is creature:
			say "[first time][incrementsnake][only]";
			say "Yes, perhaps the creature was the speckled band; you are [snaketext] that the creature was a snake, but you need more evidence.[paragraph break]";
			deliver snake;
			discard creature;
		otherwise if secondquip is predator:
			say "[first time][incrementsnake][incrementsnake][only]";
			say "Yes, perhaps the dangerous creature was the speckled band; you are [snaketext] that the creature was a snake, but you need more evidence.[paragraph break]";
			deliver snake;
			discard creature;
		otherwise if secondquip is dangerous:
			say "Yes, it must have been a dangerous creature.";
			deliver predator;
			discard dangerous;
			discard creature;
		otherwise if secondquip is connected:
			say "Yes, the connection from Roylott's room must have been the means of attack of the speckled band.";
		otherwise if secondquip is speckled:
			say "Yes, you've already considered that a snake is the speckled band.";
		otherwise:
			say NoLink;
	otherwise if firstquip is whistle:
		if secondquip is clang:
			say "Yes, both sisters heard whistles, but only Helen heard a clang, which came after the whistle.";
			deliver whistles;
			discard clang;
			discard whistle;
		otherwise if secondquip is Laborers:
			try linking Laborers with whistle;
		otherwise if secondquip is Presence:
			try linking Presence with whistle;
		otherwise:
			say NoLink;
	otherwise if firstquip is whistles:
		if secondquip is Laborers:
			try linking Laborers with whistle;
		otherwise if secondquip is Presence:
			try linking Presence with whistle;
		otherwise:
			say NoLink;
	otherwise if firstquip is safety:
		if secondquip is hallway:
			say "No, there's no way that someone could have entered through the door with the doors locked.";
			discard hallway;
		otherwise if secondquip is Laborers:
			try linking Laborers with safety;
		otherwise if secondquip is presence:
			try linking presence with safety;
		otherwise:
			say NoLink;
	otherwise if firstquip is hallway:
		if secondquip is safety:
			try linking safety with hallway;
		otherwise if secondquip is Laborers:
			try linking Laborers with hallway;
		otherwise if secondquip is Cigars:
			try linking hallway with cigars;
		otherwise:
			say NoLink;
	otherwise if firstquip is clang:
		if secondquip is shutters:
			say "Yes, the clang may have been from the windows closing.";
		otherwise if secondquip is whistle:
			try linking whistle with clang;
		otherwise if secondquip is fake:
			say "It doesn't seem likely that the clang came from a fake bell.";
		otherwise if secondquip is Laborers:
			try linking Laborers with clang;
		otherwise if secondquip is bolted:
			say "It does not seem likely that the clang was from the windows closing, given how strong the windows are bolted.";
			discard shutters;
		otherwise if secondquip is secured:
			say "Yes, the safe closing may have caused the clang.";
		otherwise:
			say NoLink;
	otherwise if firstquip is secured:
		if secondquip is clang:
			try linking clang with secured;
		otherwise if secondquip is snake:
			say "[first time][incrementsnake][only]";
			say "Yes, a snake could be kept in a safe. You are [snaketext] that the speckled band is a snake.";
			discard secured;
		otherwise if secondquip is predator:
			say "Yes, some sort of animal could have been kept in the safe. Perhaps you should revisit this when you know more about the animal.";
		otherwise if secondquip is creature:
			say "Yes, some sort of animal could have been kept in the safe. Perhaps you should revisit this when you know more about the animal.";
		otherwise if secondquip is dangerous:
			say "Yes, some sort of animal could have been kept in the safe. Perhaps you should revisit this when you know more about the animal.";
		otherwise:
			say NoLink;
	otherwise if firstquip is needless:
		if secondquip is connected:
			say "It seems like the needless repair work was intended to place Miss Stoner in this room, rather than her own.";
		otherwise if secondquip is fake:
			say "It seems like the needless repair work was intended to place Miss Stoner in this room, rather than her own.";
		otherwise if secondquip is cigars:
			say "This connection seems fairly thin.";
		otherwise if secondquip is laborers:
			say "The band of laborers must be here for some other purpose, then.";
		otherwise:
			say NoLink;
	otherwise if firstquip is fake:
		if secondquip is needless:
			try linking needless with fake;
		otherwise if secondquip is creature:
			say "Yes, the bell pull may have been the means of travel for a creature.";
		otherwise if secondquip is predator:
			say "Yes, the bell pull may have been the means of travel for a dangerous creature.";
		otherwise if secondquip is dangerous:
			say "Yes, the bell pull may have been the means of travel for some dangerous creature.";
		otherwise if secondquip is connected:
			say "Yes, the bell pull and the ventilator may have formed a continuous means of entrance for something.";
		otherwise if secondquip is clang:
			try linking clang with fake;
		otherwise if secondquip is communication:
			try linking communication with fake;
		otherwise if secondquip is snake:
			say "[first time][incrementsnake][only]";
			say "Yes, the bell pull would be a perfect bridge for a snake to crawl down from the ventilator. You are [snakeText] that the speckled band was a snake.";
			discard fake;
		otherwise:
			say NoLink;
	otherwise if firstquip is connected:
		if secondquip is needless:
			try linking needless with connected;
		otherwise if secondquip is fake:
			try linking fake with connected;
		otherwise if secondquip is speckled:
			try linking speckled with connected;
		otherwise if secondquip is creature:
			say "Yes, a creature small enough could enter through the ventilator.";
		otherwise if secondquip is dangerous:
			say "Yes, something dangerous could enter through the ventilator.";
		otherwise if secondquip is connected:
			say "Yes, a dangerous creature small enough could enter through the ventilator.";
		otherwise if secondquip is snake:
			say "[first time][incrementsnake][only]";
			say "Yes, a snake could fit through; you are [snaketext] that the speckled band is a snake.";
			discard connected;
		otherwise if secondquip is communication:
			say "That is odd, that the bellpull is near the ventilator; perhaps one should ring the bell to see if it has an effect in the doctor's room.";
		otherwise if secondquip is Presence:
			try linking Presence with Connected;
		otherwise:
			say NoLink;
	otherwise if firstquip is creature:
		if secondquip is speckled:
			try linking speckled with creature;
		otherwise if secondquip is fake:
			try linking fake with creature;
		otherwise if secondquip is connected:
			try linking connected with creature;
		otherwise if secondquip is dangerous:
			say "Yes, it must have been a dangerous creature indeed.[first time][paragraph break][only]";
			deliver predator;
			discard creature;
			discard dangerous;
		otherwise:
			say NoLink;
	otherwise if firstquip is dangerous:
		if secondquip is snake:
			say "[first time][incrementsnake][only]";
			say "Yes, the lash could be used to control a snake. You are [snaketext] that the speckled band was a snake.";
			discard dangerous;
		otherwise if secondquip is not dangerous:
			try linking secondquip with firstquip;
		otherwise:
			say NoLink;
	otherwise if firstquip is bolted:
		if secondquip is shutters:
			try linking shutters with bolted;
		otherwise if secondquip is Laborers:
			try linking Laborers with bolted;
		otherwise:
			say NoLink;
	otherwise if firstquip is shutters:
		if secondquip is bolted:
			say "Yes, it seems unlikely that anything could have gotten through those shutters.";
			discard shutters;
		otherwise if secondquip is Laborers:
			try linking Laborers with shutters;
		otherwise if secondquip is clang:
			try linking clang with shutters;
		otherwise:
			say NoLink;
	otherwise if firstquip is Presence:
		if secondquip is Cigars:
			say "Yes, the smell of cigars is related to Dr. Roylott's presence, but it brings you no new insights.";
		otherwise if secondquip is Connected:
			say "Yes, Dr. Roylott was in a room connected to Miss Julia Stoner's room.";
		otherwise if secondquip is Whistle:
			say "Dr. Roylott may indeed have blown the whistle.";
		otherwise if secondquip is Whistles:
			say "Dr. Roylott may indeed have blown the whistle.";
		otherwise if secondquip is Safety:
			say "The presence of Dr. Roylott is no doubt what induced the sisters to lock their doors.";
		otherwise:
			say NoLink;
	otherwise if firstquip is Cheap:
		if secondquip is Revenge:
			say "The plaster busts were cheap; that implies that they would be an ineffective vehicle for revenge.";
			discard Cheap;	
			eliminate revenge;
		otherwise:
			say NoLink;
	otherwise if firstquip is Duplicates:
		if secondquip is Hatred:
			say "No, it doesn't make any sense; why would someone with a general hate of Napoleon seek out these specific busts?";
			eliminate hatred;
		otherwise if secondquip is Revenge:
			say "[first time][incrementrevenge][only]";
			say "Yes, the fact that only a few specific busts were taken strengthens the revenge hypothesis.";
		otherwise if secondquip is Seeking:
			say "[first time][incrementseeking][only]";
			say "Yes, the fact that only a few specific busts were taken strengthens your hypothesis that the perpetrator was looking for something.";
		otherwise:
			say NoLink;
	otherwise if firstquip is Muffled:
		if secondquip is Hatred:
			say "No, it makes no sense; why would someone who had an irrational hatred of busts take care to smash them in a secluded space?";
			eliminate hatred;
	otherwise if firstquip is Removed:
		if secondquip is muffled:
			say "Yes, it hints at a certain premeditation for one bust to be carried to a quiet place, and the other smashed in the surgery where it was already quiet.[line break]";
			deliver Methodical;
			discard removed;
			discard muffled;
		otherwise:
			say NoLink;
	otherwise if firstquip is Illumination:
		if secondquip is Revenge:
			say "No, it makes no sense for the perpetrator to bring the bust to a well-lit area if revenge was their only motive.";
			eliminate revenge;
		otherwise if secondquip is Hatred:
			say "No, it makes no sense for the perpetrator to bring the bust to a well-lit area if hatred was their only motive.";
			eliminate hatred;
		otherwise:
			say NoLink;
	otherwise if firstquip is Recognition:
		if secondquip is Employed:
			say "Tommy is a common thread, having been employed at [if CommonCounter is 0]two[otherwise]three[end if] locations linked to the busts.";
			discard Recognition;
			discard employed;
			deliver Common;
		otherwise if secondquip is Staff:
			now CommonCounter is 1;
			say "Yes, Tommy seems to have been involved in many locations where the busts were sold.";
			discard Staff;
		otherwise:
			say NoLink;
	otherwise if firstquip is Methodical:
		if secondquip is Hatred:
			say "It makes no sense for the perpetrator to be motivated by hatred, and yet to be so methodical in their destruction.";
			eliminate hatred;
		otherwise:
			say NoLink;
	otherwise if firstquip is Common:
		if secondquip is Staff:
			now CommonCounter is 1;
			say "Yes, Tommy was likely involved with all three of these locations.";
			discard Staff;
		otherwise:
			say NoLink;
	otherwise if firstquip is Hatred:
		if secondquip is not Hatred:
			try linking secondquip with firstquip;
		otherwise:
			say NoLink;
	otherwise if firstquip is Murderer:
		if secondquip is Revenge:
			say "No, even if he was smashing the busts to have revenge on the fellow he murdererd, he would have smashed the busts before killing. Revenge is not his motive.";
			eliminate revenge;
		otherwise if secondquip is Hatred:
			say "There is no hatred of Napoleon that would induce one to murder! The motive can not be hatred.";
			eliminate hatred;
		otherwise if secondquip is Seeking:
			say "[first time][incrementseeking][only]";
			say "Yes, only some precious item concealed in the bust could induce one to murder another.";
		otherwise:
			say NoLink;
	otherwise if firstquip is sales:
		if secondquip is incarceration:
			discard sales;
			discard incarceration;
			say "[line break]Yes, it looks like the busts were sold after Tommy was incarcerated; he had the opportunity to alter them before selling them.[paragraph break]";
			deliver timing;
		otherwise:
			say NoLink;
	otherwise if firstquip is staff:
		if secondquip is Common:
			try linking Common with Staff;
		otherwise if secondquip is recognition:
			try linking recognition with staff;
		otherwise if secondquip is employed:
			now CommonCounter is 1;
			say "Yes, it seems that Tommy was involved in many of the locations the busts were sold.";
			discard Staff;
		otherwise:
			say NoLink;
	otherwise:
		say NoLink;]


[link cheap to revenge (lower)
link duplicates to seeking (higher)
link duplicates to revenge (higher)
link duplicates to napoleon (lower)
link chance to napoleon (lower)
link removed to muffled (give methodical)
link illumination to seeking (highest)
link illumination to revenge (lowest/eliminate)
link tommy at one to tommy at other
link date of arrest to date of sale
link pearls to ...]

Book 2 - Accomplishments

ScoreList is a list of text that varies. ScoreList is {"Preparing the correct mental state..."}.

Understand the command "score" as something new.

Fullscoring is an action out of world. Understand "fullscore" or "full" or "score" as fullscoring.

Carry out fullscoring:
	say "So far you have accomplished:[paragraph break]";
	repeat with current running through ScoreList:
		say "[current][paragraph break]";
	say "And, finally, spending a moment to review your own accomplishments.";

Volume 2 - Inside the Mind

Book 1 - Standard actions inside the mind

Before going nowhere when the player is Mind Holmes:
	if the noun is northeast or the noun is northwest or the noun is southeast or the noun is southwest:
		say "Your mind is neat and orderly; you can only go in cardinal directions while in your mind." instead;

A quip has a room called the LookUpRoom. LookUpRoom is usually 221B Baker Street.

A quip has some text called LookUpText. The LookUpText is usually "You are unable to discover more on this topic."

LookUping is an action applying to one thing. Understand "look up [something]" as LookUping.

Instead of LookUping something:
	if the player is not Mind Holmes:
		say "You need only consult your own mind.";
	otherwise if the noun is not a quip:
		say "You can only look up thoughts, and only those based on your specialized knowledge.";
	otherwise if the player is in Doctor's Commons:
		try talking to the law clerk;
	otherwise:
		if the player is in the LookUpRoom of the noun:
			say LookUpText of the noun;
		otherwise if LookUpRoom of the noun is not 221B Baker Street:
			say "This is the wrong room for that type of information; another branch of your brain should suffice.";
		otherwise:
			say "That specific noun can not be looked up in any room.";

Book 2 - Layout of Mind

[Knowledge of Literature.--Nil.
Philosophy.--Nil.
Astronomy.--Nil.
Politics.--Feeble.
Botany.--Variable. Well up in belladonna, opium, and poisons generally. Knows nothing of practical gardening.
Geology.--Practical, but limited. Tells at a glance different soils from each other. After walks has shown me splashes upon his trousers, and told me by their colour and consistence in what part of London he had received them.
Chemistry.--Profound.
Anatomy.--Accurate, but unsystematic.
Sensational Literature.--Immense. He appears to know every detail of every horror perpetrated in the century.
Plays the violin well.
Is an expert singlestick player, boxer, and swordsman.
Has a good practical knowledge of British law.]

DepressionCounter is a number that varies. DepressionCounter is 0.

Every turn during DepressionTime:
	if Watson is in the location of the player:
		say "[one of]You sigh.[or]You feel shaken; your feelings are depressed. You feel a strong desire to discuss the case with Watson.[or]Your heart is still heavy.[or]You still need the comfort that speaking with your friends brings.[or]Your heart is still heavy.[stopping]";

DepressionTime is a recurring scene. DepressionTime begins when DepressionCounter < 0. DepressionTime ends when DepressionCounter is 0.

When DepressionTime begins:
	now ClueTime is 1;
	say "This case is beginning to wear on you...

You feel a black depression coming over you.  You need the advice and, you must admit, the admiration of your friends. Watson is ready to discuss the case.";

FoodDepressionDone is a number that varies. FoodDepressionDone is 0.

When DepressionTime ends:
	now ClueTime is 0;
	if the player is in Nearby Restaurant:
		if Common is not carried by the player:
			now FoodDepressionDone is 1;
			say "Watson's admiration and friendship has helped you fight back your depression. 

You say, 'This has been a difficult and trying case, Watson, but I believe that we will soon find our perpetrator.' He nods in response.

It's time to think. You'll be meeting Lestrade soon, after stopping at Hudson's art shop. You need to know exactly who you think was the perpetrator.";
		otherwise:
			say "Watson's admiration has helped you fight back your depression. It's time to act. Hudson should be back at his shop, now.";
			add "Overcoming a deep depression..." to ScoreList, if absent;
	otherwise:
		say "Watson's admiration has helped you fight back your depression.

You say, 'The death of Miss Stoner's sister was a cunning act, Watson, and we must be at our ready tonight.'

There is nothing else to say, and it is necessary now for you to wait[if RoyReady is 1] again[end if].";

Before waiting when DepressionTime is happening:
	if the player is Sherlock Holmes:
		say "Even waiting seems unbearable. You need to talk with Watson." instead;			

Before going a direction when DepressionTime is happening:
	if Watson is in the location of the player:
		if ClueTime is 1:
			say  "You are suffering from a fit of black depression. You've begun to doubt the admiration of your friends. You should talk to Watson." instead;

To decrease depression:
	now ClueTime is 1;
	let TempNum be 0;
	repeat with current running through quips carried by Sherlock Holmes:
		if current is relevant:
			if current is unwatsongiven:
				now TempNum is TempNum plus one;
	if TempNum > 3:
		now TempNum is 3;
	now DepressionCounter is 0 minus TempNum;

A quip has a number called WatsonPoints. WatsonPoints of a quip is usually 1. 
	
Part 1 - Conscious Mind

Instead of thinking:
	if the player is not Sherlock Holmes:
		say "[We] ponder[ed] for a moment, fruitlessly.";
	otherwise:
		say "**********************************************[line break]You sink into your conscious mind...[line break]**********************************************";
		now Mind Holmes is in Conscious Mind;
		Playerchange Mind Holmes;
		try looking;
		say EasyExplanation;
		
To say EasyExplanation:
	say "[bracket]You can place the game in Easy Mode by typing EASY at any time. This does not affect your success in the game. Easy mode will gives you hints on what connections you can make between topics.[close bracket][paragraph break]"

Easying is an action out of world. Understand "easy" as easying.

EasyFlag is a number that varies. EasyFlag is 0.

Carry out easying:
	if EasyFlag is 0:
		say "[bracket]The game is now in Easy Mode. You can EXAMINE any topics in your thought inventory to see which other topics they can be linked to.[close bracket][paragraph break]";
		now EasyFlag is 1;
	otherwise:
		say "[bracket]The game is already in Easy Mode. You can EXAMINE any topics in your thought inventory to see which other topics they can be linked to.[close bracket][paragraph break]"
	
Harding is an action out of world. Understand "hard" as harding.

Carry out harding:
	if EasyFlag is 1:
		now EasyFlag is 0;
		say "[bracket]The game is now in Hard Mode. You'll have to figure out which topics have connections on your own.[close bracket][paragraph break]";
	otherwise:
		say "[bracket]The game is already in Hard Mode.[close bracket][paragraph break]";

The Conscious Mind is a room. Mind Holmes is in Conscious Mind. The description of the Conscious Mind is "Time stands still in here. You are in a wide, elevated room filled with sunlight. You can go [bold type]north[roman type] to the Lesser Sciences,  [bold type]south[roman type] to the Physical Sciences, or [bold type]east[roman type] to the Human Sciences[exitMind]

A large display case is in the middle of the room, titled 'Thoughts'.[if pertinentcase is not BaseCase]

In the wall are three slots, titled 'Means' (currently [MeansState]), 'Motive' (currently [MotiveState]), and 'Opportunity' (currently [OpportunityState]). Each has a bit of lettering about it.[end if]";

To say MeansState:
	if MeansFlag of PertinentCase is 1:
		say "full";
	otherwise:
		say "empty";

To say MotiveState:
	if MotiveFlag of PertinentCase is 1:
		say "full";
	otherwise:
		say "empty";

To say OpportunityState:
	if OpportunityFlag of PertinentCase is 1:
		say "full";
	otherwise:
		say "empty";

The sunlight is scenery in The Conscious Mind.  The description of the sunlight is "The light has no distinct source[first time]. But it clarifies and enlightens[only]."

The frozen time is scenery in Conscious Mind. The description of the frozen time is "Time is insubstantial, even in this environment."

The basement is a room.

The backroom is a backdrop. The backroom is everywhere.  The printed name of the backroom is "room". Understand "room" as the backroom.

Instead of examining the backroom:
	say the description of the location of the player;

The plaster dust is in The Conscious Mind. "[first time][italic type]All of your old mental paraphernalia for solving cases are here. Useless now, of course. But there are two new additions here[roman type]:

-[only]-A pile of plaster dust lies on the floor; a memory of the case of The Six Napoleons. You can TAKE it to remember." The description of the plaster dust is "This is a metaphorical representation of the Case of the Six Napoelons. If you TAKE it, you will re-live that case."

IntroScene is a scene. IntroScene begins when the player is Mind Holmes. IntroScene ends when the player is not Mind Holmes.

To say exitMind:
	if IntroScene is not happening:
		if SpeckledSolution is not happening:
			if SleepySixSherlock is not happening:
				say "[one of].[or].

You can leave at any time by going [bold type]outside[roman type][stopping]";

Instead of exiting when the player is in Conscious Mind:
	try going outside;

Reality is outside from Conscious Mind.

Instead of going outside from Conscious Mind:
	if IntroScene is happening:
		say "To leave, you need to take the lash or the dust.";
	otherwise if the worn lash is in Conscious Mind:
		say "You can only leave by taking the lash.";
	otherwise if the plaster dust is in Conscious Mind:
		say "You can only leave by taking the plaster dust.";
	otherwise if SpeckledSolution is happening:
		say "You have to find the solution before you go.";
	otherwise if SleepySixSherlock is happening:
		say "You need to find a solution before you wake up.";
	otherwise:
		say "****************************************************[line break]You return to the outside world...[line break]****************************************************";
		Playerchange Sherlock Holmes;
		try looking;

Rule for deciding whether all includes the plaster dust: it does not.

Rule for deciding whether all includes the worn lash: it does not.

Instead of taking the plaster dust:
	try GoSixing;
	now the plaster dust is in the basement;
	now the worn lash is nowhere;

The worn lash is in The Conscious Mind. "[first time]-[only]-A worn lash lies on the floor; a memory of the Speckled Band. You can TAKE it to remember." The description of the worn lash is "This is a metaphorical representation of the Case of the Speckled Band. If you TAKE it, you will re-live that case."

To segue to baker:
	say "****************************************************[line break]You find yourself remembering the case...[line break]****************************************************[paragraph break]";
	now pertinentcase is SpeckledBand;
	
Instead of taking the worn lash:
	segue to baker;
	now the worn lash is in the basement;
	now the plaster dust is nowhere;

Understand "memory" as the plaster dust. Understand "memory" as the worn lash.

The display case is scenery in Conscious Mind. The description of the display case is "[if the number of quips carried by Sherlock Holmes is 0]It is empty; it's been a long time since you've had a case. But you used to organize your clues and thoughts here. [otherwise]It contains the following: [line break][ThoughtsList] [end if]".

Instead of opening the display case:
	say "You use this display case for displaying only. It alters to reflect your thoughts on the case you are pursuing."

Instead of closing the display case:
	say "You use this display case for displaying only. It alters to reflect your thoughts on the case you are pursuing."

Instead of entering the display case:
	say "To become a thought is an interesting idea, but you still have work to do, and you do not enter the case."

Understand "thoughts" as the display case.

Does the player mean topicing:
	 it is likely.

To say ThoughtsList:
	now QuipSwitch is 0;
	repeat with currentquip running through all relevant quips carried by Sherlock Holmes:
		now QuipSwitch is 1;
		say "[line break]   ";
		say "[currentquip] - '[the preview of currentquip]'";
	if QuipSwitch is 0:
		say "You have no pertinent thoughts.";	

The means slot is scenery in Conscious Mind. The means slot is a container. The motive slot is scenery in conscious mind. The motive slot is a container.  The opportunity slot is scenery in conscious mind. The opportunity slot is a container.  Understand "bit" as the means slot. Understand "bit" as the motive slot. Understand "bit" as the opportunity slot. Understand "lettering" as the means slot. Understand "lettering" as the motive slot. Understand "lettering" as the opportunity slot.

Instead of searching the means slot:
	try examining the means slot;

Instead of searching the motive slot:
	try examining the motive slot;

Instead of searching the opportunity slot:
	try examining the opportunity slot;

The description of the means slot is "The means slot carries these words: 'The means of a crime are the ability of the criminal to commit the crime.' It is currently [MeansState]."

The description of the motive slot is "The motive slot carries these words: 'The motive of a crime is the cause or desire of the criminal to commit the crime.' It is currently [MotiveState]."

The description of the opportunity slot is "The opportunity slot carries these words: 'The opportunity for a crime is the placement of the criminal at the correct time or place commit the crime.' It is currently [OpportunityState]."

A case has a quip called CaseMeans. CaseMeans is usually Reports.

A case has a quip called CaseMotive. CaseMotive is usually Reports.

A case has a quip called CaseOpportunity. CaseOpportunity is usually Reports.

CaseMeans of SpeckledBand is Snake.

CaseMotive of SpeckledBand is Income.

CaseOpportunity of SpeckledBand is Presence.

CaseMeans of SixNapoleons is Common.

CaseMotive of SixNapoleons is Emerald.

CaseOpportunity of SixNapoleons is Timing.

A case has a number called MeansFlag. MeansFlag of a case is usually 0.

A case has a number called MotiveFlag. MotiveFlag of a case is usually 0.

A case has a number called OpportunityFlag. OpportunityFlag of a case is usually 0.

Instead of inserting something (called TempQuip) into the means slot:
	if TempQuip is not a quip:
		say "Only thoughts can be placed in the Means slot.";
	otherwise if TempQuip is CaseMotive of PertinentCase:
		say "Hmm... this seems more like a motive to commit crime than the means to do so.";
	otherwise if TempQuip is CaseOpportunity of PertinentCase:
		say "The term 'means' refers to something with the physical capacity to commit crime, such as a revolver, a key, or a poison, and not to being in the right place at the right time.";
	otherwise if TempQuip is not CaseMeans of PertinentCase:
		say "That doesn't seem to fit correctly.";
	otherwise if MeansFlag of PertinentCase is 1:
		say "You've already identified the means correctly.";
	otherwise:
		say "It fits in the slot with a satisfying 'thunk'.";
		now MeansFlag of PertinentCase is 1;
		check the solution;

Instead of inserting a quip (called TempQuip) into the motive slot:
	if TempQuip is not a quip:
		say "Only thoughts can be placed in the Motive slot.";
	otherwise if TempQuip is CaseMeans of PertinentCase:
		say "Hmm... this seems more like the means to commit a crime than the motive to do so.";
	otherwise if TempQuip is CaseOpportunity of PertinentCase:
		say "Hmm... this seems more like the opportunity to commit a crime than the motive to do so.";
	otherwise if TempQuip is not CaseMotive of PertinentCase:
		say "That doesn't seem to fit correctly.";
	otherwise if MotiveFlag of PertinentCase is 1:
		say "You've already identified the means correctly.";
	otherwise:
		say "It fits in the slot with a satisfying 'thunk'.";
		now MotiveFlag of PertinentCase is 1;
		check the solution;

Instead of inserting Seeking into the motive slot:
	say "It doesn't seem to fit; there must be something more specific.";

Instead of inserting a quip (called TempQuip) into the opportunity slot:
	if TempQuip is not a quip:
		say "Only thoughts can be placed in the Opportunity slot.";
	otherwise if TempQuip is CaseMotive of PertinentCase:
		say "Hmm... this seems more like a motive to commit crime than the opportunity to do so.";
	otherwise if TempQuip is CaseMeans of PertinentCase:
		say "The term 'opportunity' refers to the criminal being in the right place at the right time to commit the crime, and not to the physical means of commiting a crime.";
	otherwise if TempQuip is not CaseOpportunity of PertinentCase:
		say "That doesn't seem to fit correctly.";
	otherwise if OpportunityFlag of PertinentCase is 1:
		say "You've already identified the means correctly.";
	otherwise:
		say "It fits in the slot with a satisfying 'thunk'.";
		now OpportunityFlag of PertinentCase is 1;
		check the solution;

A case has a number called CaseSolution. CaseSolution is usually 0.

To check the solution:
	if MeansFlag of PertinentCase is 1:
		if MotiveFlag of PertinentCase is 1:
			if OpportunityFlag of PertinentCase is 1:
				now CaseSolution of PertinentCase is 1;
				add "Deducing the means, motive, and opportunity behind the crime..." to ScoreList, if absent;

[MotiveSwitch is a number that varies. MotiveSwitch is 0.

To say MeansMotiveOpportunity:
	now MotiveSwitch is 0;
	repeat with currentquip running through all quips carried by Sherlock Holmes:
		now QuipSwitch is 1;
		say "[line break]   ";
		say "[currentquip] - '[the preview of currentquip]'";
	if QuipSwitch is 0:
		say "You have no pertinent clues.";]


Part 2 - Literature, Philosophy, Astronomy, Politics

The Lesser Sciences is north from the Conscious Mind. The description of the Lesser Sciences is "This is a large room that is mostly bare. Each corner is labelled by letters in worn gold foil. The areas titled LITERATURE, PHILOSOPHY, and ASTRONOMY are bare.  You can return to the [bold type]south[roman type].

[if pertinentCase is BaseCase]When you had cases, you would look up various topics here, in the halls of your mind. But that was years ago.[otherwise]There is a single bookshelf under POLITICS where you can LOOK UP thoughts related to politics.[end if]

Also, there are stairs leading [bold type]down[roman type] to the basement."

The reminder placard is in Lesser Sciences. The reminder placard is not portable. "There is a reminder placard here, in the only room with enough space."

The empty corners are scenery in the Lesser Sciences. Understand "corner" or "literature" or "philosophy" or "astronomy" as the empty corners. The description of the empty corners is "These areas of your mind are quite bare."

The description of the reminder placard is "It says:

 Life is infinitely stranger than anything which the mind of man could invent. We would not dare to conceive the things which are really mere commonplaces of existence. If one could fly out of a window, hover over this great city, gently remove the roofs, and peep in at the queer things which are going on, the strange coincidences, the plannings, the cross-purposes, the wonderful chains of events, working through generations, and leading to the most outré results, it would make all fiction with its conventionalities and foreseen conclusions most stale and unprofitable."

The politics bookshelf is scenery in the Lesser Sciences.  The description of the politics bookshelf is "[if pertinentcase is BaseCase]When you were solving cases, you could look up thoughts and clues you had, here. But that was long ago.[otherwise]You can LOOK UP any thoughts you have to see if you can find information here. There's no need to say what bookcase you're using.; just LOOK UP a thought. Only rarely, though, will you need to enter these halls for this purpose.[end if]" 

Understand "books" or "bookshelf" or "book" or "shelf" as the politics bookshelf.

HiddenRoom is a room.

The watery stairs are scenery. The watery stairs are a door in The Lesser Sciences. They are down from the Lesser Sciences and up from HiddenRoom. The watery stairs are open. The watery stairs are not openable. 

Instead of climbing the watery stairs:
	try entering the watery stairs.
	
Instead of entering the watery stairs:
	try going down;

Understand "downstairs" as the watery stairs. Understand "descend" as climbing.
	
The description of the watery stairs is "They lead to the dark corners of your mind."

Instead of going down from the lesser sciences:
	say "The stairs are filled with water, [if DepressionCounter < 0]higher than usual[otherwise]near the bottom[end if]. The dark waters threaten to overwhelm this place at any moment, but the respect and friendship of those close to you keeps it at bay. So you stay upstairs."

The worn gold foil letters are scenery in the lesser sciences. The description of the worn gold foil letters is "The letters say LITERATURE, PHILOSOPHY, ASTRONOMY, and POLITICS." Understand "letter" or "letters" as the worn gold foil letters.

Lookuproom of Employed is the lesser sciences. 

Lookuptext of Employed is "Looking through the politics bookshelf, you see that more and more British manufacturers are using cheap immigrant labor, including from poor American families.".

LookUpRoom of Laborers is Lesser Sciences.

Lookuptext of Laborers is "You look through the Politics bookcase.

Yes, you recall that there have been several labor disputes recently. The laborers may have a grudge against the landed gentry, although Roylott has drawn them to his side.";

Lookuproom of Recognition is the Lesser Sciences. The lookuptext of recognition is "You search the politics bookshelf. You see that it is not uncommon for immigrants of various nationalities to be employed together in Britain."

Lookuproom of staff is Lesser Sciences.

Lookuptext of Staff is "Looking through the politics bookshelf, you see that Americans are frequently employed in London as accountants and bookkeepers."

Lookuproom of cigars is lesser sciences.

The lookuptext of cigars is "Looking through the politics bookshelf, you find a book that claims that the demand for Indian cigars in England comes from the presence of a large Anglo-Indian population."

[Understand "examine [text]" as examining as a book when the player is in the Lesser Sciences. Understand "look up [text]" as examining as a book when the player is in the Lesser Sciences. [change this to a whole region] 

Examining as a book is an action applying to one topic. 

Carry out examining as a book: 
	say "You can't find any such text." 

Instead of examining as a book a topic listed in the Table of Politics Topics: 
	say "[description entry][paragraph break]" 

Table of Politics Topics
topic	title	description
 "Reading Greek Death" or "reading/greek/death" or "greek death"	"Reading Greek Death"	"A dense orange paperback treatise on the development of Greek eschatology."
 "TAPA/Transactions/134-2"	"TAPA 134-2"	"Transactions of the American Philological Association from 2004."
 "Oxford Classical Dictionary" or "OCD/dictionary/classical/oxford"	 "Oxford Classical Dictionary"	"A hefty reference with short articles on everything from Greek meter to ancient cosmetics."
 "Collected Dialogues of Plato" or "Plato/dialogues/hamilton/cairns"	"Collected Dialogues of Plato"	"All the Platonic dialogues -- some, admittedly, in rather tired translations -- but still a useful single volume, ed. Edith Hamilton and Huntington Cairns."
 "Adobe Illustrator CS User Guide" or "user guide" or "adobe illustrator" or "adobe/illustrator/cs/user/guide"	"Adobe Illustrator CS User Guide"	"Hello, how did this get here? A suspiciously familiar name is scribbled inside the front cover..."]
 
[Instead of examining the politics bookshelf: 
	choose a random row in the Table of Politics Topics; 
	say "You scan the shelves and notice, among others, a volume entitled [italic type][title entry][roman type]." ]

Part 3 - Physical Sciences

[Botany.--Variable. Well up in belladonna, opium, and poisons generally. Knows nothing of practical gardening.
Geology.--Practical, but limited. Tells at a glance different soils from each other. After walks has shown me splashes upon his trousers, and told me by their colour and consistence in what part of London he had received them.
Chemistry.--Profound.
]

Physical Sciences is south from Conscious Mind.

The description of Physical Sciences is "This is a large room filled with bookshelves. The walls are labelled in worn gold foil. One side of the room has shelves labeled BOTANY and ZOOLOGY, with a varied degree of fullness in the shelves. The opposite side, labelled GEOLOGY, has a smaller number of books, but they are all well-worn.  The back wall is labelled CHEMISTRY, and it is packed full. You can return to the [bold type]north[roman type].

[if pertinentCase is BaseCase]When you had cases, you would look up various topics here, in the halls of your mind. But that was years ago.[otherwise]You can LOOK UP thoughts that are related to plants, poisons, dirt, chemicals, and anything else related to any of the above topics.[end if]"


The worn gold foil label is scenery in the physical sciences. The description of the worn gold foil label is "The letters say BOTANY, ZOOLOGY, CHEMISTRY, and GEOLOGY." Understand "letter" or "letters" or "label" as the worn gold foil label.

The varied bookshelves are scenery in Physical sciences. Understand "bookshelf" or "shelf" or "shelves" or "book" or "books" as the varied bookshelves. The description of the varied bookshelves is "The bookshelves in this room are quite different from each other, including the Botany shelf, the Chemistry shelf, and the Geology shelf[if pertinentcase is not basecase]. You can LOOK UP a topic, if you have one. You don't have to specify which bookshelf to look it up in, as all pertient shelves will be consulted at once[end if].".

Instead of taking the varied bookshelves:
	say "These are metaphorical books."

The botany bookshelf is scenery in Physical sciences.  The description of the botany bookshelf is "Your knowledge of Botany is better in some areas than others[if pertinentcase is not basecase]. You can LOOK UP a topic, if you have one[end if]."

The chemistry bookshelf is scenery in Physical sciences. The description of the chemistry bookshelf is "Your knowledge of Chemistry is quite extensive[if pertinentcase is not basecase]. You can LOOK UP a topic, if you have one[end if]."

The zoology bookshelf is scenery in Physical sciences. The description of the zoology bookshelf is "Your knowledge of geology is restricted to practical topics only. You can LOOK UP a topic, if you have one[if pertinentcase is not basecase]. You can LOOK UP a topic, if you have one[end if]."

The geology bookshelf is scenery in Physical sciences. The description of the geology bookshelf is "Your knowledge of geology is restricted to practical topics only. You can LOOK UP a topic, if you have one[if pertinentcase is not basecase]. You can LOOK UP a topic, if you have one[end if]."


Lookuproom of snake is Physical Sciences. Lookuptext of Snake is  "You look through the zoology bookshelf.

Yes, you recall that snakes are dangerous predators with slow metabolisms. They are revered in parts of India and worshipped with milk and sweets."


Part 4 - Human Sciences

[Anatomy.--Accurate, but unsystematic.
Sensational Literature.--Immense. He appears to know every detail of every horror perpetrated in the century.
Plays the violin well.
Is an expert singlestick player, boxer, and swordsman.
Has a good practical knowledge of British law.]

Human Sciences is east from Conscious Mind. The description of Human Sciences is "This is a large room filled with bookshelves. One side of the room is labeled ANATOMY, with a mismatched but full collection of books. The opposite side, labelled BRITISH LAW, has a regular row of bookshelves filled with volumes.  The back wall is labelled SENSATIONAL LITERATURE, and it is overflowing with lurid accounts of crime. You can return to the [bold type]west[roman type].

[if pertinentCase is BaseCase]When you had cases, you would look up various topics here, in the halls of your mind. But that was years ago.[otherwise]You can LOOK UP thoughts that are related to laws, statutes, crimes, criminals, and anatomical facts, as well as anything else related to any of the above topics.[end if]"

The assorted bookshelves are scenery in Human Sciences. The description of the assorted bookshelves is "There are shelves labeled ANATOMY, BRITISH LAW, and SENSATIONAL LITERATURE. The latter is stuffed full." Understand "bookshelf" or "book" or "books" or "shelf" or "volume" or "volumes" as the assorted bookshelves.

Instead of taking the assorted bookshelves:
	say "These are metaphorical books. As such, they are hardly portable."

The anatomy bookshelf is scenery in Human Sciences. The description of the anatomy bookshelf is "This shelf has a mismatched but full collection of books. You've gathered a great deal of knowledge about anatomy over time." Understand "mismatched" or "full" or "collection" as the anatomy bookshelf.

The British law bookshelves are scenery in Human Sciences. The description of the British law bookshelf is "These shelves are are neatly organized and filled." Understand "bookshelf" as the british law bookshelves.

The Sensational Literature bookshelf is scenery in Human Sciences.   The description of the sensational literature bookshelf is "This is where you store your various accounts of crime. It has been a productive source of clues, when you've had something important to look up."  Understand "lurid" or "account" or "accounts" or "crime " or "various" or "productive" or "source" as the sensational literature bookshelf.

LookUpRoom of Sales is Human Sciences.

Instead of LookUping Sales:
	if the player is in Human Sciences:
		say "You look through the Sensational Literature bookcase.

Yes, in the newspapers, you recall that an American gangster fitting Tommy's description was arrested on May 20th.[first time][line break][only]";
		deliver Incarceration		;
	otherwise:
		say "This may not be the best room for this thought."; 

LookUpRoom of Timing is Human Sciences.

Instead of LookUping Timing:
	if the player is in Human Sciences:
		say "You look through the Sensational Literature bookcase.

Yes, there was some crime committed at that time...you search through your mind. Of course! The Rockefeller Emerald! It was stolen two days before Tommy was first arrested![paragraph break]";
		deliver Emerald;
		add "Recalling a certain scandal involving the Rockefeller family..." to ScoreList, if absent;
	otherwise:
		say "This may not be the best room for this thought."; 

LookUpRoom of Income is Human Sciences.

Instead of LookUping Income:
	if the player is in Human Sciences:
		say "You look through the British Law bookcase.

Yes, by law Dr. Roylott would lose a great deal of money if the sisters married. That seems to be a strong motive for murder.";
	otherwise:
		say "This may not be the best room for this thought."; 
		
LookUpRoom of Safety is Human Sciences.

Instead of LookUping Safety:
	if the player is in Human Sciences:
		say "You look through the British Law bookcase.

Yes, by British Law the sisters have had very little recourse to go for aid against their stepfather.";
	otherwise:
		say "This may not be the best room for this thought."; 

		
LookUpRoom of Creature is Human Sciences.

Instead of LookUping Creature:
	if the player is in Human Sciences:
		say "You look through the Sensational Literature bookcase.

Yes, many creatures have been used to murder, including a messy accident due to an orangutan.";
	otherwise:
		say "This may not be the best room for this thought."; 

LookUpRoom of Predator is Human Sciences.

Instead of LookUping Predator:
	try LookUping Creature;

LookUpRoom of Dangerous is Human Sciences.

Instead of LookUping Dangerous:
	if the player is in Human Sciences:
		say "You look through the Sensational Literature bookcase.

Yes, there are many cases of men keeping dangerous objects, things, or people about the house. The lash could have been used to whip unruly laborers, or keep a pet in line.";
	otherwise:
		say "This may not be the best room for this thought."; 

LookUpRoom of Needless is Human Sciences.

Instead of LookUping Needless:
	if the player is in Physical Sciences:
		say "You look through the Geology bookcase.

Yes, from your past experience, the stonework is completely unnecessary. It must have been a pretense on the part of Dr. Roylott.";
	otherwise:
		say "This may not be the best room for this thought."; 

LookUpRoom of Creature is Human Sciences.

Instead of LookUping creature in Physical Sciences:
	if the player is in Physical Sciences:
		say "You look through the chemistry bookcase.

Yes, there are several creatures with poisons that match the death of Julia Stoner.";
	otherwise:
		say "This may not be the best room for this thought."; 
 
[The description of Murder is: "The crime must be murder."

The description of Hatred is: "The culprit may be motivated by hatred of Napoleon. You feel this is somewhat likely."

The description of Revenge is: "The culprit may be motivated by revenge. You feel this is somewhat likely."

The description of Greeting is: "Good morning; my name is Sherlock Holmes."


The description of Communication is: "Where does the bell communicate with?"


The description of Destroyed is: "Someone has destroyed zero busts."

The description of Muffled is: "The bust from the quiet surgery was smashed where it was."


The description of Seeking is: "The culprit may be motivated by something in the busts. You feel this is somewhat likely."

The description of Incarceration is: "Tommy was arrested around May 20th."

The description of Reports is: "The inspector has a report to share."

The description of Presence is: "Dr. Roylott was home that day."

The description of Common is: "Tommy had access to the busts and ledgers at two locations."

The description of Emerald is: "The Rockefeller Emerald was stolen two days before Tommy was arrested."

The description of Timing is: "The busts were sold after Tommy was arrested, giving him a chance to alter them."

The description of Sales is: "The busts were sold on June 3rd."

The description of Safety is: "The sisters locked their doors for safety at night."


The description of Testimony is: "The client clearly has a story to tell you."

The description of Trainride is: "Thus Miss Stoner travelled by train early this morning."

The description of Abuse is: "Miss Stoner has a damaged and bruised wrist."

The description of Fresh is: "Helen's room did not smell of cigars."

The description of Speckled is: "Julia's last words mentioned a speckled band."

The description of Whistle is: "Julia heard a whistle the night before she died."

The description of Clang is: "Helen heard a whistle and a clang after her sister screamed."

The description of Hallway is: "The door may have been a means of entrance."

The description of Shutters is: "The various windows may have been a means of entrance."

The description of Bolted is: "The windows were securely bolted."

The description of Fake is: "The bell-pull is fake."

The description of Connected is: "Why did Roylott connect the two rooms with a ventilator?"

The description of Secured is: "Something important is kept in the safe."

The description of Whistles is: "Both sisters heard a strange whistle, and Helen heard a clang."

The description of Plan is: "It is time to reveal your plan to Miss Stoner."

The description of Visit is: "Perhaps you should visit Stoke Moran."

The description of Farewell is: "It is time to say goodbye."

The description of Cheap is: "This type of plaster bust is quite inexpensive."

The description of Variety is: "You do not know if the busts had a variety of depictions, or were the same mold."

The description of Duplicates is: "The plaster casts were exact duplicates."

The description of Removed is: "The bust in Barnicot's Bedroom was taken to a quiet area to be smashed."

The description of Illumination is: "The fourth bust was broken under a lamp."

The description of Methodical is: "The culprit is very methodical."

The description of Murderer is: "The smasher was willing to murder to obtain the bust."]


Book 3 - Tools of the trade

[Part 1 - Magnifying glass

The magnifying glass is carried by the Sherlock Holmes.

Part 2 - Tape Measure

The tape measure is carried by Sherlock Holmes.

Part 3 - Revolver

[The revolver is carried by the player.]

Part 4 - Watch

The watch is carried by Sherlock Holmes.]

Book 4 - Flashbacks

Testimony is a quip. The preview of Testimony is "The client clearly has a story to tell you." 

Instead of speeching Testimony to Watson:
	say "Watson has no testimony to tell you.";

Instead of speeching Testimony to Inspector Lestrade:
	say "Lestrade has no testimony to tell you.";
	
Carry out speeching testimony to someone (called the target):
	discard testimony;
	say line break;
	if the target is Miss Helen Stoner:
		now the story viewpoint is first person singular; 
		now testimony is Stonergiven;
		say "You say, 'And now I beg that you will lay before us everything that may help us in forming an opinion upon the matter.'

'Alas!' replies your visitor, 'the very horror of my situation lies in the fact that my fears are so vague, and my suspicions depend so entirely upon small points that even my future husband looks upon all that I tell him about it as the fancies of a nervous woman.  But I have heard, Mr. Holmes, that you can see deeply into the manifold wickedness of the human heart. You may advise me how to walk amid the dangers which encompass me.'

'I am all attention, madam.'

'My name is Helen Stoner, and I am living with my stepfather, who is the last survivor of one of the oldest Saxon families in England, the Roylotts of Stoke Moran, on the western border of Surrey. It was two years ago...'

****************************************************[line break]You listen intently to her story...[line break]****************************************************[line break]";
		now Miss Helen Stoner is in Stoke Moran;
		Playerchange the target;
		now the story tense is past tense;
		add "Listening closely to Miss Helen Stoner's story..." to ScoreList, if absent;		
	if the target is Horace Harker:
		now the story viewpoint is first person singular; 
		say "'It's an extraordinary thing,' says he, 'that all my life I have been collecting other people's news, and now that a real piece of news has come my own way I am so confused and bothered that I can't put two words together. If I had come in here as a journalist I should have interviewed myself and had two columns in every evening paper. As it is I am giving away valuable copy by telling my story over and over to a string of different people, and I can make no use of it myself. However, I've heard your name, Mr. Sherlock Holmes, and if you'll only explain this queer business I shall be paid for my trouble in telling you the story.'

****************************************************[line break]You listen intently to his story...[line break]****************************************************[line break]";
		add "Listening closely to Horace Harker's story..." to ScoreList, if absent;		
		now Horace Harker is in Harker's Den;
		now Testimony is HarkerGiven;
		Playerchange the target;
		now the story tense is past tense;
		try looking;
	
Does the player mean speeching testimony to Inspector Lestrade:
	it is very unlikely;

A quip can be HarkerGiven or not HarkerGiven. A quip is usually not HarkerGiven.


Book 5 - Other mechanics

A thing can be examined or unexamined.

After examining something:
	now the noun is examined;

Volume 3 - Core locations and people

Book 1 - Locations

Part 1 - Baker Street

Section 1 - Living room

221B Baker Street is a room. Understand "front room" or "sitting room" as 221B Baker Street. "You are in a large airy sitting-room, cheerfully furnished, and illuminated by two broad windows. Your bedroom is to the [bold type]west[roman type], and Watson's bedroom is to the [bold type]south[roman type]. The front door is to the [bold type]north[roman type].

The fireplace is unlit, the sideboard is supplied with food, and the various objects you have acquired throughout your career are scattered about."

Instead of going nowhere from 221B Baker Street when the noun is east:
	say "You don't go that way; you prefer not to jump through windows."

Does the player mean doing something with the front door:
	it is likely;

Instead of exiting when the player is in 221B Baker Street:
	try going outside;

The front door is a door. It is scenery. It is north of 221B Baker Street and south of Landing.The description of the front door is "This door leads outside."

Instead of pulling a door:
	try opening the noun;

Instead of burning the Baker Street fireplace:
	say "You're not feeling chilly today.";

The Baker Street fireplace is scenery in 221B Baker Street. The description of the Baker Street Fireplace is "Cheery in winter, the fireplace went unused during the summer months. The mantelpiece finds more use, now." Understand "fire" as the Baker Street fireplace.

The mantelpiece is part of the Baker Street fireplace. The description of the mantelpiece is "A litter of pipes, tobacco-pouches, syringes, penknives, revolver-cartridges, and other debris are scattered over it. None of them are important, now." Understand "litter" or "pipe" or "pipes" or "pouch" or "pouches" or "tobacco-pouches" or "tobacco-pouch" or "syringe" or "syringes" or "penknife" or "penknives" or "knife" or "knives"or "revolver" or "cartridge" or "revolver-cartridge" or "cartridges" or "revolver-cartridges" or "debris" as the mantelpiece.

Instead of doing something with the mantelpiece:
	say "You find all of that boring, right now.";

The various objects are scenery in 221B Baker Street. The description of the various objects is "Your cigars are in the coal-scuttle, your tobacco in the toe end of a Persian slipper, and your unanswered correspondence transfixed by a jack-knife into the wall. Every corner of the room is stacked with bundles of manuscript." Understand "cigar" or "cigars" or "coal" or "scuttle" or "coal-scuttle" or "tobacco" or "toe" or "end" or "persian" or "slipper" or "unanswered" or "correspondence" or "jack" or "knife" or "jack-knife" or "wall" or "corner" or "stacked" or "stack" or "stacks" or "bundle" or "bundles" or "manuscript" or "manuscripts" as the various objects.

Does the player mean doing something with the various objects:
	it is unlikely;

Instead of taking the various objects:
	say "None of that is important at this time."

The sideboard is a supporter. The sideboard is scenery in 221B Baker Street. The description of the sideboard is "The sideboard contains roast beef and bread[if the coffee is on the sideboard], as well as coffee[end if]."

The roast beef is part of the sideboard. The bread is part of the sideboard. Understand "meat" as roast beef.

Understand "rude" or "meal" as the bread. Understand "rude" or "meal" as the roast beef.

Instead of taking the roast beef:
	try taking the bread;

Instead of eating the roast beef:
	try taking the bread;

Instead of taking the bread:
	say "[one of]You cut a slice of beef from the joint upon the sideboard, sandwich it between two rounds of bread, and eat the rude meal.[or]You've already eaten.[stopping]";

Instead of eating the coffee:
	try drinking the coffee.
	
Instead of taking the coffee:
	try drinking the coffee.
	
Instead of drinking the coffee:
	say "You grab a quick swill of coffee and drink it down before you go[if Watson is in the location of the player], as does Watson[end if]."

Instead of eating the bread:
	try taking the bread;

Understand "food" as roast beef.

The broad windows are scenery in 221B Baker Street. Understand "window" as the broad windows. The broad windows are plural-named. The description of the broad windows is "The glare of the sunlight upon the yellow brickwork of the house across the road is painful to the eye." 

Instead of opening the broad windows:
	say "The London air is bad this time of year. You leave it closed.";

Section 2 - Sherlock's bedroom

BedMaking is an action applying to nothing. Understand "make bed" or "make my bed" as bedmaking. Understand "sherlock's room" as sherlock's bedroom.

Carry out BedMaking:
	say "The bed is already made.";
	
Dressedgetting is an action applying to nothing. Understand "get dressed" as dressedgetting.

Carry out dressedgetting:
	say "You fell asleep dressed last night.";
	
Sherlock's Bedroom is west from 221B Baker Street. The description of Sherlock's Bedroom is "Your bedroom seems cluttered to the untrained eye, but you know where every item can be found. A large tin is in the corner, a violin is leaned against the wall.  A wardrobe contains your various costumes. Your bed is sloppily made. The parlor is to the [bold type]east[roman type]." The printed name of Sherlock's Bedroom is "Your Bedroom".

Sherlock's wardrobe is scenery in Sherlock's Bedroom.  Understand "costume" or  "clergyman" or "clergy" or "groom" or "groomsman" or "costumes" as Sherlock's wardrobe. The description of Sherlock's wardrobe is "Your wardrobe contains a variety of costumes, including a clergyman and a groomsman, but they are not needed at this time."

Instead of taking the wardrobe:
	say "You amuse yourself with thoughts of surprising Watson as a pirate, but now is not the time for costumes."

Instead of opening the wardrobe:
	say "When it's time."

The large tin is scenery in Sherlock's Bedroom. The description of the large tin is "This tin contains memoirs of your past cases, which you do not need at this time." Understand "memoir" or "memoirs" or "case" or "cases" as the large tin. 

Instead of taking the tin:
	say "You leave things where you can find them again.";

The violin is scenery in Sherlock's Bedroom. The description of the violin is "Your violin is well-tuned. It was a gift from several years back.". Understand "fiddle" or "gift" as the violin.

Playing is an action applying to one thing. Understand "play [something]" as playing.

Carry out playing something:
	if the noun is the violin:
		try taking the violin;
	otherwise:
		say "That [are] not something to play.";

Instead of taking the violin:
	say "You calm your nerves[if Watson is in the location of the player], and agitate Watson's,[end if] by playing a few notes, then replace the violin."

Sherlock's bed is a supporter in Sherlock's Bedroom. It is scenery. The description of Sherlock's bed is "Your bed is sloppily made, but comfortable." The printed name of Sherlock's bed is "your bed".

Instead of entering Sherlock's bed:
	say "Now is the time for action."

Section 3 - Watson's bedroom

Watson's door is a door. It is scenery. It is south from 221B Baker Street and north from Watson's Bedroom. Understand "Watson's room" as Watson's bedroom.

Understand "knock [something]" or "knock on [something]" as attacking.

Instead of attacking Watson's door:
	say "Better to slip in to the south."
	
Understand "slip in" as going.

Understand "disturb" as waking.

The description of Watson's Bedroom is "Watson's bedroom has always been singularly uninteresting to you. Watson's bed is here. The parlor is to the [bold type]north[roman type]."

Watson's bed is a supporter in Watson's Bedroom. "[if Watson is on Watson's bed][Watson] [asleeptext].[otherwise]Watson's bed is in the corner.[end if]". The description of Watson's bed is "Watson's bed is precisely made in military style."

To say asleeptext:
	say "[one of]is asleep on his bed[or]is awake on his bed[stopping]"

Instead of entering Watson's bed:
	say "That's not something you [italic type]should[roman type] enter.";

Before listing nondescript items:
	now Watson's bed is mentioned;
	if Watson is marked for listing:
		if Watson is on Watson's bed:
			now Watson is not marked for listing;

[sideboard-There were big changes in service style through Queen Victoria's 63-year reign, says food historian Annie Gray. Towards the end food was served to guests at the table sequentially, known as "a la russe". It's silver service as we now know it. 

There were four to six courses, with seven to nine dishes in each. For big occasions dishes often included cod with oyster sauce, ballotines of duck in Cumberland sauce and roast lamb. There would be a dessert course, with dishes like chocolate profiteroles. A buffet of hot and cold meats was also kept on a sideboard during the meal, just in case you got hungry between courses. 

What was unusual about Victoria was the speed with which she ate. Usually a banquet would last for hours, but she could put away seven courses in 30 minutes, says Gray. 
]

[sideboard has goose, bread, tumbler, hat, slice of beef from joint, plate, glasses, bottle of wine]

[ They consisted of a couple of comfortable bed-rooms and a single large airy sitting-room, cheerfully furnished, and illuminated by two broad windows. So desirable in every way were the apartments, and so moderate did the terms seem when divided between us, that the bargain was concluded upon the spot, and we at once entered into possession. That very evening I moved my things round from the hotel, and on the following morning Sherlock Holmes followed me with several boxes and portmanteaus. For a day or two we were busily employed in unpacking and laying out our property to the best advantage. That done, we gradually began to settle down and to accommodate ourselves to our new surroundings.]

[It was a cold morning of the early spring, and we sat after breakfast on either side of a cheery fire in the old room at Baker Street. A thick fog rolled down between the lines of dun-coloured houses, and the opposing windows loomed like dark, shapeless blurs through the heavy yellow wreaths. Our gas was lit and shone on the white cloth and glimmer of china and metal, for the table had not been cleared yet. Sherlock Holmes had been silent all the morning, dipping continuously into the advertisement columns of a succession of papers until at last, having apparently given up his search, he had emerged in no very sweet temper to lecture me upon my literary shortcomings.]

[As I entered I saw, it is true, an unwonted tidiness, but the old landmarks were all in their place. There were the chemical corner and the acid-stained, deal-topped table. There upon a shelf was the row of formidable scrap-books and books of reference which many of our fellow-citizens would have been so glad to burn. The diagrams, the violin-case, and the pipe-rack--even the Persian slipper which contained the tobacco--all met my eyes as I glanced round me. There were two occupants of the room--one Mrs. Hudson, who beamed upon us both as we entered; the other the strange dummy which had played so important a part in the evening's adventures. It was a wax-coloured model of my friend, so admirably done that it was a perfect facsimile. It stood on a small pedestal table with an old dressing-gown of Holmes's so draped round it that the illusion from the street was absolutely perfect.]

[ I find a man who keeps his cigars in the coal-scuttle, his tobacco in the toe end of a Persian slipper, and his unanswered correspondence transfixed by a jack-knife into the very centre of his wooden mantelpiece, then I begin to give myself virtuous airs. I have always held, too, that pistol practice should be distinctly an open-air pastime; and when Holmes, in one of his queer humors, would sit in an arm-chair with his hair-trigger and a hundred Boxer cartridges, and proceed to adorn the opposite wall with a patriotic V. R. done in bullet-pocks, I felt strongly that neither the atmosphere nor the appearance of our room was improved by it.

Our chambers were always full of chemicals and of criminal relics which had a way of wandering into unlikely positions, and of turning up in the butter-dish or in even less desirable places. But his papers were my great crux. He had a horror of destroying documents, especially those which were connected with his past cases, and yet it was only once in every year or two that he would muster energy to docket and arrange them; for, as I have mentioned somewhere in these incoherent memoirs, the outbursts of passionate energy when he performed the remarkable feats with which his name is associated were followed by reactions of lethargy during which he would lie about with his violin and his books, hardly moving save from the sofa to the table. Thus month after month his papers accumulated, until every corner of the room was stacked with bundles of manuscript which were on no account to be burned, and which could not be put away save by their owner. One winter's night, as we sat together by the fire, I ventured to suggest to him that, as he had finished pasting extracts into his common-place book, he might employ the next two hours in making our room a little more habitable. He could not deny the justice of my request, so with a rather rueful face he went off to his bedroom, from which he returned presently pulling a large tin box behind him. This he placed in the middle of the floor and, squatting down upon a stool in front of it, he threw back the lid. I could see that it was already a third full of bundles of paper tied up with red tape into separate packages.]

[I went to my bedroom and followed his advice. When I returned with the pistol the table had been cleared, and Holmes was engaged in his favourite occupation of scraping upon his violin.]

[Bedroom costumes:He disappeared into his bedroom and returned in a few minutes in the character of an amiable and simple-minded Nonconformist clergyman. His broad black hat, his baggy trousers, his white tie, his sympathetic smile, and general look of peering and benevolent curiosity were such as Mr. John Hare alone could have equalled. It was not merely that Holmes changed his costume. 

Again:

It was close upon four before the door opened, and a drunken-looking groom, ill-kempt and side-whiskered, with an inflamed face and disreputable clothes, walked into the room. Accustomed as I was to my friend's amazing powers in the use of disguises, I had to look three times before I was certain that it was indeed he. With a nod he vanished into the bedroom, whence he emerged in five minutes tweed-suited and respectable, as of old. Putting his hands into his pockets, he stretched out his legs in front of the fire and laughed heartily for some minutes.]

[The development for which my friend had asked came in a quicker and an infinitely more tragic form than he could have imagined. I was still dressing in my bedroom next morning when there was a tap at the door and Holmes entered, a telegram in his hand. He read it aloud:

“Come instantly, 131, Pitt Street, Kensington.
-- “Lestrade.”]

[It was with a sinking heart that I reentered Holmes's bedroom. For all that I knew the worst might have happened in my absence. To my enormous relief, he had improved greatly in the interval. His appearance was as ghastly as ever, but all trace of delirium had left him and he spoke in a feeble voice, it is true, but with even more than his usual crispness and lucidity.]

[But it was destined to be resumed long before that hour, and in circumstances which gave me a shock hardly second to that caused by his spring to the door. I had stood for some minutes looking at the silent figure in the bed. His face was almost covered by the clothes and he appeared to be asleep. Then, unable to settle down to reading, I walked slowly round the room, exaSmining the pictures of celebrated criminals with which every wall was adorned. Finally, in my aimless perambulation, I came to the mantelpiece. A litter of pipes, tobacco-pouches, syringes, penknives, revolver-cartridges, and other debris was scattered over it. In the midst of these was a small black and white ivory box with a sliding lid. It was a neat little thing, and I had stretched out my hand to examine it more closely when--]

[He was indeed a deplorable spectacle. In the dim light of a foggy November day the sick room was a gloomy spot, but it was that gaunt, wasted face staring at me from the bed which sent a chill to my heart. ]

[Holmes grinned at the last item. “Well,” he said, “I say now, as I said then, that a man should keep his little brain-attic stocked with all the furniture that he is likely to use, and the rest he can put away in the lumber-room of his library, where he can get it if he wants it. Now, for such a case as the one which has been submitted to us to-night, we need certainly to muster all our resources. Kindly hand me down the letter K of the ‘American Encyclopaedia’ which stands upon the shelf beside you. ]

Section 4 - London Streets

Landing is a room. The description of Landing is "Your landing is a convenient place for clients to wait before summoning the courage to enter. Your lodgings are to the [bold type]south[roman type], and the streets await to the [bold type]east[roman type].".

London Streets is a room. It is east from Landing. The description of London Streets is "It is a blazing hot day in August. Baker Street is like an oven, and the glare of the sunlight upon the brickwork of the houses along the road is painful to the eye[if pertinentcase is speckledband]. You can take a cab [bold type]south[roman type] to Waterloo Station, and [bold type]east[roman type] to Doctor's Commons[end if]."

The cab is scenery in London Streets. Understand "cabs" as the cab. The description of the cab is "Several cabs bustle about you."

Instead of entering the cab:
	try taking the cab;

The houses are scenery in London Streets. Understand "glare" or "house" or "brickwork" as the houses. The description of the houses is "The glare makes it hard to see."

Instead of taking a cab:
	say "Just say what direction you want to go in, and you'll automatically hail a cab."

The London road is scenery in London streets. Understand "street" or "roads" as the road.

Before going south from London Streets:
	if pertinentcase is not speckledband:
		say "There's no need to go that way today." instead;
	otherwise if SawWill is 0:
		say "It would be better, perhaps, to see the will first." instead;

Instead of examining the London road:
	try looking;

[[if SawWill is 0], or [bold type]east[roman type] to see the will that can only confirm your deductions[end if].]

Section 5 - Doctor's Commons

Doctor's Commons is east from London Streets. "[first time]***************************************************[line break]You travel to Doctor's Commons[line break]***************************************************

[only]Doctor's Commons, The Hall of Doctor's Commons is high and wide, and filled with passers-by. Solicitors and judges mingle with each other, as do advocates, registrars, proctors and clerks. You can take a cab outside to the [bold type]west[roman type]."

The spacious hall is scenery in Doctor's Commons. The description of the spacious hall is "The hall is high and wide, and filled with passers-by."

The legal crowd is people in Doctor's Commons. The legal crowd is scenery. The description of the legal crowd is "all those of the legal profession mingle with each other and passers-by.". Understand "solicitor" or "lawyer" or "legal" or "profession" or "advocates" or "advocate" or "registrars" or "registrar" or "proctor" or "proctors" or "clerk" or "clerks" or "solicitors" or "lawyers" or "judge" or "judges" or "passer" or "passers" or "passer-by" or "passers-by" as the legal crowd.

Before looking in Doctor's Commons:
	now ClueTime is 0;
	
The law clerk is a man in Doctor's Commons. "A law clerk is here, able to look up wills of various individuals." The description of the law clerk is "The clerk is young but appears industrious.".

Instead of talking to the law clerk:
	say "[one of]You ask the clerk for the will of Roylott's deceased wife, and peruse it for some time before returning it.

You summarize for Watson:

'I have seen the will of the deceased wife,' you say. 'To determine its exact meaning I have been obliged to work out the present prices of the investments with which it is concerned. The total income, which at the time of the wife's death was little short of £1100, is now, through the fall in agricultural prices, not more than £750. Each daughter can claim an income of £250, in case of marriage. It is evident, therefore, that if both girls had married, this beauty would have had a mere pittance, while even one of them would cripple him to a very serious extent. My morning's work has not been wasted, since it has proved that he has the very strongest motives for standing in the way of anything of the sort.'[paragraph break][or]You have already seen the will, and have no need to talk to the clerk.[stopping]";
	now SawWill is 1;
	add "Perusing the will of Roylott's deceased wife..." to ScoreList, if absent;		
	now ClueTime is 1;
	deliver Income;


SawWill is a number that varies. SawWill is 0.

Before going east from London Streets:
	if pertinentcase is not SpeckledBand:
		say "You have no need of visiting Doctor's Commons." instead;
	otherwise if SawWill is 1:
		say "You have seen the will; if both girls had married, Roylott would have been crippled to a very serious extent." instead;

Before going west from Doctor's Commons:
	say "***************************************************[line break]You take a cab back to Baker Street.[line break]***************************************************[paragraph break]";

Section 6 - Waterloo Station

Waterloo Station is south from London Streets. The description of Waterloo Station is "[first time]You arrive just in time! [only]The train to Leatherhead is departing in a few moments to the [bold type]east[roman type]."

Instead of going north from Waterloo Station:
	say "The train is leaving soon; you should hurry!"

Before going south from London Streets:
	say "You enter a cab with Watson and make your way to Waterloo Station. The cab rattles through the streets of London."

The Leatherhead locomotive is scenery in Waterloo Station. The description of the Leatherhead locomotive is "The train to the [bold type]east[roman type] is ready to depart." Understand "train" as the leatherhead locomotive.

Does the player mean doing something with the leatherhead locomotive:
	it is likely;

Instead of taking the leatherhead locomotive:
	try going east;

Instead of entering the leatherhead locomotive:
	try going east;

Understand "catch" as taking.

Book 2 - People

Part 1 - Sherlock Holmes

Sherlock Holmes is a man. Sherlock Holmes is on the sickbed. The player is Sherlock Holmes. The description of Sherlock Holmes is "[if the player is in Sanatorium]You are withered and sunken, but your frame is still large and powerful.[otherwise]You review yourself; you are over six feet in height, and excessively lean. Your eyes are sharp and deep-set, your nose is thin and hawk-like. Your hands are blotted with ink and stained with chemicals.[end if]"

[As the weeks went by, my interest in him and my curiosity as to his aims in life, gradually deepened and increased. His very person and appearance were such as to strike the attention of the most casual observer. In height he was rather over six feet, and so excessively lean that he seemed to be considerably taller. His eyes were sharp and piercing, save during those intervals of torpor to which I have alluded; and his thin, hawk-like nose gave his whole expression an air of alertness and decision. His chin, too, had the prominence and squareness which mark the man of determination. His hands were invariably blotted with ink and stained with chemicals, yet he was possessed of extraordinary delicacy of touch, as I frequently had occasion to observe when I watched him manipulating his fragile philosophical instruments.]

[Things had indeed been very slow with us, and I had learned to dread such periods of inaction, for I knew by experience that my companion's brain was so abnormally active that it was dangerous to leave it without material upon which to work. For years I had gradually weaned him from that drug mania which had threatened once to check his remarkable career. Now I knew that under ordinary conditions he no longer craved for this artificial stimulus, but I was well aware that the fiend was not dead, but sleeping; and I have known that the sleep was a light one and the waking near when in periods of idleness I have seen the drawn look upon Holmes's ascetic face, and the brooding of his deep-set and inscrutable eyes. Therefore I blessed this Mr. Overton, whoever he might be, since he had come with his enigmatic message to break that dangerous calm which brought more peril to my friend than all the storms of his tempestuous life.]


Part 2 - Sherlock Holmes's mind

Mind Holmes is a man.  The description of Mind Holmes is "You are merely an expression of Holmes[']s thoughts and memories.". The printed name of Mind Holmes is "Sherlock Holmes". Understand "sherlock" as Mind Holmes.

Part 3 - Watson

WatsonText is some text that varies. WatsonText is "[if the number of women in the location of Watson > 0]Watson is paying close attention to [a random woman in the location of Watson].[otherwise][WatsonCycle][end if]".

To say WatsonCycle:
	say "[one of]Watson is here, lost in thought.[or]Watson is here, lost in thought.[or]Watson is here, lost in thought.[or]Watson looks like he has something to say, but then thinks better of it and returns to his thoughts.[or]Watson is here, lost in thought.[or]Watson is here, lost in thought.[or]Watson looks around for clues.[or]Watson is here, lost in thought.[or]Watson is here, lost in thought.[or]Watson looks over and smiles.[cycling]"

Watson is a man on Watson's bed. "[WatsonText]". The description of Watson is "Watson is a gentleman of a medical type, but with the air of a military man. His left arm has been injured; he holds it in a stiff and unnatural manner." Understand "dr" or "doctor" or "gentleman" as Watson. The injured left arm is part of Watson. The description of the injured left arm is "Watson's left arm was injured in Afghanistan.".

Does the player mean doing something with Watson:
	it is unlikely;

The revolver is carried by Watson. The description of the revolver is "Watson is carrying his old service revolver.".

Does the player mean examining the revolver:
	it is likely;

WatsonSleeping is a number that varies. WatsonSleeping is 1.

Every turn: 
	if the player is enclosed by Sherlock's Bedroom:
		do nothing;
	otherwise if the location of Watson is not the location of Sherlock Holmes: 
		if WatsonSleeping is 0:
			if StonerFollowFlag is 1:
				if Miss Helen Stoner is not in the location of Sherlock Holmes:
					say "Watson and [Miss Helen Stoner] follow behind you.";
					now Watson is in the location of Sherlock Holmes;
					now Miss Helen Stoner is in the location of Sherlock Holmes;
				otherwise:
					declare Watson;
					now Watson is in the location of Sherlock Holmes;
			otherwise:
				declare Watson;
				now Watson is in the location of Sherlock Holmes;
	otherwise if StonerFollowFlag is 1:
		if Miss Helen Stoner is not in the location of Sherlock Holmes:
			say "[Miss Helen Stoner] walks quietly behind you.";
			now Miss Helen Stoner is in the location of Sherlock Holmes;

To declare Watson:
	if the player is Sherlock holmes:
		say "Watson accompanies you."

[Here is a gentleman of a medical type, but with the air of a military man. Clearly an army doctor, then. He has just come from the tropics, for his face is dark, and that is not the natural tint of his skin, for his wrists are fair. He has undergone hardship and sickness, as his haggard face says clearly. His left arm has been injured. He holds it in a stiff and unnatural manner. Where in the tropics could an English army doctor have seen much hardship and got his arm wounded? Clearly in Afghanistan.’ The whole train of thought did not occupy a second. I then remarked that you came from Afghanistan, and you were astonished.]

Part 4 - Mrs Hudson

Mrs Hudson is a woman. The description of Mrs Hudson is "Mrs. Hudson is your long-suffering landlady." Understand "landlady" or "lady" or "landlord" as Mrs Hudson. The printed name of Mrs Hudson is "Mrs. Hudson".

Part 5 - Lestrade

Inspector Lestrade is a man. Inspector Lestrade is scenery. The description of Inspector Lestrade is "Lestrade is a lean, ferret-like man, furtive and sly-looking. He is quick, energetic, and shockingly conventional.". Understand "lean" or "ferret" or "ferret-like" or "furtive" or "sly" or "sly-looking" or "quick" or "energetic" or "shockingly" or "conventional" as Inspector Lestrade

Lestrade's cigar is carried by Inspector Lestrade. The description of Lestrade's cigar is "Lestrade is fond of his cigars."

Puffing is an action applying to one thing.

Understand "puff [something]" as puffing.

Carry out puffing:
	say "You don't feel like smoking at this time.";

LestradeFollowing is a number that varies. LestradeFollowing is 0.

Every turn:
	if the player is Sherlock Holmes:
		if the location of Inspector Lestrade is not the location of Sherlock Holmes:
			if LestradeFollowing is 1:
				say "Inspector Lestrade walks in after you.";
				now Inspector Lestrade is in the location of the player;

[ A lean, ferret-like man, furtive and sly-looking, was waiting for us upon the platform. In spite of the light brown dustcoat and leather-leggings which he wore in deference to his rustic surroundings, I had no difficulty in recognising Lestrade, of Scotland Yard. With him we drove to the Hereford Arms where a room had already been engaged for us.]

[There was one little sallow rat-faced, dark-eyed fellow who was introduced to me as Mr. Lestrade, and who came three or four times in a single week.]

[“Gregson is the smartest of the Scotland Yarders,” my friend remarked; “he and Lestrade are the pick of a bad lot. They are both quick and energetic, but conventional--shockingly so. They have their knives into one another, too. They are as jealous as a pair of professional beauties. There will be some fun over this case if they are both put upon the scent.”]

[ Lestrade is a well-known detective.]

[Lestrade, who had been in the front room while we were holding this conversation in the hall, reappeared upon the scene, rubbing his hands in a pompous and self-satisfied manner.]

Volume 4 - Cases

Book 1 - The Empty House

[basecase is a case]

Part 1 - Clues involved in the scene

Medical is a quip. The preview of Medical is "John Watson is a recognized expert in the medical field."

Carry out speeching Medical to OldWatson:
	say "'John, I see that you continue to gain the esteem of your medical companions.'

Watson exclaims, 'My dear Holmes!' before making a sort of coughin noise."

Sick is a private quip. The preview of Sick is "Watson has been suffering from a disease for some time."

Carry out speeching Sick to OldWatson:
	say "You shouldn't disturb Watson with your conjectures until you have more solid information; you feel there's something more about his sickness that you should discover."

Incurable is a quip. The preview of Incurable is "Watson is dying."

Carry out speeching Incurable to OldWatson:
	say "'Watson, you are dying.'

'Yes, Holmes, and it's not hard to see how you knew. I suspect that I have a large cancerous mass blocking my ductus communis choledochus.'

'Then we find ourselves in similar situations,' you say.

'A pair of pathetic, futile, broken creatures.'

'Exactly, Watson. Pathetic and futile. But is not all life pathetic and futile? Is not our story a microcosm of the whole? We reach. We grasp. And what is left in our hands at the end? A shadow. Or worse than a shadow--misery.'

You are silent together. Then Watson retrieves a package wrapped in brown paper that was stowed in his overcoat and places it near you.

He says, 'This is for you, Holmes. I must go, but you may find it of interest.' 

He turns and leaves, leaving the package behind.";
	now OldWatson is nowhere;
	now the brown paper package is in the location of the player.


Part 2 - People involved in the scene

OldWatson is a man. OldWatson is in Sanatorium. "[if ClueTime is 0]Watson is waiting to be invited in. He is just outside your door, shifting from foot to foot.[otherwise]Watson is here by your side.[end if]" 

Understand "Watson" or "John" as OldWatson. The description of OldWatson is "[if ClueTime is 0]Watson is still in the shadows, waiting to be invited in.[otherwise]Watson has aged well, but he still has aged. His most striking features are a pair of keen dark eyes, overhung by bushy white brows, and long gray side-whiskers. 

There is something odd about his face, and he is carrying a new walking stick.[end if]" 

When play begins:
	now OldWatson is scenery.

Report looking:
	now OldWatson is not scenery.

The printed name of OldWatson is "Watson".

OldWatson's face is part of OldWatson. Understand "watson's" as oldwatson's face.

Before examining OldWatson's face:
	if ClueTime is 0:
		say "It's too dark to see Watson as he is, in the shadows." instead;
	
Before examining the new walking stick:
	if ClueTime is 0:
		say "It's too dark to see Watson as he is, in the shadows." instead;

The description of OldWatson's face is "Under the whiskers is a gaunt, wasted face staring at you which sends a chill to your heart. The face is a distinct shade of yellow, which is common in advanced stages of jaundice.".

The new walking stick is carried by OldWatson. "It is a fine, thick piece of wood, bulbous-headed. Just under the head is a broad silver band nearly an inch across. 'To John Watson, M.R.C.S., from his friends of the C.C.H.,' is engraved upon it, with the date '1918.'"

Instead of examining the new walking stick:
	say "It is clearly a gift from Charing Cross Hospital, most likely on occasion of his retirement, which must have taken place recently, given that you hadn't heard of it yet. It is a fine stick; his service must be very respected.[first time][line break][only]";
	deliver Medical;
	if Sick is carried by the player:
		give linking hint;
	
Instead of examining OldWatson's face:
	say "It is clear that Watson is in the throes of some disease.[first time][line break][only]";
	deliver Sick;
	if Medical is carried by the player:
		give linking hint;

To give linking hint:
	say "[line break][bracket]When Sherlock has two thoughts that are closely connected to each other, he can connect them to make a deduction. In this instance, you can LINK SICK TO MEDICAL.[close bracket][paragraph break]"

The brown paper package is a thing.

The description of the brown paper package is "Watson has a brown paper package tied up in string for you.". Understand "string" as the brown paper package.

Understand "untie" as opening.

The casebook is scenery. Understand "case" or "book" as the casebook. The description of the casebook is "Watson's gift is unmeasurably kind."

Instead of opening the brown paper package:
	repeat with current running through  quips carried by the player:
		now current is not relevant;
	say "You untie the string and unwrap Watson's latest delivery. Cracking open the book, you read the inscription: 

'To Sherlock, on his 80th birthday.'

He's finally done it, assembling the best of your cases together into one volume. But once you start reading, you are swept into your own reverie...";
	now the brown paper package is nowhere;
	now the casebook is in Sanatorium;
	Playerchange Mind Holmes;
	try looking;
	now Sherlock Holmes is in Sherlock's bed;
	now ClueTime is 0;

Before talking to OldWatson:
	if ClueTime is 0:
		now ClueTime is 1;
		say "'Watson, my old friend, what brings you here?'

He steps slowly into the light. You immediately notice two things: first, that he has a new walking stick with an unusual engraving. And, second, that there is something peculiar about his face.

[bracket]Sherlock is now interested in making deductions about Watson. After examining him closely, you can talk to him about various clues.[close bracket][paragraph break]" instead;
	otherwise:
		say "[bracket]Sherlock is now interested in making deductions about Watson. [if the number of quips carried by the player > 0]You can SAY one of your thoughts to Watson instead.[close bracket][otherwise]You will need to examine Watson closely to gather new thoughts to say.[close bracket][end if][paragraph break]" instead;


OldHolmes is a man. The description of OldHolmes is "You are at peace, now." The printed name of OldHolmes is "Sherlock Holmes".

OldHolmsing is an action applying to nothing. Understand "oldnow" as OldHolmsing.

Carry out OldHolmsing:
	now OldHolmes is on sickbed;
	Playerchange OldHolmes;
	repeat with current running through people enclosed by Sanatorium:
		if current is not OldHolmes:
			now current is nowhere;
	try looking;
	
Report looking when the player is OldHolmes:
	say "[first time]You return to the waking world with something of surprise. You were so absorbed in your memories that you had forgotten all else.

[only]You are finished reading now, and you are tired. You are ready to sleep."
	
Before sleeping when the player is OldHolmes:
	say "As you sink away, you mind spirals back over the whole of your career: the ever-changing kaleidoscope of life in the streets of London, the long nights spent in your rooms at Baker Street in front of the smouldering fire, the low, melancholy wailings of a violin, and the thrill of adventure with Watson at your side.

You sleep, and your sleep is sweet.";
	end the story finally saying "You rest easy, knowing you've made a difference in the world.";


Part 3 - The sanatorium

Before thinking:
	if the player is enclosed by Sanatorium:
		say "You try to focus, but it's getting more and more difficult each day." instead;

Sanatorium is a room. The description of Sanatorium is "Your room opens by a long, low, latticed window on to the dainty green of spring in the valley below. It has a heavy oak door that is now open. [first time]

When the evening is drawing in, a messenger informs you that you have a visitor. Quick on his heels comes the visitor himself. Your old companion John Watson has come to see you on your birthday. The messenger leaves, but Watson still remains a fair distance away.

[bracket]When Holmes is not actively interested in discussing clues, as is currently the case, he can TALK TO individuals to speak with them.[close bracket][only]";

The heavy oak door is scenery in Sanatorium. The description of the heavy oak door is "The door is open, and there are scratches around the outside keyhole. From the amount of depth of the scratches, there was a male servant who began running into troubles with drink about ten years ago, and who was replaced with a rather untidy female servant roughly a year ago. 

But that doesn't really interest you." Understand "keyhole" as the heavy oak door.

The sickbed is scenery in Sanatorium. Understand "sick" or "bed" as the sickbed. The sickbed is a supporter. The description of the sickbed is "It is clear that the former occupant of this bed was a middle-aged man who was unloved by his family and smoked Trichinopoly cigars.

But that doesn't really interest you."

The dainty green of spring is scenery in Sanatorium. The description of the dainty green of spring is "The first faint shoots of green are breaking out upon the trees. The tracks left in the scattering of snow indicate that a woman in the Sanatorium has been having nightly meetings with a wealthy man from the distant village.

But that doesn't really interest you."

Understand "tracks" or "track" or "faint" or "first" or "shoot" or "shoots" or "tree" or "trees" or "scattering" or "snow" as the dainty green of spring.

The valley is scenery in the Sanatorium. The description of the valley is "The valley contains a small village, of which you know little except what you've deduced. Beyond the facts that the mayor is disliked, and that a local manufacturer is concocting a scheme to run against him next year, and sundry smaller scandals about town, there is nothing else you know.

After all, that doesn't really interest you." Understand "village" or "small" or "town" as the valley.

The latticed window is scenery in Sanatorium. Understand "long" or "low" as the latticed window. The description of the latticed window is "The maker of the window glass most likely died of chemical poisoning soon after it was made, but as he was living alone at the time, it's possible he went unnoticed for some days.  Perhaps the new window maker uses different, safer dyes.

Such deductions are easy for you, but they don't really interest you.".

Taking is distance behavior. removing is distance behavior. dropping is distance behavior. switching on is distance behavior. switching off is distance behavior. opening is distance behavior. closing is distance behavior. wearing is distance behavior. turning is distance behavior. pushing is distance behavior. pulling is distance behavior. touching is distance behavior. burning is distance behavior. cutting is distance behavior. attacking is distance behavior. waving is distance behavior. rubbing is distance behavior. squeezing is distance behavior. tasting is distance behavior.  drinking something is distance behavior.

Before distance behavior when the player is enclosed by Sanatorium:
	if the noun is not the brown paper package:
		say "You are still in bed, and can't reach anything." instead;
				
Instead of getting off the sickbed:
	say "You are too ill to get up."

Instead of jumping or singing when the player is in Sanatorium:
	say "You are too ill to do that."

Book 2 - The Speckled Band

SpeckledBand is a case. 

Part 1 - Clues involved in the scene

Trainride is a quip. The preview of Trainride is "Thus Miss Stoner travelled by train early this morning."

Carry out speeching Trainride to Watson:
	say "You intend to impress the client, not Watson directly."

Soiled is a quip. The preview of Soiled is "Miss Stoner's clothing had a curious pattern of mud."

Dogcart is a quip. The preview of Dogcart is "Miss Stoner drove in a dogcart, along heavy roads." Understand "cart" or "dog cart" as dogcart.

Carry out speeching Dogcart to Watson:
	say "You intend to impress the client, not Watson directly."

Abuse is a quip. The preview of Abuse is "Miss Stoner has a damaged and bruised wrist."

Carry out speeching Abuse to Watson:
	say "Not while Miss Stoner is still here."

Before speeching Abuse to Miss Helen Stoner:
	if Testimony is not StonerGiven:
		say "It would be wise to hear what she has to say first. There are many reasons for such bruises, and there are other features that deductions can be made from." instead;

Carry out speeching Abuse to Miss Helen Stoner:
	say "'Miss Stoner, you are screening your stepfather.'

'Why, what do you mean?'

For answer you push back the frill of black lace which fringes the hand that lies upon your visitor's knee. Five little livid spots, the marks of four fingers and a thumb, are printed upon the white wrist.

'You have been cruelly used,' you say.

The lady colours deeply and covers over her injured wrist. 'He is a hard man,' she says, 'and perhaps he hardly knows his own strength.'";
	discard Abuse;

Cigars is a quip. The preview of Cigars is "Julia's room smelled of strong Indian cigars".

Carry out speeching cigars to Watson:
	say "You say, 'Watson, what do you make of the cigar smell in Julia Stoner's room?'

Watson says, 'I don't see its importance, except as a contrast to the fresh air in Miss Helen Stoner's room.'"

Carry out speeching Cigars to Miss Helen Stoner:
	say "You say, 'If I recall, you said that Julia's room smelled of smoke?'

'Yes, frequently so. Poor Julia could hardly bear it.'"
	
Fresh is a quip. The preview of Fresh is "Helen's room did not smell of cigars."

Carry out speeching Fresh to Watson:
	say "You say, 'Watson, what do you make of the fresh air in Miss Stoner's room?'

Watson says, 'I don't see its importance, except as a contrast to the fresh cigar smell in Julia Stoner's room.'"

Carry out speeching Fresh to Miss Helen Stoner:
	say "You say, 'Miss Stoner, did you smell any smoke in your own room?'

She answers, 'No, sir; the smell only reached to my sister Julia's room.'"

Laborers is a quip. The preview of Laborers is "A band of laborers was camped on Stoke Moran."

Carry out speeching Laborers to Watson:
	say "You say, 'Watson, what do you think of the laborers as the perpetrators of this crime?'

'But what, then, did the laborers do?' asks Watson.

'I cannot imagine.'

'I see many objections to any such theory.'

'And so do I.'"

Carry out speeching Laborers to Miss Helen Stoner:
	say "You say, 'Were there laborers in the plantation at the time?'

'Yes, there is nearly always a band of laborers there. The laborers were friends of my stepfather's.'"

Speckled is a quip. The preview of Speckled is "Julia's last words mentioned a speckled band."

Carry out speeching Speckled to Watson:
	say "You say, 'What do you make, Watson, concerning the very peculiar words uttered by the dying woman concerning a speckled band?'

'I cannot think.'"


Carry out speeching Speckled to Miss Helen Stoner:
	say "You say, 'What did you gather from this allusion to a band--a speckled band?'

'Sometimes I have thought that it was merely the wild talk of delirium, sometimes that it may have referred to some band of people, perhaps to these very laborers in the plantation. I do not know whether the spots of mortar which so many of them had on their clothing might have suggested the strange adjective which she used.'"

Whistle is a quip. The preview of Whistle is "Julia heard a whistle the night before she died."

Carry out speeching Whistle to Watson:
	say "You say, 'In your theory, Watson, what becomes of these nocturnal whistles?'

'I cannot think.'"

Carry out speeching Whistle to Miss Helen Stoner:
	say "You say, 'Tell me again of the whistle your sister heard.'

'I thought when she described it that it might be a signal from the laborers on my father's land. I heard it myself, later, and it did sound like it was produced by some sort of flute or whistle.'";

Safety is a quip. The preview of Safety is "The sisters locked their doors for safety at night."

Carry out speeching Safety to Watson:
	if Bolted is WatsonGiven:
		say "You say, 'What do you make of the fact that the Stoners' doors were locked?'

Watson says, 'Then, as I said, her sister must have been undoubtedly alone when she met her mysterious end.'";
	otherwise:
		say "You say, 'What do you make of the fact that the doors were locked?'

Watson says 'If the lady is correct in saying that the flooring and walls are sound, and that the door is impassable, then something came through the window, or her sister must have been undoubtedly alone when she met her mysterious end.'"
	

Carry out speeching Safety to Miss Helen Stoner:
	say "You say, 'Was it your custom always to lock yourselves in at night?'

'Always.'

'And why?'

'I think that I mentioned to you that the doctor kept a cheetah and a baboon. We had no feeling of security unless our doors were locked.'"

Clang is a quip. The preview of Clang is "Helen heard a whistle and a clang after her sister screamed."

Carry out speeching Clang to Watson:
	say "You say, 'In your theory, Watson, what becomes of these nocturnal whistles and metallic clangs?'

'I cannot think.'"

Carry out speeching Clang to Miss Helen Stoner:
	say "'Are you sure about this whistle and metallic sound? Could you swear to it?'

'That was what the county coroner asked me at the inquiry. It is my strong impression that I heard it, and yet, among the crash of the gale and the creaking of an old house, I may possibly have been deceived.'"	

Hallway is a quip. The preview of hallway is "The door may have been a means of entrance."

Hallway is private.

Instead of speeching Hallway to Watson:
	say "You say, 'What do you think of the possibility of something coming through the door?'

Watson says, 'I believe she said the doors were locked at night, out of fear.'";
	if Safety is carried by Sherlock Holmes:
		discard Hallway;

Carry out speeching Hallway to Miss Helen Stoner:
	say "You prefer to keep your private conjectures to yourself, but Watson may have something useful to add."

Shutters is a quip. The preview of shutters is "The various windows may have been a means of entrance."

Shutters is private.

Instead of speeching Shutters to Watson:
	say "You say, 'What do you think of the possibility of something coming through the window?'

Watson says, 'I believe she said the windows were bolted, [if Bolted is carried by Sherlock Holmes]as you found for yourself[otherwise]although that is something we should verify for ourselves[end if].'";
	if Bolted is carried by Sherlock Holmes:
		discard Shutters;

Carry out speeching Shutters to Miss Helen Stoner:
	say "You prefer to keep your private conjectures to yourself, but Watson may have something useful to add."

Presence is a quip. The preview of Presence is "[if the player is Sherlock Holmes]Dr. Roylott was home the night of Julia's death.[otherwise]Dr. Roylott was home that day.[end if]"

Carry out speeching Presence to Miss Helen Stoner:
	say "You ask, 'Are you quite sure that your stepfather was home on the night of your sister's death?'

She sighs and lowers her head. 'Yes, he had retired to his room early.'";

Carry out speeching Presence to Watson:
	say "You say, 'Dr. Roylott was home the night that Julia died, Watson.'

'Yes,' says Watson. 'He clearly had the opportunity to commit the crime. But the means of doing so, in a locked room, with no traces of violence on her body, are a far different matter.'";

Bolted is a quip. The preview of bolted is "The windows were securely bolted."

Carry out speeching Bolted to Watson:
	if Safety is WatsonGiven:
		say "You say, 'What do you make of the fact that the windows were bolted?'

Watson says, 'Then, as I said, her sister must have been undoubtedly alone when she met her mysterious end.'";
	otherwise:
		say "You say, 'What do you make of the fact that the windows were bolted?'

Watson says 'If the lady is correct in saying that the flooring and walls are sound, and that the window is impassable, then something came through the door, or her sister must have been undoubtedly alone when she met her mysterious end."

Carry out speeching Bolted to Miss Helen Stoner:
	say "You say, 'And are the windows bolted this securely every night?'

She says, 'Yes; my stepfather's animals roam the grounds at night, and we felt unsafe.'";

Carry out speeching bolted to someone:
	say "'Hum!' you say, scratching your chin in some perplexity, 'my theory certainly presents some difficulties. No one could pass these shutters if they were bolted. Well, we shall see if the inside throws any light upon the matter.'"

Needless is a quip. The preview of Needless is "The stonework seems unnecessary.".

Carry out speeching Needless to Watson:
	say "You say, 'By the way, the stonework at the end of the wall seems unnecessary.'

Watson nods. 'I agree.'"

Carry out speeching Needless to Miss Helen Stoner:
	say "You say, 'By the way, there does not seem to be any very pressing need for repairs at that end wall.'

'There were none. I believe that it was an excuse to move me from my room.'"

Communication is a quip. The preview of Communication is "Where does the bell communicate with?"

Carry out speeching Communication to Watson:
	say "You say, 'Watson, where do you believe that bell rings?'

'Most likely in the housekeeper's room, I would think.'"

Carry out speeching Communication to Miss Helen Stoner:
	say "You ask, 'Where does the bell communicate with?'

'It goes to the housekeeper's room.'

'It looks newer than the other things?'

'Yes, it was only put there a couple of years ago.'

'Your sister asked for it, I suppose?'

'No, I never heard of her using it. We used always to get what we wanted for ourselves.'

Odd, you think; it seems no one has ever pulled it."

Fake is a quip. The preview of Fake is "The bell-pull is fake."

Carry out speeching Fake to Watson:
	say "You say, 'Watson, have you noticed that the bell pull in Miss Stoner's room is a dummy?'

'I cannot think of the purpose of such a thing.' He looks thoughtful."

Carry out speeching Fake to Miss Helen Stoner:
	say "'Why, it's a dummy,' you say.

'Won't it ring?'

'No, it is not even attached to a wire. This is very interesting. It is fastened to a hook just above where the little opening for the ventilator is.'

'How very absurd! I never noticed that before.'"

Connected is a quip. The preview of Connected is "Why did Roylott connect the two rooms with a ventilator?"

Carry out speeching Connected to Watson:
	say "'[if the ventilator is examined]You saw the ventilator, too?'

'Yes, but I do not think that it is such a very unusual thing to have a small opening between two rooms. It was so small that a rat could hardly pass through.'

'I knew that we should find a ventilator before ever we came to Stoke Moran.'

'My dear Holmes!'

'Oh, yes, I did.[otherwise]You say to Watson,'[end if]You remember in her statement she said that her sister could smell Dr. Roylott's cigar. Now, of course that suggested at once that there must be a communication between the two rooms. It could only be a small one, or it would have been remarked upon at the coroner's inquiry. I deduced a ventilator.'

Watson's esteem for you has increased."

Carry out speeching Connected to Miss Helen Stoner:
	say "[if the ventilator is unexamined]You say, 'There is a ventilator in your room, is there not?'

She answers, 'Yes, sir'.

[end if]You say, 'There are one or two very singular points about the room. For example, what a fool a builder must be to open a ventilator into another room, when, with the same trouble, he might have communicated with the outside air!'

'The ventilator is also quite modern,' says the lady[if the bell-pull is examined].

'Done about the same time as the bell-rope?' you remark.

'Yes, there were several little changes carried out about that time.'[otherwise].[end if]"

Secured is a quip. The preview of Secured is "Something important is kept in the safe."

Carry out speeching Secured to Watson:
	say "'Watson, what do you think is kept in the safe?'

He answers, 'Why, I would imagine it is simply his papers, deeds, and other items.'"

Carry out speeching secured to miss helen stoner:
	say "'What's in the safe?'

'My stepfather's business papers.'

'Oh! you have seen inside, then?'

'Only once, some years ago. I remember that it was full of papers.'"

Creature is a quip. The preview of Creature is "Some sort of creature drinks the milk."

Carry out speeching Creature to Watson:
	say "You say, 'Watson, what sort of creature do you think would drink that milk?'

He says, 'It's hard to say. I would suspect a cat, but given the Doctor's fascination with exotic animals, it could be many things. In Afghanistan, my bunk mate was used to feeding a pet lizard with milk."

Carry out speeching creature to Miss helen stoner:
	say "You say, 'Does Dr. Roylott keep a cat, for instance?'

'No. What a strange idea!'

'There was a saucer of milk on the safe.'

'No; we don't keep a cat. But there is a cheetah and a baboon.'

'Ah, yes, of course! Well, a cheetah is just a big cat, and yet a saucer of milk does not go very far in satisfying its wants, I daresay.'"

Dangerous is a quip. The preview of Dangerous is "Roylott keeps a lash to ward off something dangerous."

Dangerous is private.

Carry out speeching Dangerous to Watson:
	say "You say, 'What do you make of that dog lash, Watson?'

'It's a common enough lash. But I don't know why it should be tied.'

'That is not quite so common, is it? Ah, me! it's a wicked world, and when a clever man turns his brains to crime it is the worst of all.'"

Carry out speeching Dangerous to miss helen stoner:
	say "You prefer to keep your private conjectures to yourself."

Predator is a quip. The preview of predator is "Some sort of dangerous creature lives in Roylott's room.".

Predator is private.

Carry out speeching predator to Watson:
	say "You prefer to keep your private conjectures to yourself."

Carry out speeching Predator to Miss Helen Stoner:
	say "You prefer to keep your private conjectures to yourself."

Whistles is a quip. The preview of whistles is "Both sisters heard a strange whistle, and Helen heard a clang.".

Carry out speeching Whistles to Watson:
	say "You say, 'In your theory, Watson, what becomes of these nocturnal whistles?'

'I cannot think.'"


Carry out speeching whistles to miss helen stoner:
	say "You say, 'I promise you, Miss Stoner, that I will discover the source of the whistles.'

'Thank you,' she says."

Income is a quip. The preview of Income is "Roylott can claim 750 pounds a year while the Stoners are unmarried."

Carry out speeching Income to Miss Helen Stoner:
	say "No, you were hesitant to ask her directly about the income before, and you hesitate to discuss it openly now.  Experience has taught you to be discrete when it comes to personal finances."
	
Carry out speeching Income to Watson:
	say "'I have seen the will of the deceased wife,' you say. 'If both girls had married, this man's income would have had a mere pittance, while even one of them would cripple him to a very serious extent. This has proved that he has the very strongest motives for standing in the way of anything of the sort.'"

SnakeLevel is a number that varies. SnakeLevel is 0.

To say snaketext:
	if snakelevel is 0:
		say "not at all certain";
	otherwise if snakelevel is 1:
		say "considering the possibility";
	otherwise if snakelevel is 2:
		say "mildly certain";
	otherwise if snakelevel is 3:
		say "almost convinced";
	otherwise:
		say "certain";

Snake is a quip.  The preview of Snake is "You are [snaketext] that the speckled band is a venomous snake."

Snake is private.

Carry out speeching Snake to someone:
	say "You prefer to keep your private conjectures to yourself."

Plan is a quip. The preview of Plan is "It is time to reveal your plan to Miss Stoner."

PlanCount is a number that varies. PlanCount is 0.

Carry out speeching Plan to someone:
	now PlanCount is 1;
	discard plan;
	
PlanTime is a scene. PlanTime begins when PlanCount is 1. PlanTime ends when ImpressCounter is 5.

When PlanTime begins:
	say "It's time for you to reveal your plan to Miss Stoner, and to Watson.";
	add "Devising a plan to rescue Miss Stoner..." to ScoreList, if absent;		

	
Every turn during PlanTime:
	if the player is Sherlock Holmes:
		say "[bracket]You can IMPRESS her with the seriousness, or you can ABRIDGE your plan.[close bracket][line break]";

Does the player mean impressing miss helen stoner:
	it is very likely;
	
Impressing is an action applying to one thing. Understand "impress [someone]" as impressing.

ImpressCounter is a number that varies. ImpressCounter is 0.

Carry out impressing:
	if PlanTime is not happening:
		say "It's not quite the time to impress anyone.";
	otherwise if the player is not Sherlock  Holmes:
		say "No one is around to impress.";
	otherwise if ImpressCounter is 4:
		say "You say, 'The rest you will leave in our hands.'

'But what will you do?'

'We shall spend the night in your room, and we shall investigate the cause of this noise which has disturbed you.'

'I believe, Mr. Holmes, that you have already made up your mind,' says Miss Stoner, laying her hand upon your sleeve.

'Perhaps I have.'

It is time to go, now.";
		now ImpressCounter is 5;
	otherwise if ImpressCounter is 3:
		say "You say, 'Yes, it must be so. Let me explain. I believe that that is the village inn over there?'

'Yes, that is the Crown.'

'Very good. Your windows would be visible from there?'

'Certainly.'

'You must confine yourself to your room, on pretence of a headache, when your stepfather comes back. Then when you hear him retire for the night, you must open the shutters of your window, undo the hasp, put your lamp there as a signal to us, and then withdraw quietly with everything which you are likely to want into the room which you used to occupy. I have no doubt that, in spite of the repairs, you could manage there for one night.'

'Oh, yes, easily.'";
		now impresscounter is 4;
	otherwise if ImpressCounter is 2:
		say "You say, 'In the first place, both my friend and I must spend the night in your room.'

Both Miss Stoner and Watson gaze at you in astonishment.";
		now ImpressCounter is 3;
	otherwise if ImpressCounter is 1:
		say "You say, 'The matter is too serious for any hesitation. Your life may depend upon your compliance.'

'I assure you that I am in your hands.'";
		now ImpressCounter is 2;
	otherwise if ImpressCounter is 0:
		say “'It is very essential, Miss Stoner,' you say, 'that you should absolutely follow my advice in every respect.'

'I shall most certainly do so.'";
		now ImpressCounter is 1;


Abridging is an action applying to nothing. Understand "abridge" as abridging.

Carry out abridging:
	if PlanTime is not happening:
		say "It's not quite the time to impress anyone.";
	otherwise if the player is not Sherlock Holmes:
		say "There was no one around to abridge to.";
	otherwise if ImpressCounter is 4:
		say "You say, 'The rest you will leave in our hands.'

'But what will you do?'

'We shall spend the night in your room, and we shall investigate the cause of this noise which has disturbed you.'

'I believe, Mr. Holmes, that you have already made up your mind,' says Miss Stoner, laying her hand upon your sleeve.

'Perhaps I have.'

It is time to go, now.";
		now ImpressCounter is 5;
	otherwise:
		say "You tell Miss Stoner, 'Watson and I will obtain a room at the inn. You must confine yourself to your room, on pretence of a headache, when your stepfather comes back. Then when you hear him retire for the night, you must open the shutters of your window, undo the hasp, put your lamp there as a signal to us, and then withdraw quietly with everything which you are likely to want into the room which you used to occupy. We shall spend the night in your room, and we shall investigate the cause of this noise which has disturbed you.'

'Very well; I wish you could tell me more, but I understand.'

It is time to go, now.";
		now impresscounter is 5;

Visit is a quip. The preview of visit is "Perhaps you should visit Stoke Moran.".

Carry out speeching Visit to watson:
	say "You say, 'Watson, would you be willing to accompany me to Stoke Moran?'

'Of course.'"

Carry out speeching Visit to Miss Helen Stoner:
	say "'This is a very deep business,' you say. 'There are a thousand details which I should desire to know before I decide upon our course of action. Yet we have not a moment to lose. If we were to come to Stoke Moran today, would it be possible for us to see over these rooms without the knowledge of your stepfather?'

She says, 'As it happens, he spoke of coming into town to-day upon some most important business. It is probable that he will be away all day, and that there would be nothing to disturb you. We have a housekeeper now, but she is old and foolish, and I could easily get her out of the way.'";
	discard Visit;
	deliver Farewell;

Farewell is a quip. The preview of Farewell is "It is time to say goodbye."

Carry out speeching Farewell to Watson:
	say "You don't intend to say farewell to Watson!";

Part 2 - People involved in the scene

Section 1 - Helen Stoner

Miss Helen Stoner is a woman. "[one of]A lady dressed in black and heavily veiled, who has been sitting in the window, rises as you enter.[or][Miss Helen Stoner] is waiting patiently.[stopping]".The description of Miss Helen Stoner is "[if the player is Sherlock Holmes]You run her over with one of your quick, all-comprehensive glances. She is a lady, dressed in black clothing[end if][if the player is in 221B Baker Street] with an unusual pattern of mud splatters. She is attempting to conceal some bruises on her wrist. [A return ticket] is stuck in one of her gloves[otherwise if the player is sherlock holmes][otherwise][end if][if the player is not Sherlock Holmes]You are Helen Stoner, daughter of the deceased Major-General Stoner of the Bengal Artillery[end if]." Understand "woman" or "lady" or "client" as miss helen stoner.

StonerFollowFlag is a number that varies. StonerFollowFlag is 0.

The printed name of Miss Helen Stoner is "[if testimony is not StonerGiven]the lady in black[otherwise]Miss Helen Stoner[end if]"

Helen's face is part of Miss Helen Stoner. The description of Helen's face is "[if the player is not Sherlock Holmes]I felt the contours of my face.[otherwise if Miss Helen Stoner is reclined]Her face is drawn and grey, with restless frightened eyes, like those of some hunted animal. Her features and figure are those of a woman of thirty, but her hair is shot with premature grey, and her expression is weary and haggard.[otherwise]Her face is covered by a black veil.[end if][if the player is Sherlock Holmes]
Her clothing is spattered in an unusual pattern, and there is something in the palm of her glove. Also, you notice some bruises concealed by the lace on her wrist.[end if]"

Understand "features" or "figure" or "hair" or "expression" or "black veil" as Helen's face.

[I observe the second half of a return ticket in the palm of your left glove. You must have started early, and yet you had a good drive in a dog-cart, along heavy roads, before you reached the station.”

The lady gave a violent start and stared in bewilderment at my companion.

“There is no mystery, my dear madam,” said he, smiling. “The left arm of your jacket is spattered with mud in no less than seven places. The marks are perfectly fresh. There is no vehicle save a dog-cart which throws up mud in that way, and then only when you sit on the left-hand side of the driver.”]

The return ticket is carried by Miss Helen Stoner. Understand "something" or "gloves" or "glove" or "palm" or "half" or "train" or "certain" as the return ticket. The description of the return ticket is "You see half of a return ticket in her glove.". The printed name of the return ticket is "[if the return ticket is examined]return ticket[otherwise]certain something[end if]"

The muddy black clothing is worn by Miss Helen Stoner.  Understand "veil" or "telling" or "mud" or "spatter" or "spatters" or "splatter" or "splatters" or "spattered" or "pattern" or "patches" or "clothes" or "dress" as the muddy black clothing. The description of the muddy black clothing is "[if the player is Sherlock Holmes]Miss Stoner's clothing is splashed with mud, exactly as if she had driven in a dogcart.[otherwise]My clothing was plain and simple.[end if]". The printed name of the muddy black clothing is "[if the player is in 221B Baker Street]muddy [end if]black clothing".

[“Miss Roylott, you have not. You are screening your stepfather.”

“Why, what do you mean?”

For answer Holmes pushed back the frill of black lace which fringed the hand that lay upon our visitor's knee. Five little livid spots, the marks of four fingers and a thumb, were printed upon the white wrist.

“You have been cruelly used,” said Holmes.

The lady coloured deeply and covered over her injured wrist. “He is a hard man,” she said, “and perhaps he hardly knows his own strength.”]

The bruised wrist is part of Miss Helen Stoner. Understand "bruise" or "concealed" or "bruises" or "lace" or "white" or "livid" or "four" or "five" or "spot" or "spots" or "finger" or "fingers" or "thumb" as the bruised wrist. The description of the bruised wrist is "Five little livid spots, the marks of four fingers and a thumb, are printed upon the white wrist."

After examining the bruised wrist:
	now the bruised wrist is examined;
	deliver Abuse;

After examining the return ticket:
	now the return ticket is examined;
	deliver Trainride;

Instead of speeching Trainride to Miss Helen Stoner:
	say "You say, 'You have come in by train this morning, I see.'

'You know me, then?'

'No, but I observe the second half of a return ticket in the palm of your left glove. You must have started early.'

[if dogcart is not carried by Sherlock Holmes]She is beginning to believe in your mental acuity. You need another demonstration; perhaps you should examine her again.[otherwise If Dogcart is StonerGiven]She now seems fully convinced of your powers. You can ask her about her testimony, now.[TestimonyHint][otherwise]She is beginning to believe in your mental acuity.[end if]";
	discard Trainride;

To say TestimonyHint:
	say line break;
	deliver Testimony;
	add "Demonstrating analytical powers to Miss Helen Stoner..." to ScoreList, if absent;		

After examining the muddy black clothing:
	Deliver dogcart;

Instead of speeching Dogcart to Miss Helen Stoner:
	say "You say, 'You had a good drive in a dog-cart, along heavy roads, before you reached the station.'

The lady gives a violent start and stares in bewilderment at you.

'There is no mystery, my dear madam,' you say, smiling. 'The left arm of your jacket is spattered with mud in no less than seven places. The marks are perfectly fresh. There is no vehicle save a dog-cart which throws up mud in that way, and then only when you sit on the left-hand side of the driver.'

[if trainride is not carried by Sherlock Holmes]She is beginning to believe in your mental acuity. You need another demonstration; perhaps you should examine her again.[otherwise If Trainride is StonerGiven]She now seems fully convinced of your powers. You can ask her about her story, now.[TestimonyHint][otherwise]She is beginning to believe in your mental acuity.[end if]";
	discard Dogcart;

Section 2 - Dr Roylott

Dr Roylott is a man.  The description of Dr Roylott is "His costume is a peculiar mixture of the professional and of the agricultural, having a black top-hat, a long frock-coat, and a pair of high gaiters, with a hunting-crop swinging in his hand. 

His deep-set, bile-shot eyes, and his high, thin, fleshless nose, give him somewhat the resemblance to a fierce old bird of prey."

Understand "doctor" or "grimesby" as Dr Roylott.

The hunting-crop is carried by Dr Roylott. Understand "hunting" or "crop" as the hunting-crop. The high gaiters are worn by Dr Roylott. The black top-hat is worn by Dr Roylott. Understand "top" or "hat" as the black top-hat.

Understand "deep" or "set" or "deep-set" or "bile" or "shot" or "bile-shot" or "high" or "thin" or "fleshless" or "fierce" or "old" or "bird" or "prey" as Dr Roylott. Understand "large" or "face" or "wrinkles" or "yellow" or "sun" or "evil" or "marked" or "passion" as Dr Roylott.

Instead of examining something enclosed by Dr Roylott:
	say "[the description of Dr Roylott]";

Part 3 - Scenes

Chapter 1 - Baker Street Arrival

Section 1 - Dream world

Before waking up:
	if the player is Mind Holmes:
		if pertinentcase is basecase:
			say "You need to pick up a memory to wake up[if the player is not in Mind Holmes]; they are found in the Conscious Mind[end if]." instead;


Section 2 - Hudson Knocking

HudsonKnocking is a scene. HudsonKnocking begins when pertinentcase is SpeckledBand. HudsonKnocking ends when the front door is open.

When HudsonKnocking begins:
	Playerchange Sherlock Holmes;
	try looking;

Every turn during HudsonKnocking:
	if the player is Sherlock Holmes:
		say "[one of]You hear a thudding sound coming from [if the player is in 221B Baker Street]the front door[otherwise]the front room[end if].[or][run paragraph on][or][run paragraph on][or]Someone is knocking on your front door[if the player is in 221B Baker Street], here[otherwise if the player is in Sherlock's Bedroom], to the east[end if].[or][run paragraph on][or][run paragraph on][cycling]"

Before going south from 221B Baker Street during HudsonKnocking:
	say "Watson is still sleeping; you don't want to disturb him without cause." instead;

Before going north from 221B Baker Street during HudsonKnocking:
	try opening the front door instead;
 
Instead of listening to the location of the player when HudsonKnocking is happening:
	say "You hear a thudding sound."

Before entering the front door:
	try opening the front door instead;

Section 3 - Get Watson

Before going north from 221B Baker Street during GetWatson:
	say "You prefer to let clients come to you. And in any case, Watson will want to be here." instead;

GetWatson is a scene. GetWatson begins when HudsonKnocking ends. GetWatson ends when Watson is in 221B Baker Street;

When GetWatson begins:
	say "You see Mrs. Hudson here. She says, 'There's a lady come here to see you, sir. Shall I send her up?'

[bracket]When you don't have an active case, you can TALK TO characters to speak with them.[close bracket][line break]";
	now Mrs Hudson is in 221B Baker Street;
	
Before going a direction during GetWatson:
	if the player is Sherlock Holmes:
		if the player is in 221B Baker Street:
			if the noun is south:
				if HudsonTold is 0:
					say "Perhaps you should attend to Mrs. Hudson first." instead;
				otherwise:
					now Mrs Hudson is nowhere;
					now the front door is closed;
					now Sherlock Holmes is in Watson's bedroom;
					say "You knock as you enter. Watson wakes to find you standing, fully dressed, by the side of his bed. 

As the time is only a quarter-past seven, he blinks up at you in some surprise, and perhaps just a little resentment. He looks to you for an explanation." instead;
			otherwise:
				if HudsonTold is 0:
					say "Perhaps you should attend to Mrs. Hudson first." instead;
				otherwise:
					say "You need to fetch Watson." instead;
		otherwise:
			if WatsonSleeping is 1:
				say "You would like Watson to come with you." instead;	

Understand "fetch [someone]" as talking to.

Understand "fetch [something]" as taking.

Every turn during GetWatson:
	if the player is in 221B Baker Street:
		if Miss Helen Stoner is in 221B baker street:
			say "Mrs. Hudson leaves and closes the door.";
			now Mrs Hudson is nowhere;
		otherwise:
			if HudsonTold is 0:
				say "Mrs. Hudson is waiting patiently for her orders[one of][or][run paragraph on][or][run paragraph on][or][paragraph break][bracket]You should TALK TO Mrs Hudson to give her your instructions.[close bracket][stopping].";
			otherwise if Mrs Hudson is in the location of the player:
				say "[first time]Mrs. Hudson steps outside, where she is waiting for you to return with Watson.[only]";
				now Mrs Hudson is nowhere;
	
HudsonTold is a number that varies. HudsonTold is 0.
	
Instead of talking to Mrs Hudson:
	if HudsonTold is 0:
		say "You say, 'Let me fetch Watson. Show her into the parlor in the meanwhile.'";
		now HudsonTold is 1;
	otherwise:
		say "You say, 'Just a moment, Mrs. Hudson; I'll fetch Watson.'";
	
Instead of talking to Watson during GetWatson:
	now Mrs Hudson is in 221B Baker Street;
	say "[one of]'Very sorry to knock you up, Watson,' you say, 'but it's the common lot this morning. Mrs. Hudson has been knocked up, she retorted upon me, and I on you.'

'What is it, then--a fire?'

'No; a client. It seems that a young lady has arrived in a considerable state of excitement, who insists upon seeing me. She is waiting now in the sitting-room. Should it prove to be an interesting case, you would, I am sure, wish to follow it from the outset. I thought, at any rate, that I should call you and give you the chance.'

'My dear fellow, I would not miss it for anything.' He gets up.[or]Watson is ready to go back to the sitting room with you.[stopping]";
	now Watson is in Watson's bedroom;
	add "Getting a certain doctor out of bed..." to ScoreList, if absent;			
	now WatsonSleeping is 0;
	now Miss Helen Stoner is in 221B Baker Street;

Instead of waking watson during GetWatson:
	try talking to Watson;

Explaining is an action applying to one thing. Understand "explain to [someone]" as explaining.

Carry out explaining:
	say "[bracket]Use TALK TO to talk someone, or SAY a thought to someone.[close bracket]".

Section 4 - Stoner Arrival

Stoner Arrival is a scene. Stoner Arrival begins when GetWatson ends. Stoner Arrival ends when the player is Miss Helen Stoner.

Before going a direction during Stoner Arrival:
	if the player is in 221B Baker Street:
		say "You want to hear Miss Stoner's story." instead;

HelenListSwitch is a number that varies. HelenListSwitch is 0.		

When Stoner Arrival begins:
	deliver Greeting;

A quip can be StonerGiven or not StonerGiven. A quip is usually not StonerGiven.

A quip can be WatsonGiven or unwatsongiven. A quip is usually unwatsongiven.

A quip can be OldWatsonGiven or unoldwatsongiven. A quip is usually unOldwatsongiven.

Before speeching a quip to Miss Helen Stoner:
	if the noun is not Greeting:
		if greeting is not StonerGiven:
			say "[bracket]First greeting Miss Helen Stoner[close bracket][line break]";
			try speeching greeting to Miss Helen Stoner;
			say "[bracket]Now saying [the noun] to Miss Helen Stoner[close bracket][line break]";
			try speeching the noun to Miss Helen Stoner instead;
	now the noun is StonerGiven.

Before speeching a quip to Watson:
	if the noun is WatsonGiven:
		say "You've already discussed this with Watson." instead;
	otherwise:
		now DepressionCounter is DepressionCounter plus WatsonPoints of the noun;
	now the noun is WatsonGiven;

Before speeching a quip to OldWatson:
	if the noun is OldWatsonGiven:
		say "You've already discussed this with Watson." instead;
	now the noun is OldWatsonGiven;

A person can be reclined or not reclined. A person is usually not reclined.

Instead of speeching Greeting to Miss Helen Stoner:
	say "'Good-morning, madam,' you say cheerily. 'My name is Sherlock Holmes. This is my associate, Dr. Watson, before whom you can speak as freely as before myself. I shall order you a cup of hot coffee, for I observe that you are shivering.'

'It is not cold which makes me shiver,' says the woman as she sits.

'What, then?'

'It is fear, Mr. Holmes. It is terror.' She raises her veil, and you can see her face[if the number of relevant quips carried by the player < 2]. [paragraph break][PowersHint][otherwise]. [line break][end if]";
	now Miss Helen Stoner is reclined;
	discard greeting;
	
To say PowersHint:
	say "[first time][bracket]Like most of your clients, she'll need a demonstration of your powers of observation.[close bracket][line break][only]";
	
[It was early in April in the year '83 that I woke one morning to find Sherlock Holmes standing, fully dressed, by the side of my bed. He was a late riser, as a rule, and as the clock on the mantelpiece showed me that it was only a quarter-past seven, I blinked up at him in some surprise, and perhaps just a little resentment, for I was myself regular in my habits.

“Very sorry to knock you up, Watson,” said he, “but it's the common lot this morning. Mrs. Hudson has been knocked up, she retorted upon me, and I on you.”

“What is it, then--a fire?”

“No; a client. It seems that a young lady has arrived in a considerable state of excitement, who insists upon seeing me. She is waiting now in the sitting-room. Now, when young ladies wander about the metropolis at this hour of the morning, and knock sleepy people up out of their beds, I presume that it is something very pressing which they have to communicate. Should it prove to be an interesting case, you would, I am sure, wish to follow it from the outset. I thought, at any rate, that I should call you and give you the chance.”

“My dear fellow, I would not miss it for anything.”

I had no keener pleasure than in following Holmes in his professional investigations, and in admiring the rapid deductions, as swift as intuitions, and yet always founded on a logical basis with which he unravelled the problems which were submitted to him. I rapidly threw on my clothes and was ready in a few minutes to accompany my friend down to the sitting-room. A lady dressed in black and heavily veiled, who had been sitting in the window, rose as we entered.]

Section 5 - Watson consultation

[Maybe afterward. Here put his responses to quips]

[“And what do you think of it all, Watson?” asked Sherlock Holmes, leaning back in his chair.

“It seems to me to be a most dark and sinister business.”

“Dark enough and sinister enough.”

“Yet if the lady is correct in saying that the flooring and walls are sound, and that the door, window, and chimney are impassable, then her sister must have been undoubtedly alone when she met her mysterious end.”

“What becomes, then, of these nocturnal whistles, and what of the very peculiar words of the dying woman?”

“I cannot think.”

“When you combine the ideas of whistles at night, the presence of a band of gipsies who are on intimate terms with this old doctor, the fact that we have every reason to believe that the doctor has an interest in preventing his stepdaughter's marriage, the dying allusion to a band, and, finally, the fact that Miss Helen Stoner heard a metallic clang, which might have been caused by one of those metal bars that secured the shutters falling back into its place, I think that there is good ground to think that the mystery may be cleared along those lines.”

“But what, then, did the gipsies do?”

“I cannot imagine.”

“I see many objections to any such theory.”

“And so do I. It is precisely for that reason that we are going to Stoke Moran this day. I want to see whether the objections are fatal, or if they may be explained away. But what in the name of the devil!”]

Section 6 - Roylott's arrival

[Add this stuff: CHOP THIS DOWN OR SPLIT IT UP 'This is a very deep business,' you say at last. 'There are a thousand details which I should desire to know before I decide upon our course of action. Yet we have not a moment to lose. If we were to come to Stoke Moran to-day, would it be possible for us to see over these rooms without the knowledge of your stepfather?'

'As it happens, he spoke of coming into town to-day upon some most important business. It is probable that he will be away all day, and that there would be nothing to disturb you. We have a housekeeper now, but she is old and foolish, and I could easily get her out of the way.'

'Excellent. You are not averse to this trip, Watson?'

'By no means.'

'Then we shall both come. What are you going to do yourself?'

'I have one or two things which I would wish to do now that I am in town. But I shall return by the twelve o'clock train, so as to be there in time for your coming.'

]

Instead of speeching farewell to Miss Helen Stoner:
	say "You say, 'You may expect us early in the afternoon. I have myself some small business matters to attend to. Will you not wait and breakfast?'

She say, 'No, I must go. My heart is lightened already since I have confided my trouble to you. I shall look forward to seeing you again this afternoon.' She drops her thick black veil over her face and glides from the room.";
	discard Farewell;
	now Miss Helen Stoner is nowhere;
	the danger happens in 2 minutes from now;
	now LockDoor is 1;
	
LockDoor is a number that varies. LockDoor is 0.

GoroyGo is a number that varies. GoRoyGo is 0.

At the time when the danger happens:
	now ClueTime is 0;
	now goroygo is 1;

Before going north from 221B Baker Street:
	if Miss Stoner is in 221B Baker Street:
		say "You're not finished talking with Miss Stoner." instead;
	if LockDoor is 1:
		say "You'd like to discuss this a bit with Watson." instead;

RoyArrival is a scene. RoyArrival begins when GoRoyGo is 1. RoyArrival ends when Dr Roylott is nowhere;

Does the player mean doing something with Dr Roylott:
	it is likely;

Before going a direction when LockDoor is 1:
	if the player is Sherlock Holmes:
		if Dr Roylott is not in the location of the player:
			say "You wish to discuss the case more with Watson before going anywhere." instead; 

Instead of going a direction during RoyArrival:
	if the player is Sherlock Holmes:
		say "There's too much excitement to leave now!";

When RoyArrival begins:
	now LockDoor is 0;
	say "You exclaim, 'What in the name of the devil!'

Your door has been suddenly dashed open, and a huge man has framed himself in the aperture. So tall is he that his hat actually brushes the cross bar of the doorway, and his breadth seems to span it across from side to side.

A large face, seared with a thousand wrinkles, burned yellow with the sun, and marked with every evil passion, turns from one to the other of you.

'Which of you is Holmes?' asks this apparition.

[bracket]Dr. Roylott's arrival has put the details of the case out of Sherlock's mind. You can only PROVOKE Dr. Roylott, or DISMISS him.[close bracket][line break]";
	now the front door is open;
	add "Dismissing a rude visitor..." to ScoreList, if absent;		
	now Dr Roylott is in 221B Baker Street;
	set pronouns from Dr Roylott;

When RoyArrival ends:
	the excitement occurs in 1 minute from now;
	
At the time when the excitement occurs:
	say "It is time to take action. To the streets of London! You must go to Doctor's Common to see the will of the deceased wife; you have a suspicion that it will clear up a great deal of this mystery.";

Every turn during RoyArrival:
	if the player is Sherlock Holmes:
		say "[bracket]You can PROVOKE Dr. Roylott or DISMISS him.[close bracket][line break]"

Straightening is an action applying to one thing. Understand "straighten [something]" or "bend [something]" as straightening.

Carry out straightening:
	if the noun is the twisted poker:
		try taking the twisted poker;
	otherwise:
		say "You don't need to straighten that.";
		
Provoking is an action applying to one thing. Understand "provoke [someone]" or "annoy [someone]" as provoking.

RoyCounter is a number that varies. RoyCounter is 0.

Instead of waiting during RoyArrival:
	if the player is Sherlock Holmes:
		say "It is hard for you to restrain yourself.";
		try provoking Dr Roylott;

Carry out provoking:
	if the noun is not Dr Roylott:
		say "That command is not available at this time.";
	otherwise if the player is not Sherlock Holmes:
		say "That command was not available at that time.";
	otherwise if RoyCounter is 5:
		try dismissing Dr Roylott;
	otherwise if RoyCounter is 4:
		say "Your smile broadens.

He says, 'Holmes, the Scotland Yard Jack-in-office!'";
		now RoyCounter is 5;
	otherwise if RoyCounter is 3:
		say "You smile.

He says, 'Holmes, the busybody!'";
		now RoyCounter is 4;
	otherwise if RoyCounter is 2:
		say "'But I have heard that the crocuses promise well,' you continue imperturbably.

'Ha! You put me off, do you?' says your new visitor, taking a step forward and shaking his hunting-crop. 'I know you, you scoundrel! I have heard of you before. You are Holmes, the meddler.'";
		now RoyCounter is 3;
	otherwise if RoyCounter is 1:
		say "'It is a little cold for the time of the year,' you say.

'What has she been saying to you?' screams the old man furiously.";
		now RoyCounter is 2;
	otherwise:
		say "'My name, sir; but you have the advantage of me,' you say.

'I am Dr. Grimesby Roylott, of Stoke Moran.'

'Indeed, Doctor,' you say blandly. 'Pray take a seat.'

'I will do nothing of the kind. My stepdaughter has been here. I have traced her. What has she been saying to you?'";
		now RoyCounter is 1;

Does the player mean provoking dr roylott:
	it is very likely;

Dismissing is an action applying to one thing. Understand "dismiss [someone]" as dismissing.

Carry out dismissing:
	now ClueTime is 1;
	if the noun is not Dr Roylott:
		say "That command is not available at this time.";
	otherwise if the player is not Sherlock Holmes:
		say "That command was not available at that time.";
	otherwise:
		say "You chuckle heartily. 'Your conversation is most entertaining,' you say. 'When you go out close the door, for there is a decided draught.'

'I will go when I have said my say. Don't you dare to meddle with my affairs. I know that Miss Stoner has been here. I traced her! I am a dangerous man to fall foul of! See here.' He steps swiftly forward, seizes the poker, and bends it into a curve with his huge brown hands.

'See that you keep yourself out of my grip,' he snarls, and hurling the twisted poker into the fireplace he strides out of the room.";
		now Dr Roylott is nowhere;
		now the twisted poker is in 221B Baker Street;

The twisted poker is a thing. The description of the twisted poker is "The poker has been twisted by the strength of Dr Roylott."

Instead of taking the twisted poker:
	say "'He seems a very amiable person,' you say, laughing. 'I am not quite so bulky, but if he had remained I might have shown him that my grip was not much more feeble than his own.' As you speak you pick up the steel poker and, with a sudden effort, straighten it out again, and set it down.";
	now the twisted poker is nowhere;
	add "Bending a steel poker..." to ScoreList, if absent;		
	now the straight poker is in 221B Baker Street;
	
The straight poker is scenery. The description of the straight poker is "The poker has been straightened out again."

Instead of taking the straight poker:
	say "Better to let it lie."
	
Instead of attacking Dr Roylott:
	if the player is not in Dr Roylott's room:
		try provoking dr roylott;
	otherwise:
		say "The snake would be a better target.";
		
Before talking to Dr Roylott:
	if the player is in Dr Roylott's room:
		say "He is unresponsive." instead;
	otherwise:
		say "You can PROVOKE Dr. Roylott or DISMISS him." instead;

[The ejaculation had been drawn from my companion by the fact that our door had been suddenly dashed open, and that a huge man had framed himself in the aperture. His costume was a peculiar mixture of the professional and of the agricultural, having a black top-hat, a long frock-coat, and a pair of high gaiters, with a hunting-crop swinging in his hand. So tall was he that his hat actually brushed the cross bar of the doorway, and his breadth seemed to span it across from side to side. A large face, seared with a thousand wrinkles, burned yellow with the sun, and marked with every evil passion, was turned from one to the other of us, while his deep-set, bile-shot eyes, and his high, thin, fleshless nose, gave him somewhat the resemblance to a fierce old bird of prey.

“Which of you is Holmes?” asked this apparition.

“My name, sir; but you have the advantage of me,” said my companion quietly.

“I am Dr. Grimesby Roylott, of Stoke Moran.”

“Indeed, Doctor,” said Holmes blandly. “Pray take a seat.”

“I will do nothing of the kind. My stepdaughter has been here. I have traced her. What has she been saying to you?”

“It is a little cold for the time of the year,” said Holmes.

“What has she been saying to you?” screamed the old man furiously.

“But I have heard that the crocuses promise well,” continued my companion imperturbably.

“Ha! You put me off, do you?” said our new visitor, taking a step forward and shaking his hunting-crop. “I know you, you scoundrel! I have heard of you before. You are Holmes, the meddler.”

My friend smiled.

“Holmes, the busybody!”

His smile broadened.

“Holmes, the Scotland Yard Jack-in-office!”

Holmes chuckled heartily. “Your conversation is most entertaining,” said he. “When you go out close the door, for there is a decided draught.”

“I will go when I have said my say. Don't you dare to meddle with my affairs. I know that Miss Stoner has been here. I traced her! I am a dangerous man to fall foul of! See here.” He stepped swiftly forward, seized the poker, and bent it into a curve with his huge brown hands.

“See that you keep yourself out of my grip,” he snarled, and hurling the twisted poker into the fireplace he strode out of the room.

“He seems a very amiable person,” said Holmes, laughing. “I am not quite so bulky, but if he had remained I might have shown him that my grip was not much more feeble than his own.” As he spoke he picked up the steel poker and, with a sudden effort, straightened it out again.

“Fancy his having the insolence to confound me with the official detective force! This incident gives zest to our investigation, however, and I only trust that our little friend will not suffer from her imprudence in allowing this brute to trace her. And now, Watson, we shall order breakfast, and afterwards I shall walk down to Doctors' Commons, where I hope to get some data which may help us in this matter.”]

Chapter 2 - Flashback to sister's death

Stoner flashback is a scene. Stoner flashback begins when the player is Miss Helen Stoner. 

Stoner flashback ends when Miss Helen Stoner is nowhere.

When Stoner Flashback begins:
	Now the player is in Stoke Moran;

[Rule for printing the name of a room (called currentroom):
	let N be "[currentroom]";
	if the player is Miss Helen Stoner:
		say "[N] (as Miss Stoner)";
	otherwise:
		say "[N]";]


Section 1 - Stoke Moran grounds

Stoke Moran is a room. The description of Stoke Moran is "I was on the grounds of Stoke Moran, a very old manor house, and the ancestral house of the Roylott family, to which my stepfather belonged. The windows of my family's rooms all opened out onto the lawn.

[ShuttersHint]The grounds extended all around me, but they held nothing except for brambles and the scattered tents of the band of stoneworkers who were friends of my stepfather. Beyond the grounds was a stream, crossed by a small bridge.

[first time][LaborersHint]From somewhere nearby, I heard the inhuman screeching of my stepfather's baboon, and shivered. [only]I could only go [bold type]north[roman type], into the manor. These grounds held terrible memories for me.[first time]

Last week my stepfather hurled the local blacksmith over the bridge into the stream, and it was only by paying over all the money which I could gather together that I was able to avert another public exposure.

Violence of temper approaching to mania has been hereditary in the men of the family, and in my stepfather's case it had, I believe, been intensified by his long residence away from home. A series of disgraceful brawls took place, two of which ended in the police-court, until at last he became the terror of the village, and the folks would fly at his approach, for he is a man of immense strength, and absolutely uncontrollable in his anger.[only]"

The terrible memories are scenery in Stoke Moran. The description of the terrible memories is "Please, Mr. Holmes, I do not wish to go into detail."

Understand "remember [something]" or "recall [something]" as examining.

To say ShuttersHint:
	deliver Shutters;
	say "[first time][line break][only]";

To say LaborersHint:
	deliver Laborers;
	say line break;
	
The family's windows are scenery in Stoke Moran. The description of the family's windows is "We had old-fashioned shutters with broad iron bars, which were secured every night." Understand "shutter" or "shutters" or "old" or "old-fashioned" or "broad" or "iron" or  "rooms" or  "bars" or "bar" as the family's windows.

Does the player mean singlespeeching the family's windows:
	it is unlikely;

The manor house is scenery in Stoke Moran. Understand "stoke" or "moran" as the manor house. The description of the manor house is "A two-hundred-year-old house. 

I remember how, shortly after our return to England, my mother died--she was killed eight years ago in a railway accident near Crewe, Mr. Holmes. My stepfather Dr. Roylott then abandoned his  practice in London and took us to live with him in this old ancestral house."

The manor grounds are scenery in Stoke Moran. Understand "bramble" or "brambles" or "lawn" as the manor grounds. The description of the manor grounds is "Nothing was left of the old Roylott estate, save a few acres of bramble-covered ground, and the two-hundred-year-old house, which is itself crushed under a heavy mortgage." The manor grounds are plural-named.

The stoneworkers are scenery in Stoke Moran. Understand "tent" or "tents" or "wandering" or "stoneworkers" or "laborers" or "laborer"  as the stoneworkers. The description of the stoneworkers is "My stepfather had no friends at all save the stoneworkers he had hired, and he would give these laborers leave to encamp upon the few acres of bramble-covered land which represent the family estate, and would accept in return the hospitality of their tents, wandering away with them sometimes for days on end."

Instead of searching the stoneworkers:
	say "I was hesitant.";

Instead of entering the stoneworkers:
	say "I was hesitant."

Instead of going nowhere from Stoke Moran when the noun is south:
	try entering the stoneworkers;

The small bridge is scenery in Stoke Moran. Understand "stream" or "parapet" as the small bridge. The description of the small bridge is "This was the bridge from which he hurled the blacksmith."

Instead of listening to Stoke Moran:
	say "The baboon is silent, now."
	
The unseen baboon is scenery in Stoke Moran. The description of the unseen baboon is "I couldn't see the baboon, or the cheetah. They wander freely over the grounds, Mr. Holmes, and are feared by the villagers almost as much as their master."

Section 2 - The corridor

The Entrance Hall is north from Stoke Moran.  The first corridor is east from the entrance hall. The second corridor is east from the first corridor. The third corridor is east from the second corridor.

The hallcorridor is scenery in the entrance hall. Understand "corridor" or "hall" as the hallcorridor. The printed name of the hallcorridor is "corridor". 

The description of the entrance hall is "The manor-house, Mr. Holmes, is very old, and only the east wing is now inhabited. No servant would stay with us, and for a long time we did all the work of the house[first time]. My stepfather had no friends at all save the stoneworkers he had hired, and he would give these laborers leave to encamp upon the few acres of bramble-covered land which represent the family estate, and would accept in return the hospitality of their tents, wandering away with them sometimes for days on end[only]. 

The floor was paved with old, foot-worn gray stones. Black beams shot across above my heads, with a smoke-darkened ceiling beyond them. The corridor to the [bold type]east[roman type] wing, and our rooms, was open.

I could return to the grounds to the [bold type]south[roman type]."

The old foot-worn gray stones are a backdrop. The old foot-worn gray stones are in first corridor. The old foot-worn gray stones are in second corridor. The old foot-worn gray stones are in third corridor. Understand "floor" as the old foot-worn gray stones. The old foot-worn gray stones are in entrance hall.

The description of the old foot-worn gray stones is "The stones were the original floor of the building, never restored. They were gray and foot-worn."

Instead of going nowhere from the entrance hall:
	say "Only the [bold type]east[roman type] wing was inhabited. The entrance was to the [bold type]south[roman type]."

The description of the first corridor is "The bedrooms in this wing all opened out into the same corridor. This was a newer addition to the family home. Dr. Roylott, my stepfather, had the room closest to the front entrance to the [bold type]west[roman type]. My sister's room was to the [bold type]east[roman type], and mine was further still. [HallwaysHint]The corridor was dim and sombre in the subdued light of the corridor-lamps. I stood in front of Dr. Roylott's room, to the [bold type]south[roman type]. My sister's room and my own were to the [bold type]east[roman type]." The printed name of the first corridor is "Before Dr. Roylott's room"

To say HallwaysHint:
	say "[first time][paragraph break][only]";
	deliver Hallway;
	say "[first time][line break][only]";
	deliver Presence;
	say "[first time][line break][only]";

The corridor-lamps are a backdrop. Understand "corridor" or "dim" or "light" or "lamp" or "lamps" as the corridor-lamps. The corridor-lamps are in first corridor and second corridor and third corridor. The description of corridor-lamps is "The corridor-lamps provided a dim light."

Dr Roylott's door is scenery in the first corridor. The description of Dr Roylott's door is "This was Dr. Roylott's door; he had gone to bed early." Understand "roylott" as Dr Roylott's door.

Before opening Dr Roylott's door:
	say "Dr. Roylott, my stepfather, had gone to his room early, and I was forbidden from intruding upon him." instead;

Instead of going nowhere from first corridor when the noun is south:
	try opening Dr Roylott's door;

Dr Roylott's door is proper-named.

The description of the second corridor is "I was in the main corridor, lined with oak paneling, with a ceiling supported by black beams; the door to my room was to the [bold type]east[roman type], and my stepfather's door was to the [bold type]west[roman type]. I stood before my sister's door, to the [bold type]south[roman type][first time].[paragraph break]Her situation had changed, recently. I have an aunt who lives near Harrow, and we were occasionally allowed to pay short visits at this lady's house. Julia had been there at Christmas, and met there a half-pay major of marines, to whom she became engaged. 

My stepfather had learned of the engagement fourteen days ago, and offered no objection to the marriage[only][if the shawl is worn by the player].[paragraph break]My sister's door to the [bold type]south[roman type] was unlocked, and revolved slowly upon its hinges[end if].". The printed name of the second corridor is "Before Julia's door"

The oak paneling is a backdrop. The oak paneling is in first corridor. The oak paneling is in second corridor. The oak paneling is in third corridor. The description of the oak paneling is "The walls were lined with oak paneling." 

The soot-blackened ceiling is a backdrop. The soot-blackened ceiling is in first corridor. The soot-blackened ceiling is in second corridor. The soot-blackened ceiling is in third corridor. The soot-blackened ceiling is in Entrance Hall. Understand "black" or "beams" or "beam" or "soot" or "soot blackened" or "blackened" as the soot-blackened ceiling. The description of the soot-blackened ceiling is "Black beams supported a soot-blackened ceiling."

Julia's door is a door. It is south from second corridor and north from Julia's Room. Understand "my" or "sister" as Julia's door. Julia's door is proper-named. It is scenery. Julia's door is an open openable unlocked lockable door.

The description of the third corridor is "I stood before my own door, to the [bold type]south[roman type]. The rest of the corridor, and the remainder of the house, was to the [bold type]west[roman type]. An old service door led outside, but it was unused. My sister visited me here from time to time, but I was otherwise alone." The printed name of the third corridor is "Before my door"

The HelenService is scenery in the third corridor. Understand "old" or "service" or "door" or "outside" or "unused" as HelenService.  The printed name of HelenService is "old service door". The description of HelenService is "No one used the old service door anymore."

Instead of opening the HelenService:
	say "The cheetah might have been outside; I couldn't chance opening the door."

Helen's door is a door. It is scenery. It is south from third corridor and north from Helen's Room. Understand "my" as helen's door. The printed name of helen's door is "my door". Helen's door is proper-named.

Section 3 - Roylott's room


Section 4 - Julia NPC

Julia's Room is a room. The description of Julia's room is "[if the shawl is worn by the player]Julia's room was dimly lit. It was impossible to notice anything but my sister herself.[otherwise]Julia's room was furnished as mine was, with a simple bed; her window was closed, and bolted. 
The room smelled of strong Indian cigars. Dr. Roylott had favored such cigars since his time on the continent.[CigarHint][end if]"

Julia's bed is scenery in Julia's room. Julia's fireplace is scenery in Julia's room. Julia's bed is a supporter.

Instead of entering Julia's bed:
	say "It was occupied.";

Instead of smelling when the player is in Julia's Room:
	say "It reeked of cigar smoke.";

Julia is a woman. Julia is in Julia's room.  "[no line break][if Julia is in Helen's Room][JuliaRoom][otherwise if the shawl is worn by the player][TerrorSpeech] [otherwise]My sister Julia was there, sitting on her bed.[end if]". The description of Julia is "My twin sister; she was but thirty, and yet her hair had already begun to whiten, even as mine has.” Understand "twin" or "sister" or "stoner" as Julia.

Report going south from second corridor:
	if the shawl is not worn by the player:
		say "She looked up as I entered[if SaidSpeechHint is 0][SpeechHint][paragraph break][end if]"
	
To say JuliaRoom:
	say "[if JuliaCounter > 1]Julia was waiting for the answer to her question. [otherwise]Julia was here, deep in thought. [end if]"

Julia's window is scenery in Julia's room. Understand "closed" or "bolted" or "bolt" as Julia's window. The description of Julia's window is "The window was securely closed and bolted."

Instead of opening Julia's Window:
	say "It was not our habit to open the windows."
	
Instead of unlocking Julia's window:
	say "It was not our habit to open the windows."

To say TerrorSpeech:
	say "[one of]By the light of the corridor-lamp I saw my sister appear at the opening, her face blanched with terror, her hands groping for help, her whole figure swaying to and fro like that of a drunkard. [or]My sister needed a doctor's attention! [stopping]"
	
SaidSpeechHint is a number that varies. SaidSpeechHint is 0.

To say SpeechHint:
	now SaidSpeechHint is 1;
	say ".[first time][line break][bracket]To speak during flashbacks, you TALK TO the character you wish to speak to.[close bracket][only]"

To say SpeechHint1:
	if SaidSpeechHint is 0:
		say "[SpeechHint]";
	otherwise:
		say ". ";
	now Julia is in Helen's room;

The white hair is part of Julia. 

To say cigarhint:
	say "[first time][paragraph break][only]";
	Deliver Cigars;

Instead of talking to Julia when the player is in Julia's room:
	say "[one of]Julia looked discreetly towards Dr. Roylott's room. She said, 'Perhaps we should speak in your room.' Her voice was low. She added, 'I'll meet you there.'

Julia sniffed and wrinkled her nose.[or]Julia coughs discreetly and nods towards your bedroom.[stopping]"

JuliaSick is a number that varies. JuliaSick is 0.

Understand "help [someone]" as taking.

Before doing anything when the shawl is worn by the player and the player is in Julia's room:
	if JuliaSick is 0:
		say "I could do nothing; I had to run to my sister, but at that moment her knees seemed to give way and she fell to the ground. She writhed as one who is in terrible pain, and her limbs were dreadfully convulsed.

 At first I thought that she had not recognised me, but as I bent over her she suddenly shrieked out in a voice which I shall never forget, ‘Oh, my God! Helen! It was the band! The speckled band!’[paragraph break]";
		Deliver Speckled;
		say "[line break]There was something else which she would have said, and she stabbed with her finger into the air in the direction of the doctor's room, but a fresh convulsion seized her and choked her words.";
		now JuliaSick is 1 instead;
	otherwise:
		if the current action is not going north: 
			say "I had to see the doctor! The door was to the [bold type]north[roman type]." instead;

Before going north from Julia's room:
	if JuliaSick is 1:
		say "****************************************************[line break]You finish listening to Miss Stoner's story...[line break]****************************************************[line break]";
		Playerchange Sherlock Holmes;
		now Miss Helen Stoner is in 221B Baker Street;
		now the story viewpoint is second person singular;
		try looking;
		say "'I rushed out, calling loudly for my stepfather, and I met him hastening from his room in his dressing-gown. When he reached my sister's side she was unconscious, and though he poured brandy down her throat and sent for medical aid from the village, all efforts were in vain, for she slowly sank and died without having recovered her consciousness. Such was the dreadful end of my beloved sister.

'Two years have passed since then, and my life has been until lately lonelier than ever. A month ago, however, a dear friend, whom I have known for many years, has done me the honour to ask my hand in marriage. His name is Armitage--Percy Armitage. My stepfather has offered no opposition to the match, and we are to be married in the course of the spring. 

'Two days ago some repairs were started in the west wing of the building, and my bedroom wall has been pierced, so that I have had to move into the chamber in which my sister died, and to sleep in the very bed in which she slept. Imagine, then, my thrill of terror when last night, as I lay awake, thinking over her terrible fate, I suddenly heard in the silence of the night the low whistle which had been the herald of her own death. I sprang up and lit the lamp, but nothing was to be seen in the room. I was too shaken to go to bed again, however, so I dressed, and as soon as it was daylight I slipped down, got a dog-cart at the Crown Inn, which is opposite, and drove to Leatherhead, from whence I have come on this morning with the one object of seeing you and asking your advice.'

Thus Miss Stoner ends her tale. You prepare your questions in your mind.

[bracket]Now, and in the future, you can combine thoughts by LINKing a thought TO another thought. This will be most important once you have concluded your investigation at Stoke Manor.[close bracket][paragraph break]”;
		now the story tense is present tense;
		now VisitFlag is 1;

VisitFlag is a number that varies. VisitFlag is 0.

VisitCounter is number that varies. VisitCounter is 0. 

Before speeching a quip to Miss Helen Stoner:
	if VisitFlag is 1:
		now VisitCounter is VisitCounter plus one;
	
VisitTime is a scene. VisitTime begins when VisitCounter is 3.

When VisitTime begins:
	say "You have a better idea of the situation now. You can propose a visit.[paragraph break]";
	deliver Visit;

[“I had,” said he, “come to an entirely erroneous conclusion which shows, my dear Watson, how dangerous it always is to reason from insufficient data. The presence of the gipsies, and the use of the word ‘band,’ which was used by the poor girl, no doubt, to explain the appearance which she had caught a hurried glimpse of by the light of her match, were sufficient to put me upon an entirely wrong scent.]

Section 5 - Helen's Room

Helen's Room is a room. The description of Helen's Room is "I had a homely little room, with a low ceiling. My window faced the lawn to the south, but it was now closed and bolted. [The Helen's bed] was plain but comfortable. The air was fresh in my room. My door was to the [bold type]north[roman type].[one of]

[FreshHint]After a moment, my sister followed me into the room[SpeechHint1][or][stopping]".

Instead of smelling when the player is in Helen's Room:
	say "The air was fresh."

The oldlowceiling is scenery in Helen's room. The description of the oldlowceiling is "My ceiling was quite low." Understand "old" or "low" or "ceiling" as the oldlowceiling. The printed name of the oldlowceiling is "ceiling".

To say FreshHint:
	deliver Fresh;
	say "[first time][line break][only]";

Helen's bed is a supporter in Helen's Room.  "My bed was plain but comfortable." The printed name of Helen's bed is "my bed". Helen's bed is proper-named. The description of Helen's bed is "My bed was the least expensive that my stepfather could find."

Helen's window is scenery in Helen's Room. The printed name of Helen's window is "my window". Helen's window is proper-named. The description of Helen's Window is "My window was closed and bolted." Understand "closed" or "bolted" or "bolt" as helen's window.

Instead of opening Helen's window:
	say "I didn't like opening my window."

Instead of unlocking Helen's window:
	say "I didn't like opening my window."

JuliaCounter is a number that varies. JuliaCounter is 1;

Before going north from Helen's Room when Julia is in Helen's Room:
	say "I wanted to speak with Julia a little longer." instead;

The air is scenery in Helen's Room. The description of the air is "The air was fresh in my room."

Instead of smelling the air:
	try smelling the location of the player;
	
Instead of taking the air:
	say "You breathe deeply."

To say CigarsHint:
	if Cigars is not carried by Sherlock Holmes:
		say "Julia preferred to spend time in my room, due to the rank smell of my stepfather's cigars that wafted from his room to hers.[paragraph break]";
		deliver Cigars;
		say "[first time][paragraph break][only]";


Instead of talking to Julia when the player is in Helen's Room:
	if JuliaCounter is 0:
		say "Julia sat with me, and we chatted about her wedding for an hour or two[CigarsHint]. She rose and stood by the door, wishing to talk once more.";
		now JuliaCounter is 1;
	otherwise if JuliaCounter is 1:
		say "Julia sat with me, and we chatted about her wedding until the clock struck eleven. [CigarsHint]She rose and stood by the door, saying 'Tell me, Helen, have you ever heard anyone whistle in the dead of the night?’

‘Never,’ said I.

‘I suppose that you could not possibly whistle, yourself, in your sleep?’

‘Certainly not. But why?’

‘Because during the last few nights I have always, about three in the morning, heard a low, clear whistle. I am a light sleeper, and it has awakened me. I cannot tell where it came from--perhaps from the next room, perhaps from the lawn. I thought that I would just ask you whether you had heard it. Have you heard it?’ [paragraph break]";
		Deliver Whistle;
		now JuliaCounter is 2;
	otherwise if JuliaCounter is 2:
		say "‘No, I have not,' I said. 'It must be the band of laborers in the plantation.’

‘Very likely,' said she, 'and yet if it were on the lawn, I wonder that you did not hear it also.’

‘Ah, but I sleep more heavily than you.’

‘Well, it is of no great consequence, at any rate.’ She smiled back at me, closed my door, and a few moments later I heard her key turn in the lock.

For you see, Mr. Holmes, we had no feeling of security unless our doors were locked.[paragraph break]";
		Deliver Safety;
		now Julia is nowhere;
		now Julia's door is closed;
		now Julia's door is locked;
		say "[line break]The clock struck eleven. I stifled a yawn."

Yawning is an action applying to nothing. Understand "yawn" as yawning.

Carry out yawning:
	say "[We] yawn[ed]."

[Then I thought of the whistle. Of course he must recall the snake before the morning light revealed it to the victim. He had trained it, probably by the use of the milk which we saw, to return to him when summoned. He would put it through this ventilator at the hour that he thought best, with the certainty that it would crawl down the rope and land on the bed. It might or might not bite the occupant, perhaps she might escape every night for a week, but sooner or later she must fall a victim.]

Locking is an action applying to one thing. Understand "lock [something]" as locking.
Unlocking is an action applying to one thing. Understand "unlock [something]" as unlocking.

Carry out locking:
	say "That doesn't need locking."

Carry out unlocking:
	say "That doesn't need unlocking."

Instead of closing Helen's door:
	if Julia is in Julia's room:
		say "It wasn't time to close my door.";
	otherwise:
		say "I closed my door.";
		now Helen's door is locked;

Instead of locking Helen's door:
	if Julia is in Julia's room:
		say "It wasn't time to lock my door.";
	otherwise:
		say "I locked my door.";
		now Helen's door is locked;

Before going north from Helen's Room:
	if Helen's door is locked:
		now Helen's door is open;
		now Helen's door is unlocked;[
		Now the player is in third corridor;
		say "As I opened my door I seemed to hear a low whistle, such as my sister described, and a few moments later a clanging sound, as if a mass of metal had fallen.";
		Deliver Clang instead;
	otherwise:
		Now the player is in third corridor;
		say "As I opened my door I seemed to hear a low whistle, such as my sister described, and a few moments later a clanging sound, as if a mass of metal had fallen.";
		Deliver Clang instead;]

After going north from Helen's room:
	if Julia is in Julia's Room:
		say "As I opened my door I seemed to hear a low whistle, such as my sister described, and a few moments later a clanging sound, as if a mass of metal had fallen.[paragraph break]";
		Deliver Clang;
		try looking;
	otherwise:
		try looking;

Before going south from third corridor:
	if the shawl is worn by the player:
		say "I needed to see my sister!" instead;

[	otherwise if Julia is in Julia's room:
		now Helen's door is open;
		now Helen's door is unlocked;
		Now the player is in third corridor;
		say "As I opened my door I seemed to hear a low whistle, such as my sister described, and a few moments later a clanging sound, as if a mass of metal had fallen.";
		Deliver Clang;]
		
Before unlocking Helen's door:
	if Helen's door is open:
		say "The door was already open." instead;
	otherwise if Julia is not in Julia's room:
		say "It was time to sleep." instead;


[	otherwise if Julia is in Julia's room:
		now Helen's door is open;
		now Helen's door is unlocked;
		Now the player is in third corridor;
		say "As I opened my door I seemed to hear a low whistle, such as my sister described, and a few moments later a clanging sound, as if a mass of metal had fallen.";
		Deliver Clang;
]

Before opening Helen's door:
	if Julia is not in Julia's room:
		say "It was time to sleep." instead;


Before entering Helen's bed:
	if the player is in Helen's bed:
		say "I was already in bed." instead;
	otherwise if Julia is in Helen's Room:
		say "I wanted to finish speaking with Julia." instead;
	otherwise if Julia is in Julia's room:
		say "I wanted to see Julia immediately.";
	otherwise if Helen's door is open:
		now Helen's door is closed;
		say "I closed and locked my door.";
		now Helen's door is locked;
		Now the player is on Helen's bed instead;
	otherwise if Helen's door is unlocked:
		say "I locked my door before getting in bed.";
		Now the player is on Helen's bed instead;
	otherwise:
		say "I got in bed.";
		Now the player is on Helen's bed instead;

Instead of going north from Helen's Room when Julia is nowhere:
	say "I was ready to retire."

Understand "retire" or "go to bed" as sleeping.

Before sleeping:
	if the player is on Helen's bed:
		say "I could not sleep that night. A vague feeling of impending misfortune impressed me. The wind was howling outside, and the rain was beating and splashing against the windows. 

Suddenly, amid all the hubbub of the gale, there burst forth the wild scream of a terrified woman. I knew that it was my sister's voice.";
		now Julia is in Julia's room;
		now Julia's door is unlocked;
		now Julia's door is open instead;
	otherwise if Julia is nowhere:
		Now the player is on Helen's bed;
		say "I could not sleep that night. A vague feeling of impending misfortune impressed me. The wind was howling outside, and the rain was beating and splashing against the windows. 

Suddenly, amid all the hubbub of the gale, there burst forth the wild scream of a terrified woman. I knew that it was my sister's voice.";
		now Julia is in Julia's room;
		now Julia's door is unlocked;
		now Julia's door is open instead;
	otherwise:
		say "[We] [are] not tired, yet." instead;
		
Instead of listening to Helen's room when Julia is in Julia's room:
	say "The scream had come from my sister's room."

Every turn when the shawl is worn by the player:
	if the player is not in Julia's Room:
		say "[one of]All I could think about was my sister's scream.  What had happened to her?[or]Was my sister in danger?[or]I was terrified to think of what could have happened to her.[cycling]"

The shawl is a wearable thing. The description of the shawl is "It was a white lace shawl."

Instead of taking off the shawl:
	say "I was too cold.";

After getting off Helen's bed:
	say "I sprang from my bed and wrapped a shawl round me.";
	now the shawl is worn by the player;


[“I could not sleep that night. A vague feeling of impending misfortune impressed me. My sister and I, you will recollect, were twins, and you know how subtle are the links which bind two souls which are so closely allied. It was a wild night. The wind was howling outside, and the rain was beating and splashing against the windows. Suddenly, amid all the hubbub of the gale, there burst forth the wild scream of a terrified woman. I knew that it was my sister's voice. I sprang from my bed, wrapped a shawl round me, and rushed into the corridor. As I opened my door I seemed to hear a low whistle, such as my sister described, and a few moments later a clanging sound, as if a mass of metal had fallen. As I ran down the passage, my sister's door was unlocked, and revolved slowly upon its hinges. I stared at it horror-stricken, not knowing what was about to issue from it. By the light of the corridor-lamp I saw my sister appear at the opening, her face blanched with terror, her hands groping for help, her whole figure swaying to and fro like that of a drunkard. I ran to her and threw my arms round her, but at that moment her knees seemed to give way and she fell to the ground. She writhed as one who is in terrible pain, and her limbs were dreadfully convulsed. At first I thought that she had not recognised me, but as I bent over her she suddenly shrieked out in a voice which I shall never forget, ‘Oh, my God! Helen! It was the band! The speckled band!’ There was something else which she would fain have said, and she stabbed with her finger into the air in the direction of the doctor's room, but a fresh convulsion seized her and choked her words. I rushed out, calling loudly for my stepfather, and I met him hastening from his room in his dressing-gown. When he reached my sister's side she was unconscious, and though he poured brandy down her throat and sent for medical aid from the village, all efforts were in vain, for she slowly sank and died without having recovered her consciousness. Such was the dreadful end of my beloved sister.”

“One moment,” said Holmes, “are you sure about this whistle and metallic sound? Could you swear to it?”

“That was what the county coroner asked me at the inquiry. It is my strong impression that I heard it, and yet, among the crash of the gale and the creaking of an old house, I may possibly have been deceived.”

“Was your sister dressed?”

“No, she was in her night-dress. In her right hand was found the charred stump of a match, and in her left a match-box.”

“Showing that she had struck a light and looked about her when the alarm took place. That is important. And what conclusions did the coroner come to?”

“He investigated the case with great care, for Dr. Roylott's conduct had long been notorious in the county, but he was unable to find any satisfactory cause of death. My evidence showed that the door had been fastened upon the inner side, and the windows were blocked by old-fashioned shutters with broad iron bars, which were secured every night. The walls were carefully sounded, and were shown to be quite solid all round, and the flooring was also thoroughly examined, with the same result. The chimney is wide, but is barred up by four large staples. It is certain, therefore, that my sister was quite alone when she met her end. Besides, there were no marks of any violence upon her.”

“How about poison?”

“The doctors examined her for it, but without success.”

“What do you think that this unfortunate lady died of, then?”

“It is my belief that she died of pure fear and nervous shock, though what it was that frightened her I cannot imagine.”

“Were there gipsies in the plantation at the time?”

“Yes, there are nearly always some there.”

“Ah, and what did you gather from this allusion to a band--a speckled band?”

“Sometimes I have thought that it was merely the wild talk of delirium, sometimes that it may have referred to some band of people, perhaps to these very gipsies in the plantation. I do not know whether the spotted handkerchiefs which so many of them wear over their heads might have suggested the strange adjective which she used.”
]

[
“One moment,” said Holmes, “are you sure about this whistle and metallic sound? Could you swear to it?”

“That was what the county coroner asked me at the inquiry. It is my strong impression that I heard it, and yet, among the crash of the gale and the creaking of an old house, I may possibly have been deceived.”

“Was your sister dressed?”

“No, she was in her night-dress. In her right hand was found the charred stump of a match, and in her left a match-box.”

“Showing that she had struck a light and looked about her when the alarm took place. That is important. And what conclusions did the coroner come to?”

“He investigated the case with great care, for Dr. Roylott's conduct had long been notorious in the county, but he was unable to find any satisfactory cause of death. My evidence showed that the door had been fastened upon the inner side, and the windows were blocked by old-fashioned shutters with broad iron bars, which were secured every night. The walls were carefully sounded, and were shown to be quite solid all round, and the flooring was also thoroughly examined, with the same result. The chimney is wide, but is barred up by four large staples. It is certain, therefore, that my sister was quite alone when she met her end. Besides, there were no marks of any violence upon her.”

“How about poison?”

“The doctors examined her for it, but without success.”

“What do you think that this unfortunate lady died of, then?”

“It is my belief that she died of pure fear and nervous shock, though what it was that frightened her I cannot imagine.”

“Were there gipsies in the plantation at the time?”

“Yes, there are nearly always some there.”

“Ah, and what did you gather from this allusion to a band--a speckled band?”

“Sometimes I have thought that it was merely the wild talk of delirium, sometimes that it may have referred to some band of people, perhaps to these very gipsies in the plantation. I do not know whether the spotted handkerchiefs which so many of them wear over their heads might have suggested the strange adjective which she used.”

Holmes shook his head like a man who is far from being satisfied.

“These are very deep waters,” said he; “pray go on with your narrative.”

“Two years have passed since then, and my life has been until lately lonelier than ever. A month ago, however, a dear friend, whom I have known for many years, has done me the honour to ask my hand in marriage. His name is Armitage--Percy Armitage--the second son of Mr. Armitage, of Crane Water, near Reading. My stepfather has offered no opposition to the match, and we are to be married in the course of the spring. Two days ago some repairs were started in the west wing of the building, and my bedroom wall has been pierced, so that I have had to move into the chamber in which my sister died, and to sleep in the very bed in which she slept. Imagine, then, my thrill of terror when last night, as I lay awake, thinking over her terrible fate, I suddenly heard in the silence of the night the low whistle which had been the herald of her own death. I sprang up and lit the lamp, but nothing was to be seen in the room. I was too shaken to go to bed again, however, so I dressed, and as soon as it was daylight I slipped down, got a dog-cart at the Crown Inn, which is opposite, and drove to Leatherhead, from whence I have come on this morning with the one object of seeing you and asking your advice.”]


Chapter 3 - Travel to area

The Leatherhead train is east from Waterloo Station.

Before going east from Waterloo Station:
	say "You are fortunate in catching a train for Leatherhead, where you hire a trap at the station inn and drive for four or five miles through the lovely Surrey lanes.";
	Now the player is in Trap;
	add "Visiting Stoke Moran..." to ScoreList, if absent;		
	now ClueTime is 0 instead;

Trap is a room. "It is a perfect day, with a bright sun and a few fleecy clouds in the heavens. The trees and wayside hedges are just throwing out their first green shoots, and the air is full of the pleasant smell of the moist earth."

Instead of going nowhere when the player is in Trap:
	say "You have no need to leave until you find Miss Stoner.";

Instead of exiting when the player is in Trap:
	say "You have no need to leave until you find Miss Stoner.";

Instead of jumping when the player is in Trap:
	say "You have no need to leave until you find Miss Stoner.";

The realtrap is scenery in trap. Understand "trap" or "cab" or "wagon" or "car" or "standard" as realtrap. The printed name of realtrap is "trap".

The description of realtrap is "A standard trap; you've been in many before."

Every turn during TravelScene:
	if the player is Sherlock Holmes:
		say "[if trapstoner is in trap]There is a lady on the side of the road.[otherwise if trapestate is in trap]The cabman has slowed down; he seems eager to discuss the estate.[otherwise]The cabman drives down the road.[end if]";

The beautiful scenery is scenery in Trap. Understand "day" or "sun" or "cloud" or "clouds" or "breeze" or "air" or "heaven" or "heavens" or "tree" or "trees" or "hedge" or "hedges" as the beautiful scenery.

The description of the beautiful scenery is "Your mind is too occupied to pay close attention to the scenery."

CabFlag is a number that varies. CabFlag is 0.

TravelScene is a scene. TravelScene begins when the player is in Trap. TravelScene ends when CabFlag is 1.

When travelscene begins:
	the estate looms in 2 minutes from now;

Trapestate is scenery. Understand "stoke" or "grey" or "branches" or "timbered" or  "park" or "branch" or "roof" or "roof-tree" or "old" or "very" or "mansion" or "moran" or "estate" as trapestate. The printed name of trapestate is "Stoke Moran". The description of trapestate is "This must be the ancestral home of the Roylott's."

At the time when the estate looms:
	say "Just then, you see it. A heavily timbered park stretches up in a gentle slope, thickening into a grove at the highest point. From amid the branches there jut out the grey gables and high roof-tree of a very old mansion.

It must be Stoke Moran. The cabman slows down to look; he seems to have something to say.";
	now the trapestate is in trap.

The cabman is a man in Trap. The cabman is scenery. Understand "cab" or "driver" as the cabman. The description of the cabman is "He is lazily surveying the countryside."

Instead of talking to the cabman:
	if trapestate is not in Trap:
		say "The cabman would offer little interesting conversation, this far from your locale of interest.";
	otherwise:
		say "'Look there!' you say. 'Stoke Moran?'";
		now CabFlag is 1;

When TravelScene ends:
	say "The cabman says, 'Yes, sir, that be the house of Dr. Grimesby Roylott.'

'There is some building going on there,' you say; 'That is where we are going.'

'There's the village,' says the driver, pointing to a cluster of roofs some distance to the left; 'But if you want to get to the house, you'll find it shorter to get over this stile, and so by the foot-path over the fields. There it is, where the lady is walking.'";
	now TrapStoner is in Trap.
	
TrapStoner is a woman. "A young lady is waiting for you nearby." Understand "miss" or "woman" or "helen" or "stoner" or "lady" as TrapStoner. The printed name of TrapStoner is "the lady". The description of TrapStoner is "You shade your eyes; as you suspected, it is Miss Helen Stoner."

After examining TrapStoner:
	say "You call to the cabman to stop, and pay him before he leaves.";
	now Miss Helen Stoner is in Near Stile;
	Now the player is in Near Stile;
	say "[Miss helen stoner] hurries forward to meet you with a face which speaks her joy. 'I have been waiting so eagerly for you,' she cries, shaking hands with you warmly. 'All has turned out splendidly. Dr. Roylott has gone to town, and it is unlikely that he will be back before evening.'";
	now StonerFollowFlag is 1;

[“It is very essential, Miss Stoner,” said he, “that you should absolutely follow my advice in every respect.”

“I shall most certainly do so.”

“The matter is too serious for any hesitation. Your life may depend upon your compliance.”

“I assure you that I am in your hands.”

“In the first place, both my friend and I must spend the night in your room.”

Both Miss Stoner and I gazed at him in astonishment.

“Yes, it must be so. Let me explain. I believe that that is the village inn over there?”

“Yes, that is the Crown.”

“Very good. Your windows would be visible from there?”

“Certainly.”

“You must confine yourself to your room, on pretence of a headache, when your stepfather comes back. Then when you hear him retire for the night, you must open the shutters of your window, undo the hasp, put your lamp there as a signal to us, and then withdraw quietly with everything which you are likely to want into the room which you used to occupy. I have no doubt that, in spite of the repairs, you could manage there for one night.”

“Oh, yes, easily.”

“The rest you will leave in our hands.”

“But what will you do?”

“We shall spend the night in your room, and we shall investigate the cause of this noise which has disturbed you.”

“I believe, Mr. Holmes, that you have already made up your mind,” said Miss Stoner, laying her hand upon my companion's sleeve.

“Perhaps I have.”

“Then, for pity's sake, tell me what was the cause of my sister's death.”

“I should prefer to have clearer proofs before I speak.”

“You can at least tell me whether my own thought is correct, and if she died from some sudden fright.”

“No, I do not think so. I think that there was probably some more tangible cause. And now, Miss Stoner, we must leave you for if Dr. Roylott returned and saw us our journey would be in vain. Good-bye, and be brave, for if you will do what I have told you, you may rest assured that we shall soon drive away the dangers that threaten you.”]

Section 1 - Village

Near Stile is a room. Near Stile is south from SherlockStokeMoran. The description of Near Stile is "You are near a fenced road, with a stile leading over the fence to the [bold type]north[roman type], toward the unseen estate.[SetSearchFlag]"

SearchFlag is a number that varies. SearchFlag is 0.

To say SetSearchFlag:
	now SearchFlag is 1;

The wooden stile is scenery in Near Stile. The description of the wooden stile is "The stile leads up and over the fences."

Instead of entering the wooden stile:
	try going north;
	
Instead of climbing the wooden stile:
	try going north;

Understand "cross" as entering.

Instead of going nowhere from Near Stile:
	say "You are eager to see the estate."

Before going north from Near Stile:
	change the north exit of SherlockEastWing to nowhere;	

Village Room is a room. The description of Village Room is "Watson and I had had no difficulty in engaging this room at the Crown Inn. The room is on the upper floor, and from our window we command a view of the inhabited wing of Stoke Moran Manor House. The door was to the [bold type]north[roman type][if RoyReady is 0]. Your plan is to wait several hours for Dr. Roylott to come home[end if][first time].

You fetch a cane from your luggage; you will need it tonight[only]."

The heavy cane is a thing. The description of the heavy cane is "A heavy piece, good for fending off dangerous humans and creatures."

VillageTime is a scene. VillageTime begins when the player is in Village Room. VillageTime ends when the middle window signal is in Village Room.

When VillageTime begins:
	decrease depression;



StokeManorHouse is scenery in Village Room. The description of StokeManorHouse is "From the window, you can see Stoke Moran Manor House, and its avenue gate." Understand "avenue" or "gate" or "stoke" or "moran" or "manor" or "house" or "window" as stokemanorhouse. The printed name of StokeManorHouse is "Stoke Moran".

The village door is scenery in Village Room. The description of the village door is "The village door will take you back to Stoke Moran."

RoyReady is a number that varies. RoyReady is 0.

The sitting-room lamp is scenery. The description of the sitting-room lamp is "A lamp is lit in a sitting-room across the way."

The middle window signal is scenery. The description of the middle window signal is "A signal shines from the middle room."

Instead of waiting when the player is in Village Room:
	if RoyReady is 2:
		do nothing;
	if RoyReady is 1:
		say "About nine o'clock the light among the trees is extinguished, and all is dark in the direction of the Manor House. Two hours pass slowly away, and then, suddenly, just at the stroke of eleven, a single bright light shines out right in front of you.

'That is our signal,' you say, springing to your feet; 'it comes from the middle window.'";
		now the sitting-room lamp is nowhere;
		now the middle window signal is in Village Room;
		now RoyReady is 2;
	otherwise if RoyReady is 0:
		say "At dusk you see Dr. Grimesby Roylott drive past, his huge form looming up beside the little figure of the lad who drives him. The boy has some slight difficulty in undoing the heavy iron gates, and you hear the hoarse roar of the doctor's voice and see the fury with which he shakes his clinched fists at him. The trap drives on, and a few minutes later you see a sudden light spring up among the trees as a lamp is lit in one of the sitting-rooms.

You still are waiting for a signal from Miss Stoner.";
		now the sitting-room lamp is in Village Room;
		now RoyReady is 1;
	otherwise:
		say "The time for waiting was over. The door to the [bold type]north[roman type] would lead you from here.";

FakeSherlockEastWing is north from Village Room.

Before going north from Village Room:
	if the middle window signal is in Village Room:
		say "As you pass out you exchange a few words with the landlord, explaining that you are going on a late visit to an acquaintance, and that it is possible that you might spend the night there. A moment later you are out on the dark road, a chill wind blowing in your faces, and one yellow light twinkling in front of you through the gloom to guide you on your sombre errand.";
		change the north exit of SherlockEastWing to FakeStonerRoom;			
		now Daytime is 0;
		now HiddenBaboon is 1;
		Now the player is in SherlockEastWing instead;
	otherwise:
		say "Dr. Roylott has not yet gone to bed." instead;
	
[At Waterloo we were fortunate in catching a train for Leatherhead, where we hired a trap at the station inn and drove for four or five miles through the lovely Surrey lanes. It was a perfect day, with a bright sun and a few fleecy clouds in the heavens. The trees and wayside hedges were just throwing out their first green shoots, and the air was full of the pleasant smell of the moist earth. To me at least there was a strange contrast between the sweet promise of the spring and this sinister quest upon which we were engaged. My companion sat in the front of the trap, his arms folded, his hat pulled down over his eyes, and his chin sunk upon his breast, buried in the deepest thought. Suddenly, however, he started, tapped me on the shoulder, and pointed over the meadows.

“Look there!” said he.

A heavily timbered park stretched up in a gentle slope, thickening into a grove at the highest point. From amid the branches there jutted out the grey gables and high roof-tree of a very old mansion.

“Stoke Moran?” said he.

“Yes, sir, that be the house of Dr. Grimesby Roylott,” remarked the driver.

“There is some building going on there,” said Holmes; “that is where we are going.”

“There's the village,” said the driver, pointing to a cluster of roofs some distance to the left; “but if you want to get to the house, you'll find it shorter to get over this stile, and so by the foot-path over the fields. There it is, where the lady is walking.”]

Section 2 - Stoke Moran

[remove this later]

SherlockStokeMoran is a room. The printed name of SherlockStokeMoran is "Stoke Moran". The description of SherlockStokeMoran is "You are standing before a grey building with a high central portion and two curving wings, like the claws of a crab, thrown out on each side.

 The central portion is in poor repair, but the right-hand block is comparatively modern, and the blinds in the windows, with the blue smoke curling up from the chimneys, show that this is where the family resides. Some scaffolding has been erected against the end wall, and the stone-work has been chipped into, but there are no signs of any workmen at the moment of our visit.

You can reach the east wing to the [bold type]east[roman type], or travel to the village to the [bold type]south[roman type]."

Instead of going nowhere from SherlockStokeMoran when the noun is north:
	if Miss Helen Stoner is in the location of the player:
		say "Miss Stoner stops you; 'I'd prefer to use the east entrance, in case my stepfather returns.'";
	otherwise:
		say "Miss Stoner mentioned that it was best to use the window.";

The grey building is scenery in SherlockStokeMoran. The description of the grey building is "The building is of grey, lichen-blotched stone, with a high central portion and two curving wings, like the claws of a crab, thrown out on each side. ". Understand "Stoke Moran" or "stoke" or "moran" or "blue" or "smoke" or "chimney" or "chimneys" as the grey building.

The chipped stonework is scenery in SherlockStokeMoran. Understand "stone" or "work" or "stone-work" as the chipped stonework. The description of the chipped stonework is "You don't understand why your stepfather feels this is necessary."

The west wing is scenery in SherlockStokeMoran. The description of the west wing is "In the west wing the windows are broken and blocked with wooden boards, while the roof is partly caved in, a picture of ruin."

The east wing is scenery in SherlockStokeMoran. The description of the east wing is "The east wing seems more inhabited. You can reach it to the [bold type]east[roman type]."

Before going south from SherlockStokeMoran:
	if daytime is 0:
		say "The life of Miss Helen Stoner may rely on this; you will not abandon your post." instead;
	otherwise if CaseSolution of SpeckledBand is 0:
		say "You have not yet determined the means, motive, and opportunity surrounding the death of Julia Stoner. You can do so now by THINKing." instead;
	otherwise if impresscounter < 5:
		say "You have not shared all of your plan with Miss Stoner, yet." instead;	
	otherwise:
		say "You turn to Miss Stoner. You say, 'And now, Miss Stoner, we must leave you, for if Dr. Roylott returned and saw us our journey would be in vain. Good-bye, and be brave, for if you will do what I have told you, you may rest assured that we shall soon drive away the dangers that threaten you.'";
		now StonerFollowFlag is 0;
		now miss helen stoner is nowhere;
		now the heavy cane is carried by the player;
		Now the player is in Village Room instead;

[	otherwise if the player is carrying a relevant entranceful quip:
		say "You have several unanswered questions; it is time to eliminate the impossible by LINKing thoughts. You have not eliminated all the possibilities by which the danger may have entered." instead;
	otherwise if connected is not carried by the player:
		say "You have several unanswered questions; you have eliminated all normal entrances to the room. There must be another entrance!" instead;
]
[	otherwise if snakelevel < 4:
		say "You have not yet determined the means by which Julia Stoner died; you feel close to an answer." instead;]

Section 3 - East wing

Daytime is a number that varies. Daytime is 1.

HiddenBaboon is a number that varies. HiddenBaboon is 0.

SherlockEastWing is east from SherlockStokeMoran. The printed name of SherlockEastWing is "Before the East Wing". The description of SherlockEastWing is "[if daytime is 1]The right-hand block is comparatively modern, and the blinds in the windows show that this is where the family resides. These draw your interest.

Some scaffolding has been erected against the end wall, and the stone-work had been broken into, but there are no signs of any workmen. There is something clearly wrong with the scaffolding.

There is a small side door to the [bold type]northeast[roman type]. You can return to the central portion to the [bold type]west[roman type].[otherwise]You have entered the grounds through the unrepaired breaches that gape in the old park wall to the [bold type]south[roman type]. Past the lawn is the open window, to the [bold type]north[roman type]. Before it are some laurel bushes.[end if]"

Instead of going inside from SherlockEastWing:
	try going northeast;
	
Instead of going outside from Third SherlockCorr:
	try going southeast;

Instead of going southeast from Third SherlockCorr when Dr Roylott is in Dr Roylott's Room:
	say "This is no time to leave!"

The old park wall is scenery in SherlockEastWing. The unrepaired breaches are part of the old park wall.

The description of the old park wall is "An old park wall with unrepaired breaches." The description of the unrepaired breaches is "The breaches lead through the wall."

The right-hand block is scenery in SherlockEastWing. Understand "east wing" or "wing" or "building" as the right-hand block.

Miss Stoner's window is scenery in SherlockEastWing. 

Instead of examining Miss Stoner's window:
	if Daytime is 1:
		try examining the family's windows;
	otherwise:
		say "Her window was open."

The sherlockfamily's windows are scenery in SherlockEastWing. Understand "blinds" or "shutters" as the sherlockfamily's windows.

Instead of examining the sherlockfamily's windows:
	say "You walk slowly up and down the lawns, examining the outsides of the windows with deep attention[one of].  You, after a careful examination through the open window, endeavour in every way to force the shutter open, but without success. There is no slit through which a knife could be passed to raise the bar. Then you examine the hinges, but they are of solid iron, built firmly into the massive masonry[or] again; they cannot be opened[or] yet again; they still cannot be opened[stopping].[paragraph break]";
	deliver Bolted;

[ Now, would you have the kindness to go into your room and bar your shutters?”

Miss Stoner did so, and Holmes, after a careful examination through the open window, endeavoured in every way to force the shutter open, but without success. There was no slit through which a knife could be passed to raise the bar. Then with his lens he tested the hinges, but they were of solid iron, built firmly into the massive masonry. “Hum!” said he, scratching his chin in some perplexity, “my theory certainly presents some difficulties. No one could pass these shutters if they were bolted. Well, we shall see if the inside throws any light upon the matter.”]

The printed name of the sherlockfamily's windows is "family's windows". Understand "family" or "family's" or "windows" or "window" as the family's windows.

The stone-work is a backdrop. It is in SherlockEastWing. It is in SherlockStokeMoran. Understand "scaffolding" or "stonework" as the stone-work. The description of the stone-work is "The end wall does not seem to need repairs."

After examining the stone-work:
	deliver Needless;
	
The ill-trimmed lawn is a backdrop. The ill-trimmed lawn is in SherlockStokeMoran and SherlockEastWing. The description of the ill-trimmed lawn is "The lawn has been ill-kept.".

The laurel bushes are scenery in SherlockEastWing. The description of the laurel bushes is "You examine the laurel bushes minutely, but find no clue."

Report examining the laurel bushes:		
	if HiddenBaboon is 1:
		release the baboon;

To release the baboon:
	say "Out from the clump of laurel bushes darts what seems to be a hideous and distorted child, who throws itself upon the grass with writhing limbs and then runs swiftly across the lawn into the darkness.

'By Jove!' whispers Watson; 'did you see it?'

You are startled, then break into a low laugh, and whisper to Watson.  'It is a nice household,' you murmur. 'That is the baboon.'";
	add "Having an encounter with a baboon..." to ScoreList, if absent;		
	now HiddenBaboon is 0;

FakeStonerRoom  is a room. FakeStonerRoom is north from SherlockEastWing.
	
Before going north from SherlockEastWing:
	if HiddenBaboon is 1:
		release the baboon;
		add "Returning to Stoke Moran in secret..." to ScoreList, if absent;		
		say "[line break]Now you can enter the window to the [bold type]north[roman type]." instead;
	otherwise if daytime is 0:
		Now the player is in Miss Stoner's Room instead;
	otherwise:
		say "You are hesitant to enter the window in broad daylight. You can enter through the northeast, though."

[“This, I take it, belongs to the room in which you used to sleep, the centre one to your sister's, and the one next to the main building to Dr. Roylott's chamber?”

“Exactly so. But I am now sleeping in the middle one.”

“Pending the alterations, as I understand. By the way, there does not seem to be any very pressing need for repairs at that end wall.”

“There were none. I believe that it was an excuse to move me from my room.”

“Ah! that is suggestive. Now, on the other side of this narrow wing runs the corridor from which these three rooms open. There are windows in it, of course?”

“Yes, but very small ones. Too narrow for anyone to pass through.”

“As you both locked your doors at night, your rooms were unapproachable from that side. Now, would you have the kindness to go into your room and bar your shutters?”

Miss Stoner did so, and Holmes, after a careful examination through the open window, endeavoured in every way to force the shutter open, but without success. There was no slit through which a knife could be passed to raise the bar. Then with his lens he tested the hinges, but they were of solid iron, built firmly into the massive masonry. “Hum!” said he, scratching his chin in some perplexity, “my theory certainly presents some difficulties. No one could pass these shutters if they were bolted. Well, we shall see if the inside throws any light upon the matter.”]

A quip can be entranceful or not entranceful. A quip is usually not entranceful.

Hallway is entranceful. Shutters is entranceful.

Section 4 - Corridor

The small side door is a door. It is scenery. It is northeast from SherlockEastWing and southeast from Third SherlockCorr. 

Before going northeast from SherlockEastWing:
	if Daytime is 0:
		say "Now that it is nighttime, those doors are locked. But the window to the north is open." instead;

The first sherlockcorr is west from the second sherlockcorr. The third sherlockcorr is east from second sherlockcorr.

The description of the third sherlockcorr is "This whitewashed corridor leads further to the [bold type]west[roman type].  It is much as Miss Stoner described, but you see things that she did not mention. The condition of the hallway suggests that Roylott has been in deep financial trouble for some time. 

The third chamber's door is here. It is sealed off securely, and some light dust comes from under the door. You can return outside to the [bold type]southeast[roman type]."

The light dust is scenery in third sherlockcorr. The description of the light dust is "You peer at the dust. It is consistent with broken plaster from the construction that you saw outside."

Instead of taking the light dust:
	say "Leaving a trace would be unwise.";

The third chamber's door is scenery in third sherlockcorr. The description of the third chamber's door is "It is clear to you that this room is unimportant." Understand "third chamber" or "chamber" as the third chamber's door.

Instead of opening the third chamber's door:
	say "It is locked."

The printed name of the first sherlockcorr is "Before Roylott's Door".

The printed name of the second sherlockcorr is "Before Miss Stoner's Door".

The description of the second sherlockcorr is "This corridor leads [bold type]west[roman type] to Dr. Roylott's door, or back [bold type]east[roman type] to the empty room's door. Having sounded the walls, it is clear that the walls are relatively thin.

Miss Stoner's room is to the [bold type]south[roman type]."

The printed name of the third sherlockcorr is "Before the Empty Room".

The description of the first sherlockcorr is "This corridor leads west to the hall or back [bold type]east[roman type] to Miss Stoner's room. You are not permitted into the entrance hall, but it is easy to notice from here how different in style it is from the corridor.

There is a door that leads [bold type]south[roman type] to Roylott's room."

SherHall is scenery in first sherlockcorr. The printed name of SherHall is "entrance hall". Understand "entrance" or "hall" or "entrance hall" as first sherlockcorr. The description of SherHall is "The entrance hall seems to date from two centuries ago.".

[Remove this later]

Instead of going nowhere from first sherlockcorr when the noun is west:
	say "Those rooms are unimportant to the case."

Instead of going nowhere from third sherlockcorr when the noun is south:
	say "Miss Stoner said that this room is empty; and if your suspicions are correct, this room is not important.";

Section 5 - Miss Stoner's room

Miss Stoner's door is a door. It is scenery. It is south from second sherlockcorr and north from Miss Stoner's Room.

The description of Miss Stoner's room is "You enter into the second room, in which Miss Stoner's sister met her fate.

It is a homely little room, with a low ceiling. A brown chest of drawers stands in one corner, a narrow white-counterpaned bed in another, and a dressing-table on the left-hand side of the window. The corridor was to the [bold type]north[roman type]. 

There were several features of the room that stand out to you as most unusual."

The several unusual features are scenery in Miss Stoner's room. The description of the several unusual features is "The bed and the window draw your attention the most."

The low ceiling is scenery in Miss Stoner's room. Understand "walls" or "floor" as the low ceiling. The description of the low ceiling is "You examine the ceiling, walls and floor with the magnifying glass. The boards round and the panelling of the walls are of brown, worm-eaten oak, so old and discoloured that it may have dated from the original building of the house[if the bell-pull is unexamined]. [paragraph break]You see an odd bell-pull hanging near a ventilator[end if]."

The brown chest of drawers is scenery in Miss Stoner's room. The description of the brown chest of drawers is "A quick glance assures you that the brown chest of drawers is unimportant."

The narrow white-counterpaned bed is scenery in Miss Stoner's room.

The description of the narrow white-counterpaned bed is "The bed is quite ordinary, but an odd bell-pull hangs above it, near a ventilator."

The dressing-table is scenery in Miss Stoner's Room. Understand "dressing" or "table" as the dressing-table. The description of the dressing-table is "You see immediately that the dressing-table is unimportant."

The StonerWindow is scenery in Miss Stoner's room. The printed name of the StonerWindow is "window". Understand "window" as StonerWindow.

Instead of examining StonerWindow:
	say "You peruse the window from the inside[one of].  After a careful examination through the open window, you endeavour in every way to force the shutter open, but without success. There is no slit through which a knife could be passed to raise the bar. Then you examine the hinges, but they are of solid iron, built firmly into the massive masonry[or] again; they cannot be opened[or] yet again; they still cannot be opened[stopping].[paragraph break]";
	deliver Bolted;


The odd bell-pull is scenery in Miss Stoner's room. Understand "rope" or "bell" or "pull" or "thick" or "tassle" as the odd bell-pull.

The description of the odd bell-pull is "The bell-pull was a thick rope, the tassel actually lying upon the bed."

After examining the odd bell-pull:
	deliver Communication;
	
Instead of pulling the bell-pull:
	say "You give the bell-pull a brisk tug. Nothing happens.

You see that the rope is not a bell-pull at all; it is fastened to a hook just above where the little opening for the ventilator is.[if Fake is not carried by the player][line break][end if]”;
	add "Discovering a fake bell pull..." to ScoreList, if absent;		
	deliver Fake;
	discard communication;
		
The ventilator is a backdrop. The ventilator is in Miss Stoner's room. The ventilator is in Dr Roylott's room. The description of the ventilator is "The ventilator communicates between Miss Stoner's room and Dr. Roylott's room."

After examining the ventilator:
	deliver Connected;
	discard fresh;
	discard cigars;

[A small side door led into the whitewashed corridor from which the three bedrooms opened. Holmes refused to examine the third chamber, so we passed at once to the second, that in which Miss Stoner was now sleeping, and in which her sister had met with her fate. It was a homely little room, with a low ceiling and a gaping fireplace, after the fashion of old country-houses. A brown chest of drawers stood in one corner, a narrow white-counterpaned bed in another, and a dressing-table on the left-hand side of the window. These articles, with two small wicker-work chairs, made up all the furniture in the room save for a square of Wilton carpet in the centre. The boards round and the panelling of the walls were of brown, worm-eaten oak, so old and discoloured that it may have dated from the original building of the house. Holmes drew one of the chairs into a corner and sat silent, while his eyes travelled round and round and up and down, taking in every detail of the apartment.

“Where does that bell communicate with?” he asked at last pointing to a thick bell-rope which hung down beside the bed, the tassel actually lying upon the pillow.

“It goes to the housekeeper's room.”

“It looks newer than the other things?”

“Yes, it was only put there a couple of years ago.”

“Your sister asked for it, I suppose?”

“No, I never heard of her using it. We used always to get what we wanted for ourselves.”

“Indeed, it seemed unnecessary to put so nice a bell-pull there. You will excuse me for a few minutes while I satisfy myself as to this floor.” He threw himself down upon his face with his lens in his hand and crawled swiftly backward and forward, examining minutely the cracks between the boards. Then he did the same with the wood-work with which the chamber was panelled. Finally he walked over to the bed and spent some time in staring at it and in running his eye up and down the wall. Finally he took the bell-rope in his hand and gave it a brisk tug.

“Why, it's a dummy,” said he.

“Won't it ring?”

“No, it is not even attached to a wire. This is very interesting. You can see now that it is fastened to a hook just above where the little opening for the ventilator is.”

“How very absurd! I never noticed that before.”

“Very strange!” muttered Holmes, pulling at the rope. “There are one or two very singular points about this room. For example, what a fool a builder must be to open a ventilator into another room, when, with the same trouble, he might have communicated with the outside air!”

“That is also quite modern,” said the lady.

“Done about the same time as the bell-rope?” remarked Holmes.

“Yes, there were several little changes carried out about that time.”

“They seem to have been of a most interesting character--dummy bell-ropes, and ventilators which do not ventilate. With your permission, Miss Stoner, we shall now carry our researches into the inner apartment.”]

[part 2]

Instead of taking the dimmed lamp:
	say "There is no need to take the lamp."

Before looking when the player is in Miss Stoner's Room:
	if Daytime is 0:
		if the dimmed lamp is not enclosed by Miss Stoner's Room:
			now the dimmed lamp is in Miss Stoner's Room;
		say "[first time]You crawl through the window and noiselessly close the shutters, move the lamp, and cast your eyes round the room. [only][if the speckled band is in Miss Stoner's room]The speckled band writhes on the bell-pull[otherwise]All is as you saw it in the daytime; the rest of the house is to the [bold type]north[roman type][end if][if the dimmed lamp is on]. The lamp should be turned off to avoid detection[end if]." instead;

The dimmed lamp is scenery. The description of the dimmed lamp is "A small lamp which can be turned off." 

The dimmed lamp can be on or off. The dimmed lamp is on.

Understand "switch" as switching off.

Instead of switching off the dimmed lamp:
	say "You turn off the lamp. It is time to wait.";
	now the dimmed lamp is off;
	now Miss Stoner's room is dark;
	
StonerCounter is a number that varies. StonerCounter is 0.

Before waiting when the player is in Miss Stoner's Room:
	if Miss Stoner's room is dark:
		if StonerCounter is 1:
			say "You wait another half an hour with straining ears. Then suddenly another sound becomes audible--a very gentle, soothing sound, like that of a small jet of steam escaping continually from a kettle. 

Watson strikes a match. You ready your cane. It is here, the viper!";
			now the speckled band is in Miss Stoner's Room;
			add "Battling with a venomous snake..." to ScoreList, if absent;		
			now Miss Stoner's room is lighted instead;
		if StonerCounter is 0:
			say "You wait for hours. From outside comes the occasional cry of a night-bird, and once you hear a long drawn catlike whine, which tells you that the cheetah is at liberty. 

Far away you hear the deep tones of the parish clock, which boom out every quarter of an hour. 

Twelve strikes, and one and two and three. 

Suddenly there is the momentary gleam of a light up in the direction of the ventilator, which vanishes immediately, but is succeeded by a strong smell of burning oil and heated metal. Someone in the next room had lit a dark-lantern. You hear a gentle sound of movement, and then all is silent once more, though the smell grows stronger.

There is nothing to do but wait.";
			now StonerCounter is 1 instead;
		
Instead of smelling when the player is in Miss Stoner's Room:
	say "You smell cigars."

The speckled band is an animal. Understand "creature" or "snake" or "viper" or "swamp" as the speckled band. The description of the speckled band is "As you suspected, a poisonous viper!"

Does the player mean doing something with the speckled band:
	it is very likely;

Before taking the speckled band:
	if the player is in Dr Roylott's room:
		try trapping the speckled band;

Withtrapping is an action applying to two things. Understand "capture [something]" or "capture [something] with [the small dog lash]" or "catch [something] with [the small dog lash]" or "take [something] with [the small dog lash]" as withtrapping.

Carry out withtrapping:
	try trapping the noun;

Understand "capture [something]" or "catch [something]"  as trapping.

Instead of attacking the speckled band:
	if the player is in Miss Stoner's room:
		say "You beat at it with your cane until it retreats through the ventilator. Its snakish temper is aroused!

As you stand there panting, there breaks from the silence of the night the most horrible cry to which you have ever listened. It swells up louder and louder, a hoarse yell of pain and fear and anger all mingled in the one dreadful shriek. It strikes cold to your heart, and you stand gazing at Watson, and he at you, until the last echoes of it die away into the silence from which it rose.";
		now the speckled band is nowhere;
		now Dr Roylott is in Dr Roylott's room;
		now the safe is open;
		now the safe is unlocked;
		now SherRoyDoor is closed; 
	otherwise:
		try trapping the speckled band;

Every turn when the speckled band is in Miss Stoner's room:
	if the player is Sherlock Holmes:
		say "[one of]Watson is bewildered; he holds the match and peers at the bell-pull.[or]The snake is angered.[or]The snake is coiling to strike![or]You have waited to long; the snake leaps forward. Watson shoots his pistol, but misses. You hear Dr. Roylott's thundering steps as you fall to the floor.[snakedeathtext][stopping]"

Every turn when Dr Roylott is in Dr Roylott's room:
	if the player is not in Dr Roylott's room:
		if the player is Sherlock Holmes:
			say "[one of]The house is silent now. The snake must be in Dr. Roylott's room.[or][run paragraph on][or][run paragraph on][or]The house is silent now.[or][run paragraph on][or][run paragraph on][or]Something is happening in Dr. Roylott's room.[stopping]"

SpeckledSolution is a scene. SpeckledSolution begins when SnakeLevel is 4. SpeckledSolution ends when SnakeReveal begins.

When SpeckledSolution begins:
	say "You can feel it; the solution to all these problems is near.

**********************************************[line break]You sink into your conscious mind...[line break]**********************************************";
	Playerchange Mind Holmes;
	try looking;
	say "It's time; you can determine the means, motive, and opportunity behind this case.";
	now StonerFollowFlag is 0;
	
Before going nowhere during SpeckledSolution:
	if the noun is outside:
		say "You are so close to a solution; it would be a shame to leave now." instead;

SnakeReveal is a scene. SnakeReveal begins when CaseSolution of SpeckledBand is 1.

When SnakeReveal begins:
	if the player is in conscious mind:
		say "Yes, that's it; you have it all figured out. It's time to tell the others.[paragraph break]";
	say "****************************************************[line break]You find yourself returning to the outside world...[line break]****************************************************[line break]";
	Playerchange Sherlock Holmes;
	now StonerFollowFlag is 1;
	discard hallway;
	discard shutters;
	say line break;
	say "This is very serious. You must catch the doctor in the act, but there will be great danger. You should reveal your plan to Miss Helen Stoner.[paragraph break]";
	add "Deducing the presence of a venomous snake..." to ScoreList, if absent;		
	deliver plan;

[I had forgotten the strange pets which the doctor affected. There was a cheetah, too; perhaps we might find it upon our shoulders at any moment. I confess that I felt easier in my mind when, after following Holmes' example and slipping off my shoes, I found myself inside the bedroom. My companion noiselessly closed the shutters, moved the lamp onto the table, and cast his eyes round the room. All was as we had seen it in the daytime. Then creeping up to me and making a trumpet of his hand, he whispered into my ear again so gently that it was all that I could do to distinguish the words:

“The least sound would be fatal to our plans.”

I nodded to show that I had heard.

“We must sit without light. He would see it through the ventilator.”

I nodded again.

“Do not go asleep; your very life may depend upon it. Have your pistol ready in case we should need it. I will sit on the side of the bed, and you in that chair.”

I took out my revolver and laid it on the corner of the table.

Holmes had brought up a long thin cane, and this he placed upon the bed beside him. By it he laid the box of matches and the stump of a candle. Then he turned down the lamp, and we were left in darkness.

How shall I ever forget that dreadful vigil? I could not hear a sound, not even the drawing of a breath, and yet I knew that my companion sat open-eyed, within a few feet of me, in the same state of nervous tension in which I was myself. The shutters cut off the least ray of light, and we waited in absolute darkness.

From outside came the occasional cry of a night-bird, and once at our very window a long drawn catlike whine, which told us that the cheetah was indeed at liberty. Far away we could hear the deep tones of the parish clock, which boomed out every quarter of an hour. How long they seemed, those quarters! Twelve struck, and one and two and three, and still we sat waiting silently for whatever might befall.

Suddenly there was the momentary gleam of a light up in the direction of the ventilator, which vanished immediately, but was succeeded by a strong smell of burning oil and heated metal. Someone in the next room had lit a dark-lantern. I heard a gentle sound of movement, and then all was silent once more, though the smell grew stronger. For half an hour I sat with straining ears. Then suddenly another sound became audible--a very gentle, soothing sound, like that of a small jet of steam escaping continually from a kettle. The instant that we heard it, Holmes sprang from the bed, struck a match, and lashed furiously with his cane at the bell-pull.

“You see it, Watson?” he yelled. “You see it?”

But I saw nothing. At the moment when Holmes struck the light I heard a low, clear whistle, but the sudden glare flashing into my weary eyes made it impossible for me to tell what it was at which my friend lashed so savagely. I could, however, see that his face was deadly pale and filled with horror and loathing. He had ceased to strike and was gazing up at the ventilator when suddenly there broke from the silence of the night the most horrible cry to which I have ever listened. It swelled up louder and louder, a hoarse yell of pain and fear and anger all mingled in the one dreadful shriek. They say that away down in the village, and even in the distant parsonage, that cry raised the sleepers from their beds. It struck cold to our hearts, and I stood gazing at Holmes, and he at me, until the last echoes of it had died away into the silence from which it rose.]
Before going north from Miss Stoner's Room:
	if Daytime is 0:
		if Dr Roylott is not in Dr Roylott's Room:
			say "It is not time yet." instead;

Section 6 - Dr Roylott's room 

SherRoyDoor is a closed openable door. It is scenery. It is south from first sherlockcorr and north from Dr Roylott's Room. The printed name of SherRoyDoor is "Dr. Roylott's door". Understand "dr" or "roylott" or "door" as SherRoyDoor.

The description of Dr Roylott's Room is "[if Dr Roylott is in Dr Roylott's Room]A dark-lantern stands with the shutter half open, throwing a brilliant beam of light upon the iron safe, the door of which is ajar. 

On a wooden chair sits Dr. Grimesby Roylott clad in a long grey dressing-gown, his bare ankles protruding beneath, and his feet thrust into red heelless Turkish slippers. Across his lap lays the short stock with the long lash which we had noticed during the day, far from the serpent's reach but within your own. 

His chin was cocked upward and his eyes were fixed in a dreadful, rigid stare at the corner of the ceiling. Round his head was wrapped the swamp adder. He made neither sound nor motion.[otherwise]Dr. Grimesby Roylott's chamber is larger than that of his step-daughter, but it is as plainly furnished. It is clear, though, that several large items have been moved from here over the last several years, indicative of the slow selling off of family goods.

Of those things that remain, a camp-bed and a small wooden shelf full of books, mostly of a technical character, are the principal things which meet your eye. There is also a large iron safe here.[end if]"

The camp-bed is scenery in Dr Roylott's Room. Understand "camp" or "bed" as the camp-bed. The description of the camp-bed is "You examine the bed with your magnifying glass[if the camp-bed is examined] again, but find nothing[otherwise], and find nothing. Next to it, though, is a small dog lash[end if]." 

The small wooden shelf of technical books is scenery in Dr Roylott's Room. Understand "book" or "medical" or "treatise" or "treatises" as the small wooden shelf of technical books. The description of the small wooden shelf of technical books is "The books are primarily medical treatises."

Instead of taking the small wooden shelf of technical books:
	say "You prefer not to leave traces."
	
Instead of opening the small wooden shelf of technical books:
	say "You skim a few texts, but find nothing unexpected."

The safe is scenery in Dr Roylott's Room. Understand "saucer" or "milk" as the safe. The description of the safe is "It is a large iron safe with a saucer of milk on top. The milk looks reasonably fresh, and the safe is firmly and tightly secured[if Dr Roylott is in Dr Roylott's Room]. The safe is open[end if]." The safe is a closed and locked container.

Instead of taking the safe:
	say "You prefer to disturb nothing."

Instead of smelling the safe:
	say "The milk in the saucer on the safe smells fresh.";

[“I had come to these conclusions before ever I had entered his room. An inspection of his chair showed me that he had been in the habit of standing on it, which of course would be necessary in order that he should reach the ventilator. The sight of the safe, the saucer of milk, and the loop of whipcord were enough to finally dispel any doubts which may have remained. The metallic clang heard by Miss Stoner was obviously caused by her stepfather hastily closing the door of his safe upon its terrible occupant. ]

After examining the safe:
	deliver Secured;
	deliver Creature;

Before examining the safe for the first time:
	add "Encountering a mysterious safe..." to ScoreList, if absent;		
	
[ I can only claim the merit that I instantly reconsidered my position when, however, it became clear to me that whatever danger threatened an occupant of the room could not come either from the window or the door. My attention was speedily drawn, as I have already remarked to you, to this ventilator, and to the bell-rope which hung down to the bed. The discovery that this was a dummy, and that the bed was clamped to the floor, instantly gave rise to the suspicion that the rope was there as a bridge for something passing through the hole and coming to the bed.]

[The idea of a snake instantly occurred to me, and when I coupled it with my knowledge that the doctor was furnished with a supply of creatures from India, I felt that I was probably on the right track. The idea of using a form of poison which could not possibly be discovered by any chemical test was just such a one as would occur to a clever and ruthless man who had had an Eastern training. The rapidity with which such a poison would take effect would also, from his point of view, be an advantage. It would be a sharp-eyed coroner, indeed, who could distinguish the two little dark punctures which would show where the poison fangs had done their work.]

The small dog lash is in Dr Roylott's Room. Understand "whipcord" or "leash" or "loop" as the small dog lash. The description of the small dog lash is "A small dog lash hangs on one corner of the bed. The lash, however, is curled upon itself and tied so as to make a loop of whipcord."

Before listing nondescript items:
	if the camp-bed is unexamined:
		now the small dog lash is not marked for listing;

Before taking the small dog lash:
	if  Dr Roylott is not in Dr Roylott's Room:
		say "Dr. Roylott would notice if you moved his things." instead;

After examining the small dog lash:
	deliver Dangerous;
	
After going south from first sherlockcorr:
	if Dr Roylott is in Dr Roylott's Room:
		say "Twice you strike at the chamber door without any reply. Then you turn the handle, and enter, Watson at your heels, with a cocked pistol in his hand.";
		now SherRoyDoor is open;
		Now the player is in Dr Roylott's Room;
		now the cocked pistol is in Dr Roylott's Room;
		now the dark-lantern is in Dr Roylott's Room;
		now the speckled band is in Dr Roylott's Room;
	otherwise:
		try looking;
	
The cocked pistol is scenery. The description of the cocked pistol is "Watson held a cocked pistol in his hand.";

The dark-lantern is scenery. Understand "dark" or "lantern" as the dark-lantern. The description of the dark-lantern is "The dark-lantern stands with the shutter half open, throwing a brilliant beam of light upon the iron safe, the door of which is ajar. "

Trapping is an action applying to one thing. Understand "trap [something]" or "catch [something]" as trapping.

Carry out trapping:
	if the noun is the speckled band:
		if the small dog lash is not carried by the player:
			say "You need something...the dog lash is far from the adder. You could take it.";
		otherwise:
			say "Throwing the noose round the reptile's neck, you draw it from its horrid perch and, carrying it at arm's length, throw it into the iron safe, which you close upon it.";
			add "Finishing off the speckled band and securing the continued well being of Miss Stoner..." to ScoreList, if absent;		
			Now the player is in the train car;
	otherwise:
		say "That isn't something you ought to trap."

Understand "adder" as the speckled band.

Every turn when the player is in Dr Roylott's Room:
	if the speckled band is enclosed by the location of the player:
		say "[one of]The speckled band slowly writhes around the Doctor's head. You dare not come within its reach.[or]The snake has noticed you![or]The viper seems agitated. You must hurry![or]The adder is ready to strike![or]The snake leaps forward! Watson tries to shoot it, but his shot goes wild.[snakedeathtext][stopping]";
		
To say snakedeathtext:
	end the story saying "You have been bitten.";
		

[Twice he struck at the chamber door without any reply from within. Then he turned the handle and entered, I at his heels, with the cocked pistol in my hand.

It was a singular sight which met our eyes. On the table stood a dark-lantern with the shutter half open, throwing a brilliant beam of light upon the iron safe, the door of which was ajar. Beside this table, on the wooden chair, sat Dr. Grimesby Roylott clad in a long grey dressing-gown, his bare ankles protruding beneath, and his feet thrust into red heelless Turkish slippers. Across his lap lay the short stock with the long lash which we had noticed during the day. His chin was cocked upward and his eyes were fixed in a dreadful, rigid stare at the corner of the ceiling. Round his brow he had a peculiar yellow band, with brownish speckles, which seemed to be bound tightly round his head. As we entered he made neither sound nor motion.

“The band! the speckled band!” whispered Holmes.

I took a step forward. In an instant his strange headgear began to move, and there reared itself from among his hair the squat diamond-shaped head and puffed neck of a loathsome serpent.

“It is a swamp adder!” cried Holmes; “the deadliest snake in India. He has died within ten seconds of being bitten. Violence does, in truth, recoil upon the violent, and the schemer falls into the pit which he digs for another. Let us thrust this creature back into its den, and we can then remove Miss Stoner to some place of shelter and let the county police know what has happened.”

As he spoke he drew the dog-whip swiftly from the dead man's lap, and throwing the noose round the reptile's neck he drew it from its horrid perch and, carrying it at arm's length, threw it into the iron safe, which he closed upon it.]

[Dr. Grimesby Roylott's chamber was larger than that of his step-daughter, but was as plainly furnished. A camp-bed, a small wooden shelf full of books, mostly of a technical character, an armchair beside the bed, a plain wooden chair against the wall, a round table, and a large iron safe were the principal things which met the eye. Holmes walked slowly round and examined each and all of them with the keenest interest.

“What's in here?” he asked, tapping the safe.

“My stepfather's business papers.”

“Oh! You have seen inside, then?”

“Only once, some years ago. I remember that it was full of papers.”

“There isn't a cat in it, for example?”

“No. What a strange idea!”

“Well, look at this!” He took up a small saucer of milk which stood on the top of it.

“No; we don't keep a cat. But there is a cheetah and a baboon.”

“Ah, yes, of course! Well, a cheetah is just a big cat, and yet a saucer of milk does not go very far in satisfying its wants, I daresay. There is one point which I should wish to determine.” He squatted down in front of the wooden chair and examined the seat of it with the greatest attention.

“Thank you. That is quite settled,” said he, rising and putting his lens in his pocket. “Hullo! Here is something interesting!”

The object which had caught his eye was a small dog lash hung on one corner of the bed. The lash, however, was curled upon itself and tied so as to make a loop of whipcord.

“What do you make of that, Watson?”

“It's a common enough lash. But I don't know why it should be tied.”

“That is not quite so common, is it? Ah, me! it's a wicked world, and when a clever man turns his brains to crime it is the worst of all. I think that I have seen enough now, Miss Stoner, and with your permission we shall walk out upon the lawn.”

I had never seen my friend's face so grim or his brow so dark as it was when we turned from the scene of this investigation. We had walked several times up and down the lawn, neither Miss Stoner nor myself liking to break in upon his thoughts before he roused himself from his reverie.

“It is very essential, Miss Stoner,” said he, “that you should absolutely follow my advice in every respect.”

“I shall most certainly do so.”

“The matter is too serious for any hesitation. Your life may depend upon your compliance.”

“I assure you that I am in your hands.”

“In the first place, both my friend and I must spend the night in your room.”

Both Miss Stoner and I gazed at him in astonishment.

“Yes, it must be so. Let me explain. I believe that that is the village inn over there?”

“Yes, that is the Crown.”

“Very good. Your windows would be visible from there?”

“Certainly.”

“You must confine yourself to your room, on pretence of a headache, when your stepfather comes back. Then when you hear him retire for the night, you must open the shutters of your window, undo the hasp, put your lamp there as a signal to us, and then withdraw quietly with everything which you are likely to want into the room which you used to occupy. I have no doubt that, in spite of the repairs, you could manage there for one night.”

“Oh, yes, easily.”

“The rest you will leave in our hands.”

“But what will you do?”]

[“We shall spend the night in your room, and we shall investigate the cause of this noise which has disturbed you.”

“I believe, Mr. Holmes, that you have already made up your mind,” said Miss Stoner, laying her hand upon my companion's sleeve.

“Perhaps I have.”

“Then, for pity's sake, tell me what was the cause of my sister's death.”

“I should prefer to have clearer proofs before I speak.”

“You can at least tell me whether my own thought is correct, and if she died from some sudden fright.”

“No, I do not think so. I think that there was probably some more tangible cause. And now, Miss Stoner, we must leave you for if Dr. Roylott returned and saw us our journey would be in vain. Good-bye, and be brave, for if you will do what I have told you, you may rest assured that we shall soon drive away the dangers that threaten you.”

Sherlock Holmes and I had no difficulty in engaging a bedroom and sitting-room at the Crown Inn. They were on the upper floor, and from our window we could command a view of the avenue gate, and of the inhabited wing of Stoke Moran Manor House. At dusk we saw Dr. Grimesby Roylott drive past, his huge form looming up beside the little figure of the lad who drove him. The boy had some slight difficulty in undoing the heavy iron gates, and we heard the hoarse roar of the doctor's voice and saw the fury with which he shook his clinched fists at him. The trap drove on, and a few minutes later we saw a sudden light spring up among the trees as the lamp was lit in one of the sitting-rooms.]

Section 7 - The train car

Train Car is a room. "You and Watson are seated in the corner of a prosaic railway-carraige, travelling home. Watson seems eager to talk."

Before looking when the player is in the train car:
	now Dr Roylott is nowhere;
	say "**********************************************[line break]Epilogue[line break]**********************************************[line break]";
	now Watson is in Train Car;
	now Watson is scenery;
	now ClueTime is 0;
	
TrainWatson is a number that varies. TrainWatson is 0.

SpeckledDone is a number that varies. SpeckledDone is 0.

NapoleonDone is a number that varies. NapoleonDone is 0.

Instead of talking to Watson when the player is in the Train Car:
	now the dog lash is in the basement;
	now Watson is not scenery;
	if TrainWatson is 1:
		say "'In fact, Holmes, I don't quite follow your train of thought.'

'Let me lay it out step by step. I solved the case by...[paragraph break]";
		repeat with current running through ScoreList:
			say "[current][paragraph break]";
			now SpeckledDone is 1;
		say "And that, Watson, is how I finished the business.'";
		if NapoleonDone is 0:
			now the plaster dust is in Conscious Mind;
			now pertinentcase is BaseCase;
			say "[paragraph break]**********************************************[line break]You return to your memories...[line break]**********************************************[line break]";
			repeat with current running through quips carried by the player:
				now current is nowhere;
				now current is not relevant;
			now WatsonSleeping is 1;
			now the heavy cane is nowhere;
			now the twisted poker is nowhere;
			now Inspector Lestrade is nowhere;
			now SpeckledDone is 1;
			now ScoreList is {"Preparing the correct mental state..."} ;
			now Watson is on Watson's Bed;
			now the front door is closed;
			now Mind Holmes is in Conscious Mind;
			Playerchange Mind Holmes;
			now Sherlock Holmes is in 221B Baker Street;
			try looking;
		otherwise:
			now pertinentcase is BaseCase;
			say "[line break]**********************************************[line break]You return to yourself...[line break]**********************************************";
			now the OldHolmes is on sickbed;
			Playerchange OldHolmes;
			try looking;
	otherwise if TrainWatson is 0:
		say "You say, 'The sight of the safe, the saucer of milk, and the loop of whipcord were enough to finally dispel any doubts which may have remained. The metallic clang heard by Miss Stoner was obviously caused by her stepfather hastily closing the door of his safe upon its terrible occupant. Having once made up my mind, you know the steps which I took in order to put the matter to the proof. I heard the creature hiss as I have no doubt that you did also, and I instantly lit the light and attacked it.'

'With the result of driving it through the ventilator.'

'And also with the result of causing it to turn upon its master at the other side. Some of the blows of my cane came home and roused its snakish temper, so that it flew upon the first person it saw. In this way I am no doubt indirectly responsible for Dr. Grimesby Roylott's death, and I cannot say that it is likely to weigh very heavily upon my conscience.'

Watson seems to have a remaining thought, though.";
		now TrainWatson is 1;


	
[“I had,” said he, “come to an entirely erroneous conclusion which shows, my dear Watson, how dangerous it always is to reason from insufficient data. The presence of the gipsies, and the use of the word ‘band,’ which was used by the poor girl, no doubt, to explain the appearance which she had caught a hurried glimpse of by the light of her match, were sufficient to put me upon an entirely wrong scent. I can only claim the merit that I instantly reconsidered my position when, however, it became clear to me that whatever danger threatened an occupant of the room could not come either from the window or the door. My attention was speedily drawn, as I have already remarked to you, to this ventilator, and to the bell-rope which hung down to the bed. The discovery that this was a dummy, and that the bed was clamped to the floor, instantly gave rise to the suspicion that the rope was there as a bridge for something passing through the hole and coming to the bed. The idea of a snake instantly occurred to me, and when I coupled it with my knowledge that the doctor was furnished with a supply of creatures from India, I felt that I was probably on the right track. The idea of using a form of poison which could not possibly be discovered by any chemical test was just such a one as would occur to a clever and ruthless man who had had an Eastern training. The rapidity with which such a poison would take effect would also, from his point of view, be an advantage. It would be a sharp-eyed coroner, indeed, who could distinguish the two little dark punctures which would show where the poison fangs had done their work. Then I thought of the whistle. Of course he must recall the snake before the morning light revealed it to the victim. He had trained it, probably by the use of the milk which we saw, to return to him when summoned. He would put it through this ventilator at the hour that he thought best, with the certainty that it would crawl down the rope and land on the bed. It might or might not bite the occupant, perhaps she might escape every night for a week, but sooner or later she must fall a victim.

“I had come to these conclusions before ever I had entered his room. An inspection of his chair showed me that he had been in the habit of standing on it, which of course would be necessary in order that he should reach the ventilator. The sight of the safe, the saucer of milk, and the loop of whipcord were enough to finally dispel any doubts which may have remained. The metallic clang heard by Miss Stoner was obviously caused by her stepfather hastily closing the door of his safe upon its terrible occupant. Having once made up my mind, you know the steps which I took in order to put the matter to the proof. I heard the creature hiss as I have no doubt that you did also, and I instantly lit the light and attacked it.”

“With the result of driving it through the ventilator.”

“And also with the result of causing it to turn upon its master at the other side. Some of the blows of my cane came home and roused its snakish temper, so that it flew upon the first person it saw. In this way I am no doubt indirectly responsible for Dr. Grimesby Roylott's death, and I cannot say that it is likely to weigh very heavily upon my conscience.”]

Book 3 - Six Napoleons

SixNapoleons is a case.

Part 1 - Clues involved in the scene

BustCounter is a number that varies. BustCounter is 0.

[ Farewell - "It is time to say goodbye."
   Seeking - "The culprit may be movivated by something in the busts. You feel this is somewhat likely."
   Revenge - "The culprit may be motivated by revenge. You feel this is somewhat likely."
   Hatred - "The culprit may be motivated by hatred of Napoleon. You feel this is somewhat likely."
   Muffled - "The bust from the quiet surgery was smashed where it was."
   Duplicates - "The plaster casts were exact duplicates."
   Removed - "The bust in Barnicot's Bedroom was taken to a quiet area to be smashed."
   Cheap - "This type of plaster bust is quite inexpensive."
   Destroyed - "Someone has destroyed zerobusts."]

Cheap is a quip. The preview of cheap is "This type of plaster bust is quite inexpensive."

Instead of speeching Cheap to Inspector Lestrade:
	say "'And, you said, these plaster busts are inexpensive?' you ask.

He says, 'Three, four shillings at most.'"

Instead of speeching Cheap to Watson:
	say "'It's telling, Watson, that these busts are so inexpensive,' you say.

Watson nods silently."

Variety is a quip. The preview of Variety is "You do not know if the busts had a variety of depictions, or were the same mold."

Instead of speeching Variety to Inspector Lestrade:
	say "You ask, 'Were the two busts smashed in Dr. Barnicot's rooms the exact duplicates of the one which was destroyed in Morse Hudson's shop?'

'They were taken from the same mould,' says Lestrade.[paragraph break]";
	discard Variety;
	deliver Duplicates;

Instead of speeching Variety to Watson:
	say "You ask, 'Were the two busts smashed in Dr. Barnicot's rooms the exact duplicates of the one which was destroyed in Morse Hudson's shop?'

'That seems to be a question for Lestrade,' says Watson.[paragraph break]";

Sales is a quip. The preview of Sales is "The busts were sold on June 3rd."

Instead of speeching Sales to Watson:
	say "'You know, Watson, it seems the busts were sold on June 3rd of this year.'

'Does that date hold a special significance, Holmes?'

'Perhaps.'";

Destroyed is a quip. The preview of Destroyed is "Someone has destroyed [if BustCounter is 1]one bust[otherwise][BustCounter in words] busts[end if]."

Instead of speeching Destroyed to Inspector Lestrade:
	say "'And what do you make of all these destroyed busts[if BustCounter > 4]?'

'The busts! You never can get those busts out of your head. After all, that is nothing; petty larceny, six months at the most. It is the murder that we are really investigating, and I tell you that I am gathering all the threads into my hands.[otherwise]?'

Lestrade frowns. 'It is a very difficult business,  Mr. Holmes, a difficult business[end if].'"

Instead of speeching Destroyed to Watson:
	say "'What do you think is the purpose for the destruction of the busts, Dr. Watson?' you ask.

'There is the condition which the modern French psychologists have called the ‘idée fixe,’ which may be trifling in character, and accompanied by complete sanity in every other way. A man who had read deeply about Napoleon, or who had possibly received some hereditary family injury through the great war, might conceivably form such an idée fixe and under its influence be capable of any fantastic outrage.'

'That won't do, my dear Watson,' you say, shaking your head; 'for no amount of idée fixe would enable your interesting monomaniac to find out where these busts were situated.'

'Well, how do you explain it?'"

Hatred is a quip. The preview of Hatred is "The culprit may be motivated by hatred of Napoleon. You feel this is [if HatredLevel is 0]somewhat [otherwise if HatredLevel is 1][otherwise if HatredLevel is 2]very [end if]likely."

Hatred is private.

Instead of speeching Hatred to someone:
	say "You prefer to keep your private conjectures to yourself, until you are more sure."

Revenge is a quip. The preview of Revenge is "The culprit may be motivated by revenge. You feel this is [if RevengeLevel is 0]somewhat [otherwise if RevengeLevel is 1][otherwise if RevengeLevel is 2]very [end if]likely."

Revenge is private.

Instead of speeching Revenge to someone:
	say "You prefer to keep your private conjectures to yourself, until you are more sure."

Seeking is a quip. The preview of Seeking is "The culprit may be motivated by something in the busts. You feel this is [if SeekingLevel is 0]somewhat [otherwise if SeekingLevel is 1][otherwise if SeekingLevel is 2]very [end if]likely."

Seeking is private.

Instead of speeching Seeking to someone:
	say "You prefer to keep your private conjectures to yourself, until you are [if SeekingLevel < 2]more[otherwise]absolutely[end if] sure."

Duplicates is a quip. The preview of Duplicates is "The plaster casts were exact duplicates.".

Instead of speeching Duplicates to Watson: 
	say "'Why would a man seek out, not only busts of Napoleon, but busts which were exact duplicates of each other?' you ask Watson, testing.

'I am firmly convinced of obsession.'

You smile, and shake your head."

Instead of speeching Duplicates to Lestrade:
	say "You say, 'And these busts, were, in fact, exact duplicates?'

'They were taken from the same mould,' says Lestrade.

'Such a fact must tell against the theory that the man who breaks them is influenced by any general hatred of Napoleon. Considering how many hundreds of statues of the great Emperor must exist in London, it is too much to suppose such a coincidence as that a promiscuous iconoclast should chance to begin upon three specimens of the same bust.'";
	eliminate hatred;
	add "Eliminating incorrect motives for the crime..." to ScoreList, if absent;

Removed is a quip. The preview of Removed is "The bust in Barnicot's Bedroom was taken to a quiet area to be smashed."

Instead of speeching Removed to Watson:
	say "You say, 'Why do you think the bust in Barnicot's Bedroom was taken outside?'

'It is puzzling,' says Watson, 'After all, the bust in his surgery was smashed where it was[if Muffled is WatsonGiven]. But we've already discussed that[end if].'"

Instead of speeching Removed to Lestrade:
	say "'Lestrade,' you ask, 'You say that the bust in Barnicot's Bedroom was taken outside to be smashed?'

'Yes,' he answers, 'He found it in his garden.'";

Muffled is a quip. The preview of Muffled is "The bust from the quiet surgery was smashed where it was."

Instead of speeching Muffled to Watson:
	say "You say, 'Why do you think the bust in the surgery was smashed where it was?'

'A maniac would not care,' says Watson. 'But then, the bust in Barnicot's Bedroom was taken outside to be smashed[if Removed is WatsonGiven]. But I said so earlier, if you remember[end if].'"

Instead of speeching Muffled to Lestrade:
	say "You say, 'Lestrade, you say that the second bust was smashed in Barnicot's surgery?'

He answers, 'Smashed to atoms, Mr. Holmes.'";

Murder is a quip.  The preview of Murder is "The crime must be murder.".

Instead of speeching Murder to Watson:
	say "You say, 'By George! it's attempted murder at the least. Nothing less will hold the London message-boy.'

Watson's eyes sharpen."

Illumination is a quip. The preview of Illumination is "The fourth bust was broken under a lamp."

Instead of speeching Illumination to Watson:
	say "You say, 'I wish to call your attention very particularly to the position of this house in the garden of which the bust was destroyed.'

Watson looks about him.

'It was an empty house, and so he knew that he would not be disturbed in the garden.'

'Yes, but there is another empty house farther up the street which he must have passed before he came to this one. Why did he not break it there, since it is evident that every yard that he carried it increased the risk of someone meeting him?'

'I give it up,' says Watson.

You point to the street lamp above your head.

'He could see what he was doing here and he could not there. That was his reason.'"

Instead of speeching Illumination to Lestrade:
	say "You say, 'It is clear that he chose this streetlamp to destroy the bust by in order to see what he was doing.'

'By Jove! that's true,' says the detective. 'Now that I come to think of it, Dr. Barnicot's bust was broken not far from his red lamp. Well, Mr. Holmes, what are we to do with that fact?'

You answer, 'To remember it--to docket it. We may come on something later which will bear upon it.'"

Recognition is a quip. The preview of Recognition is "The German manager employed Tommy in his shop."

Instead of speeching Recognition to Watson:
	say "'Well, Watson, it seems that the manager of the factory that created the busts employed the same man whose photograph was found on the dead man's body in Pitt Street.'

'Yes, indeed; and I believe Morse Hudson said he recognized him, as well.'"

Employed is a quip. The preview of Employed is "Morse Hudson employed the American named Tommy in his shop.".

Instead of speeching Employed to Watson:
	say "You say, 'We have this Tommy as a common factor, both in Kennington and in Kensington[if Employed is carried by the player].'

'Yes, and at the factory as well.[otherwise].'

Watson nods. 'Yes, that's true.[end if]'";

Timing is a quip. The preview of Timing is "The busts were sold after Tommy was arrested, giving him a chance to alter them."

Instead of speeching Timing to Watson:
	say "You say, 'According to the sales records, the busts were sold a few days after Tommy was arrested.'

'You seem to find that timing important.'

'Very important,' you say.";

Incarceration is a quip. The preview of Incarceration is "Tommy was arrested around May 20th.".

Instead of speeching Incarceration to someone:
	say "You say, 'It seems that Tommy was arrested on May 20th.'

'In May? But Holmes, I believe you said the busts were sold in June.'

'Yes,' you say. 'That means that he may have altered the busts somehow before they were sold.'";
	deliver Timing;
	discard Incarceration;
	discard Sales;

Emerald is a quip. The preview of Emerald is "The Rockefeller Emerald was stolen two days before Tommy was arrested."

Instead of speeching Emerald to someone:
	say "This would unravel the mystery all at once; better to hold it until the end."

Methodical is a quip. The preview of Methodical is "The culprit is very methodical."

Instead of speeching Methodical to Watson:
	say "You say, 'I would observe that there is a certain method in the gentleman's eccentric proceedings. For example, in Dr. Barnicot's hall, where a sound might arouse the family, the bust was taken outside before being broken, whereas in the surgery, where there was less danger of an alarm, it was smashed where it stood.

'The affair seems absurdly trifling, and yet I dare call nothing trivial when I reflect that some of my most classic cases have had the least promising commencement. You will remember, Watson, how the dreadful business of the Abernetty family was first brought to my notice by the depth which the parsley had sunk into the butter upon a hot day. I can't afford, therefore, to smile at the three broken busts.'"

Instead of speeching Methodical to Inspector Lestrade:
	say "'You see, Lestrade, there is a certain method in the gentleman's eccentric proceedings[if Methodical is WatsonGiven]'. 

'Yes, yes, didn't you say all of this to Watson?' he answers[otherwise]. 'There is very little method in the wanton destruction of others['] property, Mr. Holmes,' he answers[end if]."

CommonCounter is a number that varies. CommonCounter is 0.

Common is a quip. The preview of Common is "Tommy had access to the busts and ledgers at [if CommonCounter is 0]two[otherwise]three[end if] locations.".

Instead of speeching Common to Watson:
	say "'What do you make of the fact, Watson, that this Tommy was employed at several of the locations where the busts were sold?'

Watson say, 'It smacks of conspiracy. But I cannot think of the purpose of such actions.'";


Instead of speeching Common to Lestrade:
	say "'It seems that Tommy was employed at more than one of the locations where the busts were sold.'

'Are you quite sure, Mr. Holmes? These Americans all look very similar.'"

Reports is a quip. The preview of Reports is "The inspector has a report to share.".

WhichReport is a number that varies. WhichReport is 1.

Instead of speeching reports to Lestrade:
	if WhichReport is 1:
		now ClueTime is 0;
		discard reports;
		say "[line break]'Burglary! This is more interesting. Let me hear the details.'

'You see, Mr. Holmes, it was like this...";
		now the story tense is past tense;
		now the story viewpoint is third person singular;
		Playerchange  the assistant;
		try looking;
		add "Listening to the shop assistant's story..." to ScoreList, if absent;
	otherwise if WhichReport is 2:
		now ClueTime is 0;
		discard reports;
		say "[line break]'You see, Mr. Holmes, it was like this...";
		now the story tense is past tense;
		now the story viewpoint is third person singular;
		Playerchange  the Dr Barnicot;
		add "Listening to Barnicot's story..." to ScoreList, if absent;
		try looking;

Instead of speeching reports to Watson:
	say "Watson doesn't have a report to give.";

Instead of speeching Farewell to Lestrade:
	if Farewell is relevant:
		say "You say, 'The affair seems absurdly trifling, and yet I dare call nothing trivial when I reflect that some of my most classic cases have had the least promising commencement. You will remember, Watson, how the dreadful business of the Abernetty family was first brought to my notice by the depth which the parsley had sunk into the butter upon a hot day. I can't afford, therefore, to smile at your three broken busts, Lestrade, and I shall be very much obliged to you if you will let me hear of any fresh developments of so singular a chain of events.'";
		discard farewell;

Murderer is a quip. The preview of Murderer is "The smasher was willing to murder to obtain the bust.";

Instead of speeching Murderer to Watson:
	say "'Clearly the killer found the bust more valuable than a human life.'

'But why?' asks Watson. 'What could their motive be?'";

Instead of speeching Murderer to Lestrade:
	say "'We have a long way to go yet,' you say. 'And yet--and yet--well, we have some suggestive facts to act upon. The possession of this trifling bust was worth more in the eyes of this strange criminal than a human life. That is one point.'

'Do you have any other points?' asks Lestrade."

Staff is a quip. The preview of Staff is "Harding Brothers employed several Americans with access to the books."

Instead of speeching Staff to Watson:
	say "'It is clear, then that Harding Brothers employed several Americans who could have checked the books,' you say to Watson.

He adds, 'And told Tommy.'

'Yes.'"

Instead of speeching Staff to Lestrade:
	say "'Have you noted that the Harding Brothers employed several Americans?' you ask.

'Who? The bust sellers? Your obsession with the busts will come to no good end, Mr. Holmes.'"

Part 2 - People involved in the scene

The assistant is a man. The description of the assistant is "He was an exceedingly alert man, twenty years of age, dressed in a quiet tweed suit." Understand "exceedingly" or "alert" or "twenty" or "quiet" or "tweed" or "suit" as the assistant.

Dr Barnicot is a man. Dr Barnicot is in Dr Barnicot's Bedroom. Understand "doctor" as Dr Barnicot. The description of Dr Barnicot is "You want to know what Dr. Barnicot was like, Mr. Holmes? He was a singularly unimportant man. ".

Horace Harker is a man. "The owner of the house[first time] (introduced to you as one Horace Harker, of the Central Press Syndicate)[only] is pacing up and down." The description of Horace Harker is "[if the player is not Horace Harker]Horace Harker is an exceedingly unkempt and agitated elderly man, clad in a flannel dressing-gown.[otherwise]I looked exactly as you see me now, Mr. Holmes.[end if]". Understand "central" or "press" or "syndicate" or "agitated" or "elderly" or "unkempt" or "flannel" or "dressing-gown" or "gown" or "owner" as Horace Harker.

Does the player mean speeching something to Horace Harker:
		it is unlikely;

Morse Hudson is a man. "Morse Hudson is a small, stout man with a red face and a peppery manner." Understand "picture" or "small" or "stout" or "red" or "face" or "peppery" or "manner" or "pictures" or "dealer" or "dealer's" as Morse Hudson.

Morse Hudson is in the Pictures Dealer's Establishment.

Mr Sandeford is a man. The description of Mr Sandeford is "He is an elderly, red-faced man with grizzled side-whiskers was ushered in." Understand "elderly" or "red" or "face" or "grizzled" or "side" or "whisker" or "whiskers" or "man" as Mr Sandeford.

The young clerk is a man. The description of the young clerk is "A fresh young fellow, most likely a recent addition to the shop."

The young clerk is in Harding Brothers.

The founder is a man.  "The manager and founder is here.". The description of the founder is "The founder of that great emporium is a brisk, crisp little person, very dapper and quick, with a clear head and a ready tongue." Understand "founder" or "brisk" or "crisp" or "little" or  "manager" or "person" or "dapper" or "quick" or "clear" or "head" or "ready" or "tongue" as the founder.

The German manager is a man. The description of the German manager is "He is a big, blond German."

The German Manager is in Sculpture Works Factory.

Tommy is a man. Understand "american" as Tommy. The description of Tommy is "You see an infuriated face, with writhing features, glaring up at you".

Josiah Brown is a man. The description of Josiah Brown is "He is a jovial, rotund figure in shirt and trousers." Understand "owner" or "jovial" or "rotund" or "shirt" or "trousers" as Josiah Brown.

Part 3 - Scenes

GoSixing is an action applying to nothing. Understand "GoSix" as gosixing.

Carry out GoSixing:
	say "****************************************************[line break]You find yourself remembering this case...[line break]****************************************************[paragraph break]";
	now pertinentcase is SixNapoleons;

Chapter 1 - Baker Street

Section 1 - SixLestradeEntrance

SixLestradeEntrance is a scene. SixLestradeEntrance begins when pertinentcase is SixNapoleons. SixLestradeEntrance ends when the player is assistant.

When SixLestradeEntrance begins:
	now Inspector Lestrade is scenery;
	now Watson is scenery;
	now Inspector Lestrade is in 221B Baker Street;
	now Watson is in 221B Baker Street;
	now Sherlock Holmes is in 221B Baker Street;
	Playerchange Sherlock Holmes;
	say "It is no very unusual thing for [Inspector Lestrade], of Scotland Yard, to look in upon you of an evening, and his visits are welcome, for they enable you to keep in touch with all that is going on at the police head-quarters. In return for the news which Lestrade brings, you are always ready to listen with attention to the details of any case upon which the detective is engaged.";
	try looking;

Every turn during SixLestradeEntrance:
	now Watson is not scenery;
	now Inspector Lestrade is scenery;
	if the current action is not talking to Lestrade:
		if Lestrade is in the location of the player:
			say "[one of]Lestrade has fallen silent, puffing thoughtfully at his cigar. He clearly has something to say.[or][run paragraph on][or][run paragraph on][cycling]";

When SixLestradeEntrance ends:
	now Lestrade is not scenery;

Report going a direction when the player is Sherlock Holmes:
	if Lestrade is in 221B Baker Street:
		if Lestrade is in the location of the player:
			say "You tell Lestrade, 'I'm ready now,' as you enter.";
		otherwise:
			say "You tell Lestrade, 'Wait here one minute.'";
	otherwise if Miss Helen Stoner is in 221B Baker Street:
		if Miss Helen Stoner is in the location of the player:
			say "You tell Miss Stoner, 'I'm ready now,' as you enter.";
		otherwise:
			say "You tell Miss Stoner, 'Wait here one minute.'";

SixLesCounter is a number that varies. SixLesCounter is 0.

Instead of talking to Inspector Lestrade during SixLestradeEntrance:
	if SixLesCounter > 1:
		say "[bracket]Sherlock's interest has been aroused by Lestrade. He can ask in more detail about specific topics by SAYing thoughts to Lestrade; for instance, you can SAY REPORTS[close bracket][line break]";
	if SixLesCounter is 1:
		say "'Disease?' you say.

'Madness, anyhow. And a queer madness too! You wouldn't think there was anyone living at this time of day who had such a hatred of Napoleon the First that he would break any image of him that he could see.'

You sink back in your chair.

'That's no business of mine,' you say.

'Exactly. That's what I said. But then, when the man commits burglary in order to break images which are not his own, that brings it away from the doctor and on to the policeman.'

He rubs his hands pompously, as he waits for your comment.[paragraph break]";
		deliver Reports;
		now ClueTime is 1;
		now SixLesCounter is 2;
	otherwise if SixLesCounter is 0:
		now SixLesCounter is 1;
		say "'Anything remarkable on hand?' you ask.

'Oh, no, Mr. Holmes, nothing very particular.'

'Then tell me about it.'

Lestrade laughed.

'Well, Mr. Holmes, there is no use denying that there is something on my mind. And yet it is such an absurd business that I hesitated to bother you about it. On the other hand, although it is trivial, it is undoubtedly queer, and I know that you have a taste for all that is out of the common. But in my opinion it comes more in Dr. Watson's line than ours.'

He nods knowingly, and pauses.";
		add "Putting up with Lestrade's annoying habits..." to ScoreList, if absent;

	
Chapter 2 - Lestrade's reports

Section 1 - The shop assistant

AssistantScene is a scene. AssistantScene begins when the player is assistant. AssistantScene ends when the player is in Back Shop.

[“The first case reported was four days ago,” said he. “It was at the shop of Morse Hudson, who has a place for the sale of pictures and statues in the Kennington Road. The assistant had left the front shop for an instant when he heard a crash, and hurrying in he found a plaster bust of Napoleon, which stood with several other works of art upon the counter, lying shivered into fragments. He rushed out into the road, but, although several passers-by declared that they had noticed a man run out of the shop, he could neither see anyone nor could he find any means of identifying the rascal. It seemed to be one of those senseless acts of Hooliganism which occur from time to time, and it was reported to the constable on the beat as such. The plaster cast was not worth more than a few shillings, and the whole affair appeared to be too childish for any particular investigation.] 


The assistant is in Hudson's Art Shop.

Hudson's Art Shop is a room. The description of Hudson's Art Shop is "The assistant was in the shop of Morse Hudson, who has a place for the sale of pictures and statues. Several works of art were placed carefully about the shop.

The back shop was to the [bold type]south[roman type], and Kennington road was to the [bold type]north[roman type]."

The fakehudson is scenery in Hudson's art shop.  The printed name of fakehudson is "absent Hudson". Understand "hudson" as the fakehudson.

The description of the fakehudson is "Hudson himself was gone at the time, Mr. Holmes."

The shop's pictures and shop's statues are scenery in Hudson's Art Shop. The description of the shop's pictures is "The assistant did not describe the pictures, Mr. Holmes, but I believe that Hudson has a reputation for fine art." The description of the shop's statues is "It sounded like there were several statues, Mr. Holmes[if the shop's bust of Napoleon is not nowhere], including a plaster bust of Napoleon[otherwise].".

The shop's plaster bust of Napoleon is scenery in Hudson's art shop. The description of the shop's plaster bust of Napoleon is "The assistant said it was a quite normal bust of Napoleon.".

The several works of art are scenery in Hudson's art shop. Understand "work" or "pictures" or "picture" or "statues" as the several works of art. The description of the several works of art is "The assistant said they were some items intended for pickup that day."

The Back Shop is south from Hudson's art shop. "The back shop was a large room, packed with crates and boxes."

The shop's crates are scenery in the back shop. The shop's crates are plural-named. The description of the crates is "The assistant told me that the boxes and crates were filled with deliveries for Hudson." Understand "box" or "crate" or "deliveries" or "boxes" as the shop's crates.

Instead of opening the shop's crates:
	say "The assistant was not allowed to open the crates or boxes."

The squeak is scenery in the back shop. Understand "mouse" or "mice" or "rat" or "rats" as the squeak.

Instead of listening to the squeak:
	say "The assistant couldn't hear the squeak anymore.";

Kennington Road is a north from Hudson's Art Shop. "Kennington road is dingy and unremarkable, Holmes. The assistant said, though, that there were several passers-by, including a constable."

The several passers-by are people. The several passers-by are scenery in Kennington Road. The description of the several passers-by is "A fairly unremarkable collection of Londoners, Mr. Holmes, together with a constable." Understand "unremarkable" or "someone" or "collection" or "londonder" or "londoners" or "passer" or  "constable" or "officer" or "police" or "policeman" or "passers" or "by" or "passer-by" as the several passers-by.

Every turn during AssistantScene:
	if the player is the assistant:
		say "[one of]The assistant was busy preparing for customers.[or]The assistant heard a squeaking sound in the back room.[or]The assistant heard a squeaking sound in the back room again.[stopping]"

Instead of going north from Hudson's Art Shop during AssistantScene:
	say "The assistant thought it a poor idea to leave the shop unattended.";

HeadSmashing is a scene. HeadSmashing begins when AssistantScene ends. HeadSmashing ends when the player is in Hudson's Art Shop.

The shivered fragments of Napoleon's bust are a thing. "The fragments lay all over." The description of the shivered fragments is "The bust had been shivered into fragments." The shivered fragments are plural-named.

Instead of taking the shivered fragments:
	say "They were dangerous to take, Mr. Holmes."

When Headsmashing begins:
	now the shop's plaster bust of Napoleon is nowhere;
	say "The assistant couldn't see any mice. But then there was a loud crash from the front shop."
	
Every turn during Headsmashing:
	if the player is the assistant:
		say "[one of]Someone must have broken in![or][run paragraph on][or][run paragraph on][or]The statues! The assistant wondered: what was happening?[or][run paragraph on][or][run paragraph on][or]The assistant was concerned about the statues to the [bold type]north[roman type].[or][run paragraph on][or][run paragraph on][cycling]"

When HeadSmashing ends:
	say "The assistant found a plaster bust of Napoleon, which stood with several other works of art upon the counter, lying shivered into fragments.[paragraph break]";
	now the shivered fragments of Napoleon's bust is in Hudson's Art Shop;
	now BustCounter is 1;
	deliver Destroyed;
	
TalkedToPassersBy is a number that varies. TalkedToPassersBy is 0.

Instead of talking to the several passers-by:
	if WhereIsSmasher is not happening:
		say "The assistant wasn't supposed to gossip during work hours.";
	otherwise:
		now TalkedToPassersBy is 1;
		say "The assistant asked everyone nearby. Although several passers-by declared that they had noticed a man run out of the shop, he could neither see anyone nor could he find any means of identifying the rascal.

It seemed to be one of those senseless acts of Hooliganism which occur from time to time, and it was reported to the constable on the beat as such. 

The plaster cast was not worth more than a few shillings, and the whole affair appeared to be too childish for any particular investigation.[paragraph break]";
		deliver Cheap;
		say "[line break]****************************************************[line break]Lestrade finishes his report[line break]****************************************************[line break]"

WhereIsSmasher is a scene. WhereisSmasher begins when HeadSmashing ends. WhereIsSmasher ends when TalkedToPassersBy is 1. 

Every turn during WhereIsSmasher:
	if the player is in Hudson's Art Shop:
		say "[one of]The perpetrator must have just run out of the shop, to the [bold type]north[roman type].[or][run paragraph on][or][run paragraph on][cycling]";
	otherwise if the player is the assistant:
		say "[one of]Perhaps someone saw what happened.[or][run paragraph on][or][run paragraph on][cycling]";	

When WhereIsSmasher ends:
	now ClueTime is 1;
	Playerchange Sherlock Holmes;
	now the story viewpoint is second person singular;
	now the story tense is present tense;
	try looking;
	now WhichReport is 2;
	say "'The second case, however, was more serious and also more singular. It occurred only last night,' says Lestrade.";
	renew Reports;

Before going a direction when WhichReport is 2:
	if the player is Sherlock Holmes:
		say "Lestrade has you very interested; now is not the time to go." instead;

Before opening a door when WhichReport is 2:
	if the player is Sherlock Holmes:
		say "Lestrade has you very interested; now is not the time to go." instead;

Section 2 - Dr Barnicot
	
Dr Barnicot's Bedroom is a room. "[first time]In Kennington Road, and within a few hundred yards of Morse Hudson's shop, there lives a well-known medical practitioner, named Dr. Barnicot, who has one of the largest practices upon the south side of the Thames. His residence and principal consulting-room is at Kennington Road, but he has a branch surgery and dispensary at Lower Brixton Road, two miles away. [only]This Dr. Barnicot is an enthusiastic admirer of Napoleon, and his house is full of books, pictures, and relics of the French Emperor[first time].

Some little time ago he purchased from Morse Hudson two duplicate plaster casts of the famous head of Napoleon by the French sculptor, Devine. One of these he placed in his hall in the house at Kennington Road, and the other on the mantelpiece of the surgery at Lower Brixton.

Today, however, he would find something unusual which had happened in his hall[only]. The stairs went [bold type]down[roman type]." The printed name of Dr Barnicot's Bedroom is "Dr. Barnicot's Bedroom"

Barnicot's collection is scenery in Dr Barnicot's Bedroom. Understand "book" or "books" or "picture" or "pictures" or "relic" or "relics" or "french" or "emperor" as Barnicot's collection. The description of Barnicot's collection is "He didn't go into detail, Mr. Holmes; he is a private man."

Report going down from Dr Barnicot's Bedroom:
	say "Well, when Dr. Barnicot came down this morning, he was astonished to find that his house had been burgled during the night, but that nothing had been taken save the plaster head from the hall."
	
Dr Barnicot's Hall is down from Dr Barnicot's Bedroom. "Barnicot's Hall was austere, with whitewashed walls and oak floors. Nothing had been disturbed, except for his bust, which was gone. His garden was to the [bold type]north[roman type]." The printed name of Dr Barnicot's Hall is "Dr. Barnicot's Hall".

The uninteresting hall is scenery in Dr Barnicot's hall. The whitewashed walls are scenery in Dr Barnicot's Hall. The description of the whitewashed walls is "He seemed quite proud of his walls, Mr. Holmes." The oak floors are scenery in Dr Barnicot's hall. The description of the oak floors is "He mentioned his oak floors several times, Mr. Holmes."

The missing bust is scenery in Dr Barnicot's Hall. The description of the missing bust is "No, the bust was gone, Mr. Holmes."

Instead of doing something with the missing bust:
	say "No, the bust was gone, Mr. Holmes.";

Instead of going up from Dr Barnicot's Hall:
	say "He had no time to go back to his room! It was time for work.";

Barnicot's Garden is north from Dr Barnicot's Hall. "He was outside, with his hall to the [bold type]south[roman type] and his surgery several blocks to the [bold type]west[roman type].

His garden of flowers and melons was bordered by wall, under which were the shattered fragments of his bust."
	
The tended garden is scenery in Barnicot's Garden. The description of the tended garden is "Barnicot had a small garden of flowers and melons. He was quite interested in telling me about it, more than I was in listening." Understand "flowers" and "melons" and "flower" and "melon" as the tended garden.

Instead of taking the tended garden:
	say "It wasn't the time for gardening."

The border wall is scenery in the tended garden. The description of the border wall is "This wall was the border to Barnicot's garden."

The shattered fragments are a backdrop. The shattered fragments are in Barnicot's Garden. The shattered fragments are in Barnicot's Surgery. The shattered fragments are plural-named. The description of the shattered fragments is "The bust had been shattered to pieces." Understand "bust" or "busts" or "broken" or "pieces" or "strewn" as the shattered fragments.

Every turn when the player is in Barnicot's Garden:
	say "[one of]Dr. Barnicot was bewildered.[paragraph break][or]Dr. Barnicot was upset, but he was due at his surgery at twelve o'clock. The road was to the [bold type]west[roman type].[or][run paragraph on][or][run paragraph on]Barnicot was expected at his surgery to the [bold type]west[roman type].[stopping]";
	deliver Removed;
	now BustCounter is 2;
	deliver variety;

Barnicot's Surgery is west from Barnicot's Garden. The description of Barnicot's Surgery is "Barnicot's surgery was a successful practice, and full of a variety of equipment that I can't even begin to describe. He was situated in a well-to-do neighborhood.

[one of]You can imagine his amazement when, on arriving there, he found that the window had been opened in the night, and that the broken pieces of his second bust were strewn all over the room.[or]The bust lay in shattered fragments.[stopping]";

The variety of equipment is scenery in Barnicot's surgery. The description of the variety of equipment is "I'm sorry, Mr. Holmes, but there was such a variety of overlong medical terms being used that I can't remember a single one."

The neighborhood is scenery in Barnicot's surgery. The description of the neighborhood is "Barnicot couldn't see the neighborhood from inside the shop, but it was lovely."

Report looking when the player is in Barnicot's surgery:
	now BustCounter is 3;
	deliver Muffled;

Before going west from Barnicot's Garden:
	say "He travelled to his surgery, then.";
	
Before doing anything when the player is in Barnicot's Surgery:
	if the current action is not looking:
		say "'Well, let me stop you there, Mr. Holmes; he immediately went to the police.'";
		now ClueTime is 1;
		now WhichReport is 3;
		Playerchange Sherlock Holmes;
		now the story tense is present tense;
		now the story viewpoint is second person singular;
		try looking;
		say "Lestrade concludes, saying 'Now, Mr. Holmes, you have got the facts.

'In neither case were there any signs which could give us a clue as to the criminal or lunatic who had done the mischief, and their motive.'

You can think of several motives; the perpetrator may be motivated by hatred of Napoleon, by revenge on some person connected with the busts, or by some object concealed on the busts.[paragraph break]";
		deliver Hatred;
		deliver Revenge;
		deliver Seeking;
		say "[line break]But these are all private conjectures; you can speak with Lestrade about other topics (found by typing T or THOUGHTS).";
		now LestradeFlag is 1 instead;

LestradeFlag is a number that varies. LestradeFlag is 0.

LestradeCounter is number that varies. LestradeCounter is 0. 

LestradeTime is a scene. LestradeTime begins when LestradeCounter is 5 and WhichReport is 3.

When LestradeTime begins:
	say "You have a better idea of the situation now. You can ask Lestrade more questions, or let him go.[paragraph break]";
	deliver farewell;
	now farewell is not lestradegiven;
	renew farewell;

Instead of going north from 221B Baker Street when Inspector Lestrade is in the location of the player:
	say "Lestrade has [if SixLesCounter is 0]something[otherwise]more[end if] to say.";

[“They are singular, not to say grotesque,” said Holmes. “May I ask whether the two busts smashed in Dr. Barnicot's rooms were the exact duplicates of the one which was destroyed in Morse Hudson's shop?”

“They were taken from the same mould.”

“Such a fact must tell against the theory that the man who breaks them is influenced by any general hatred of Napoleon. Considering how many hundreds of statues of the great Emperor must exist in London, it is too much to suppose such a coincidence as that a promiscuous iconoclast should chance to begin upon three specimens of the same bust.”

“Well, I thought as you do,” said Lestrade. “On the other hand, this Morse Hudson is the purveyor of busts in that part of London, and these three were the only ones which had been in his shop for years. So, although, as you say, there are many hundreds of statues in London, it is very probable that these three were the only ones in that district. Therefore, a local fanatic would begin with them. What do you think, Dr. Watson?”

“There are no limits to the possibilities of monomania,” I answered. “There is the condition which the modern French psychologists have called the ‘idée fixe,’ which may be trifling in character, and accompanied by complete sanity in every other way. A man who had read deeply about Napoleon, or who had possibly received some hereditary family injury through the great war, might conceivably form such an idée fixe and under its influence be capable of any fantastic outrage.”

“That won't do, my dear Watson,” said Holmes, shaking his head; “for no amount of idée fixe would enable your interesting monomaniac to find out where these busts were situated.”

“Well, how do you explain it?”

“I don't attempt to do so. I would only observe that there is a certain method in the gentleman's eccentric proceedings. For example, in Dr. Barnicot's hall, where a sound might arouse the family, the bust was taken outside before being broken, whereas in the surgery, where there was less danger of an alarm, it was smashed where it stood. The affair seems absurdly trifling, and yet I dare call nothing trivial when I reflect that some of my most classic cases have had the least promising commencement. You will remember, Watson, how the dreadful business of the Abernetty family was first brought to my notice by the depth which the parsley had sunk into the butter upon a hot day. I can't afford, therefore, to smile at your three broken busts, Lestrade, and I shall be very much obliged to you if you will let me hear of any fresh developments of so singular a chain of events.”
]

Chapter 3 - Baker Street Awakening

Section 1 - New Telegram


A quip can be LestradeGiven or not LestradeGiven. A public quip is usually not LestradeGiven. A private quip is usually LestradeGiven.

Before speeching a quip to Inspector Lestrade:
	if the noun is LestradeGiven:
		if the noun is private:
			say "You prefer not to mention your private conjectures to Lestrade." instead;
		otherwise:
			say "You have already discussed this with Inspector Lestrade." instead;
	otherwise:
		now LestradeCounter is LestradeCounter plus 1;
	now the noun is LestradeGiven.

NewTelegram is a scene. NewTelegram begins when Farewell is LestradeGiven. NewTelegram ends when the front door is open.

The coffee is scenery. The description of the coffee is "Fresh coffee, brewed by Mrs. Hudson."

When NewTelegram begins: 
	now Lestrade is nowhere;
	now LestradeFollowing is 0;
	now Watson is in Watson's Bedroom;
	now WatsonSleeping is 1;
	say "****************************************************[line break]The next day...[line break]****************************************************[line break]";
	try looking;
	now the coffee is on the sideboard;
	
Every turn during NewTelegram:
	if the player is Sherlock Holmes:
		say "[one of]There is a knock from the front door.[or][run paragraph on][or][run paragraph on][or]Someone is knocking on your front door[if the player is in 221B Baker Street], here[otherwise if the player is in Sherlock's Bedroom], to the east[end if].[or][run paragraph on][or][run paragraph on][cycling]"

Before going south from 221B Baker Street during NewTelegram:
	say "Watson is still sleeping; you don't want to disturb him without cause." instead;

Before going north from 221B Baker Street during NewTelegram:
	try opening the front door instead;

Section 2 - NapoleonWatson

Before going north from 221B Baker Street during NapoleonWatson:
	say "Watson needs to know about this." instead;

NapoleonWatson is a scene. NapoleonWatson begins when NewTelegram ends. NapoleonWatson ends when Watson is in 221B Baker Street;

The telegram is a thing. The description of the telegram is "'Come instantly, 131, Pitt Street, Kensington.
-- Lestrade.'"

When NapoleonWatson begins:
	say "You see a page boy here. He hands you a telegram, and you flip him a coin before shutting the door.";
	add "Receiving a telegram..." to ScoreList, if absent;
	now the front door is closed;
	now Watson is scenery;
	now the telegram is carried by the player;
	set pronouns from the telegram;
	
Every turn during NapoleonWatson:
	if WatsonSleeping is 0:
		say "[one of]It's time to go, now.[or][run paragraph on][or][run paragraph on][cycling]";
	otherwise if Watson is in the location of the player:
		say "[one of]Watson looks to you for an explanation.[or][run paragraph on][or][run paragraph on]Watson is annoyed. Perhaps you should talk with him.[or][cycling]";
	otherwise if the telegram is examined:
		do nothing;
	otherwise if the player is Sherlock Holmes:
		say "[one of]You are carrying an urgent telegram.[or][run paragraph on][or][run paragraph on][cycling]";

Before going a direction during NapoleonWatson:
	if the player is in 221B Baker Street:
		if the noun is south:
			if the telegram is not carried by the player:
				say "Watson will want to see that telegram." instead;
			otherwise:
				now Sherlock Holmes is in Watson's bedroom;
				say "You tap the door as you enter; Watson is just finishing getting dressed for the day." instead;
				now Watson is not scenery;
		otherwise:
			say "Watson will want to see that telegram." instead;
	otherwise if the player is Sherlock Holmes:
		if WatsonSleeping is 1:
			say "You should explain the telegram to Watson." instead;	

Understand "fetch [someone]" as talking to.

Understand "fetch [something]" as taking.

Instead of showing the telegram to someone (called the talkee):
	if the talkee is Watson:
		try talking to watson;
	otherwise:
		say "The telegram is no longer relevant."
	
Instead of giving the telegram to Watson:
	try talking to Watson;

Every turn during NapoleonWatson:
	if the player is in 221B Baker Street:
		if Watson is scenery:
			do nothing;
		otherwise if the telegram is carried by the player:
			say "[one of]Watson isn't up yet, but he has considerable interest in this case.[or][run paragraph on][or][run paragraph on][cycling]";
		otherwise:
			say "[one of]Watson would like to see the telegram, most likely.[or][run paragraph on][or][run paragraph on][cycling]";
	
Instead of talking to Watson during NapoleonWatson:
	say "[one of]You read the telegraph aloud:

'Come instantly, 131, Pitt Street, Kensington.
-- 'Lestrade.'

'What is it, then?' ask Watson.

'Don't know--may be anything. But I suspect it is the sequel of the story of the statues. In that case our friend, the image-breaker, has begun operations in another quarter of London. There's coffee on the table, Watson, and we can fetch a cab outside.'[or]You've already told him about the telegram; it's time to go![stopping]";
	add "Recruiting Watson..." to ScoreList, if absent;
	now WatsonSleeping is 0;

[	say "The development for which my you asked came in a quicker and an infinitely more tragic form than he could have imagined. I was still dressing in my bedroom next morning when there was a tap at the door and Holmes entered, a telegram in his hand. He read it aloud:

'Come instantly, 131, Pitt Street, Kensington.
-- 'Lestrade.'

'What is it, then?' I asked.

'Don't know--may be anything. But I suspect it is the sequel of the story of the statues. In that case our friend, the image-breaker, has begun operations in another quarter of London. There's coffee on the table, Watson, and I have a cab at the door.”]

Every turn when the player is in London Streets:
	if PertinentCase is SixNapoleons:
		say "A cab is available further up the street to the [bold type]north[roman type].";

Chapter 4 - Pitt Street

Pitt Street is north from London Streets.  "You are outside 131 Pitt Street. No. 131 is one of a row, all respectable and most unromantic dwellings. [one of]As you drive up you find t[or]T[stopping]he railings in front of the house [one of][or]are [stopping]lined by a curious crowd.
[first time][paragraph break][sayMurder][paragraph break][only]You notice that the top steps have been swilled down, while the bottom steps are dry. You can take a cab to the [bold type]south[roman type][if the splintered shards are not examined], or enter to the [bold type]east[roman type][end if][if PhotoCounter > 3].

 According to Lestrade, the bust is to the [bold type]north[roman type][end if]."

To say sayMurder:
	add "Visiting Pitt Street..." to ScoreList, if absent;
	deliver Murder;
	now Watson is not scenery;

The wet steps are scenery in Pitt Street. The description of the wet steps is "The top steps have been swilled down." Understand "top" or "swilled" as the wet steps.

The dry steps are scenery in Pitt Street. The description of the dry steps is "The bottom steps are dry." Understand "bottom" as the dry steps.

Harker's house is scenery in Pitt Street. Understand "no" or "131" or "row" or "flat-chested" or "respectable" or "unromantic" or "dwelling" or "dwellings" as Harker's house.  The description of Harker's House is "The house is unremarkable, except for the crowd gathering in front of it.". The printed name of Harker's House is "No. 131".

The Harker's railing is scenery in Pitt Street. The printed name of Harker's railing is "railing".  Understand "railings" as Harker's railing.

The curious crowd are people in Pitt Street. Understand "crowds" as the curious crowd. The curious crowd are scenery. The description of the curious crowd is "They are pressed together against the railings.".

[add all scenery here]

Before going north from London Streets:
	if PertinentCase is not SixNapoleons:
		say "There's nothing for you to the north at this time." instead;
	otherwise:
		say "****************************************************[line break]You take a cab to Pitt Street.[line break]****************************************************[paragraph break]In half an hour you have reached Pitt Street, a quiet little backwater just beside one of the briskest currents of London life.";
		now ClueTime is 1;

PittHouse is east from Pitt Street. The printed name of PittHouse is "No. 131 Pitt". The description of PittHouse is "You have been shown into the sitting room. There is a window showing the landing to the [bold type]west[roman type], and a mantelpiece with a conspicuously bare spot.";

The showing window is scenery in PittHouse. The description of the showing window is "The window in the sitting room looks out on the landing." 

Instead of searching the showing window:
	say "You see the landing outside."
	
The fakelanding is scenery in PittHouse. The description of the fakelanding is "The landing looks exactly like it did outside." The printed name of fakelanding is "landing". Understand "landing" as fakelanding.

The bare spot is scenery in PittHouse. The description of the bare spot is "The mantelpiece here has a bare spot which would coincide precisely with the mark left by a bust." Understand "conspicuously" or "mantelpiece" as the bare spot.

Before going east from Pitt Street:
	if HoraceTalked is 1:
		say "You've already spoken with the owner of the house." instead;
	otherwise:
		say "Lestrade receives you into the house with a very grave face.";
		now Inspector Lestrade is in PittHouse;
		now ClueTime is 0;
	
Horace Harker is in PittHouse.

HoraceTalked is a number that varies. HoraceTalked is 0.

Before talking to someone when HoraceTalked is 0:
	if Horace Harker is in the location of the player:
		if the noun is not Horace Harker:
			try talking to Horace Harker;

Instead of talking to Horace Harker:
	if HoraceTalked is 0:
		now HoraceTalked is 1;
		say "'It's the Napoleon bust business again,' says Lestrade. 'You seemed interested last night, Mr. Holmes, so I thought perhaps you would be glad to be present now that the affair has taken a very much graver turn.'

'What has it turned to, then?'

'To murder. Mr. Harker, will you tell these gentlemen exactly what has occurred?'";
		discard Murder;
		now ClueTime is 1;
		renew Testimony;
	otherwise if Testimony is relevant:
		try speeching Testimony to Horace Harker;
	otherwise:
		say "You have no need to talk to Horace Harker at this time.";

UnderTheStreetLamp is north from Pitt Street. "The spot where the fragments of the bust had been found is only a few hundred yards a way from Pitt Street (which was to the [bold type]south[roman type].)"

Before going north from Pitt Street:
	if Testimony is not HarkerGiven:
		say "You are wanted in the house." instead;

The splintered shards are in UnderTheStreetLamp. "You can see some splintered shards here, under the light of a nearby streetlamp."The description of the splintered shards is "[first time]For the first time your eyes rest upon this presentment of the great Emperor, which has seemed to raise such frantic and destructive hatred in the mind of the unknown. [paragraph break][sayIllumination][line break][only]The bust lies scattered in splintered shards upon the grass." The printed name of UnderTheStreetLamp is "Under the Streetlamp". The splintered shards are plural-named.

To say sayIllumination:
	deliver Illumination;

The streetlamp is scenery in UnderTheStreetLamp. The description of the streetlamp is "This is a perfectly ordinary streetlamp.". Understand "light" as the streetlamp.

ShardsExamined is a number that varies. ShardsExamined is 0.

Report examining the splintered shards:
	now ClueTime is 0;

Instead of taking the splintered shards:
	now the splintered shards are examined;
	now ShardsExamined is 1;
	now ClueTime is 0;
	say "You pick up several of them and examine them carefully, before laying them back down.

It's time to go back.";
	add "Seeing a bust for yourself..." to ScoreList, if absent;

[The spot where the fragments of the bust had been found was only a few hundred yards away. For the first time our eyes rested upon this presentment of the great Emperor, which seemed to raise such frantic and destructive hatred in the mind of the unknown. It lay scattered in splintered shards upon the grass. Holmes picked up several of them and examined them carefully. I was convinced from his intent face and his purposeful manner that at last he was upon a clue.]

[In half an hour we had reached Pitt Street, a quiet little backwater just beside one of the briskest currents of London life. No. 131 was one of a row, all flat-chested, respectable, and most unromantic dwellings. As we drove up we found the railings in front of the house lined by a curious crowd. Holmes whistled.

“By George! it's attempted murder at the least. Nothing less will hold the London message-boy. There's a deed of violence indicated in that fellow's round shoulders and outstretched neck. What's this, Watson? The top steps swilled down and the other ones dry. Footsteps enough, anyhow! Well, well, there's Lestrade at the front window, and we shall soon know all about it.”

The official received us with a very grave face and showed us into a sitting-room, where an exceedingly unkempt and agitated elderly man, clad in a flannel dressing-gown, was pacing up and down. He was introduced to us as the owner of the house--Mr. Horace Harker, of the Central Press Syndicate.

“It's the Napoleon bust business again,” said Lestrade. “You seemed interested last night, Mr. Holmes, so I thought perhaps you would be glad to be present now that the affair has taken a very much graver turn.”

“What has it turned to, then?”

“To murder. Mr. Harker, will you tell these gentlemen exactly what has occurred?”

The man in the dressing-gown turned upon us with a most melancholy face.

“It's an extraordinary thing,” said he, “that all my life I have been collecting other people's news, and now that a real piece of news has come my own way I am so confused and bothered that I can't put two words together. If I had come in here as a journalist I should have interviewed myself and had two columns in every evening paper. As it is I am giving away valuable copy by telling my story over and over to a string of different people, and I can make no use of it myself. However, I've heard your name, Mr. Sherlock Holmes, and if you'll only explain this queer business I shall be paid for my trouble in telling you the story.”

Holmes sat down and listened.
]

Section 1 - Harker Flashback

Harker's Den is a room. "[first time]I was sitting in my den about three o'clock, when I was convinced that I heard some sounds downstairs. I listened, but they were not repeated, and I concluded that they came from outside. Then suddenly, about five minutes later, there came a most horrible yell--the most dreadful sound, Mr. Holmes, that ever I heard. It will ring in my ears as long as I live. I sat frozen with horror for a minute or two. 

[only]My den was at the back of the house. I could reach the sitting room by going [bold type]down[roman type]."

The Harker's poker is in Harker's Den. "My poker was by my side." The description of Harker's poker is "It was a poker of great weight, Mr. Holmes." The printed name of Harker's poker is "poker".

Instead of dropping Harker's Poker:
	say "I was too frightened to drop my only protection."

Before going down from Harker's Den:
	if Harker's poker is not carried by the player:
		say "Of course I couldn't go down without something to protect myself. I looked around the room for a weapon." instead;
	otherwise:
		now BustCounter is 4;

Harker's Sitting Room is a down from Harker's Den.  "It was dark, so late at night.  Still, I could see at a glance that my house had been burgled; the bust was gone from the mantelpiece. The rest of my furniture was undisturbed.

I could go back [bold type]up[roman type] to my den, or [bold type]west[roman type] to my landing."

Harker's mantelpiece is scenery in Harker's Sitting Room. The printed name of Harker's mantelpiece is "my mantelpiece". The description of Harker's mantelpiece is "The bust was gone from my mantelpiece.". Understand "bust" as Harker's mantelpiece.

Harker's furniture is scenery in Harker's Sitting Room. The printed name of Harker's furniture is "furniture". The description of Harker's furniture is "My furniture was undisturbed, thank heavens.".

Harker's Landing is west from Harker's Sitting Room.  "My landing was dim. The door to the [bold type]east[roman type] led back inside my home. The window to my sitting room was open, but dark."

The sitting room window is scenery in Harker's Landing. The description of the sitting room window is "The window was dark."

Before doing something with the sitting room window:
	if the current action is not examining the sitting room window:
		say "I didn't touch the windows, Mr. Holmes; I was worried the police wouldn't want me to."

The landing window is scenery in Harker's Sitting Room. The description of the landing window is "I couldn't see well through the window."

Before doing something with the landing window:
	if the current action is not examining the landing window:
		say "I didn't touch the windows, Mr. Holmes; I was worried the police wouldn't want me to."

MurderTime is a scene. MurderTime begins when the player is in Harker's Landing.

When MurderTime begins:
	deliver Murderer;
		
The poor fellow is a man in Harker's Landing. "A dead man was lying there on my landing!" The description of the poor fellow is "There was the poor fellow, a great gash in his throat and the whole place swimming in blood. He lay on his back, his knees drawn up, and his mouth horribly open. I shall see him in my dreams." The poor fellow is not portable. Understand "dead" or "man" or "fellow" or "gash" or "throat" or "blood" or "back" or "knee" or "knees" or "mouth" as the poor fellow.

ScaredNow is a number that varies. ScaredNow is 0.

Instead of doing anything with the poor fellow:
	say "[the description of the poor fellow]";
	say "[paragraph break][one of]I reached backwards in terror, and I felt my police-whistle.[or]I needed to summon the police with the whistle![stopping]";
	now the police whistle is carried by the player;
	now ScaredNow is 1;
	
Whistleblowing is an action applying to one thing. Understand "blow [something]" or "play [something]" as whistleblowing.

The police whistle is a thing. Understand "police-whistle" as the police whistle.

Before taking the police whistle:
	try whistleblowing the police whistle;

Carry out whistleblowing:
	if ScaredNow is 1:
		say "I had just time to blow on my police-whistle, and then I must have fainted, for I knew nothing more until I found the policeman standing over me in the hall.

****************************************************[line break]You finish listening to Horace Harker's story...[line break]****************************************************[line break]";
		now ScaredNow is 0;
		now the story viewpoint is second person singular;
		now the story tense is present tense;
		Playerchange Sherlock Holmes;
		now Horace Harker is in PittHouse;
		try looking;
		now ClueTime is 0;
		now PhotoCounter is 1;
	otherwise:
		say "That [doesdid]'nt make sense right [now]."

PhotoCounter is a number that varies. PhotoCounter is 0.

Before going west from PittHouse:
	if PhotoCounter < 4:
		say "Lestrade has more to say." instead;
	otherwise:
		say "As you leave the room you hear Harker's pen travelling shrilly over the foolscap.";
		now LestradeFollowing is 1;

Every turn when the player is in PittHouse:
	if PhotoCounter > 1:
		if PhotoCounter < 4:
			say "Lestrade is eager to discuss the case with you[if PhotoCounter > 1] some more[end if].";

The photograph is a thing.  The description of the photograph is "It has evidently been taken by a snap-shot from a small camera. It represents an alert, sharp-featured man with thick eyebrows and deep-set eyes.". Understand "snap" or "shot" or "snap-shot" or "camera" or "alert" or "sharp" or "sharp-featured" or "featured" or "man" or "thick" or "eyebrow" or "eyebrows" or "deep" or "photo" or "deep-set" or "set" or "eye" or "eyes" as the photograph.
	
Instead of showing the photograph to Watson:
	say "Watson has already seen the photograph.";

Instead of giving the photograph to someone (called the givee):
	try showing the photograph to the givee;

Instead of dropping the photograph:
	say "This may prove useful in the future; better not to drop it."



Before talking to someone when the player is in PittHouse:
	if PhotoCounter is 3:
		say "'Certainly. I must just take one look round.' You examine the carpet and the window. 'The fellow had either very long legs or was a most active man,' you say. 'With an area beneath, it was no mean feat to reach that window-ledge and open that window. Getting back was comparatively simple. Are you coming with us to see the remains of your bust, Mr. Harker?'

The disconsolate journalist has seated himself at a writing-table.

'I must try and make something of it,' said he, 'though I have no doubt that the first editions of the evening papers are out already with full details. It's like my luck! You remember when the stand fell at Doncaster? Well, I was the only journalist in the stand, and my journal the only one that had no account of it, for I was too shaken to write it. And now I'll be too late with a murder done on my own doorstep.'

Lestrade motions for you to leave.";
		now PhotoCounter is 4 instead;
	otherwise if PhotoCounter is 2:
		say "'And what became of the bust?' you ask.

'We had news of it just before you came. It has been found in the front garden of an empty house in Campden House Road. It was broken into fragments. I am going round now to see it. Will you come?'";
		now PhotoCounter is 3 instead;
	otherwise if PhotoCounter is 1:
		say "'Well, who was the murdered man?' you ask.

'There's nothing to show who he was,' says Lestrade. 'You shall see the body at the mortuary, but we have made nothing of it up to now. He is a tall man, sunburned, very powerful, not more than thirty. He is poorly dressed, and yet does not appear to be a labourer. A horn-handled clasp knife was lying in a pool of blood beside him. Whether it was the weapon which did the deed, or whether it belonged to the dead man, I do not know. There was no name on his clothing, and nothing in his pockets save an apple, some string, a shilling map of London, and a photograph. Here it is.'

He hands you the photograph.";
		now the photograph is carried by the player;
		now PhotoCounter is 2 instead;

Before doing anything when ScaredNow is 1:
	if the current action is not whistleblowing:
		say "I could do nothing; I was paralyzed. All I could think of was summoning the police[one of][or] by blowing the whistle[stopping]." instead;

[Holmes shrugged his shoulders.

“We have a long way to go yet,” said he. “And yet--and yet--well, we have some suggestive facts to act upon. The possession of this trifling bust was worth more in the eyes of this strange criminal than a human life. That is one point.

“The most practical way of getting at it, in my opinion, is to identify the dead man. There should be no difficulty about that. When we have found who he is and who his associates are, we should have a good start in learning what he was doing in Pitt Street last night, and who it was who met him and killed him on the doorstep of Mr. Horace Harker. Don't you think so?”

“No doubt; and yet it is not quite the way in which I should approach the case.”

“What would you do, then?”

“Oh, you must not let me influence you in any way! I suggest that you go on your line and I on mine. We can compare notes afterwards, and each will supplement the other.”

“Very good,” said Lestrade.

“If you are going back to Pitt Street you might see Mr. Horace Harker. Tell him from me that I have quite made up my mind, and that it is certain that a dangerous homicidal lunatic with Napoleonic delusions was in his house last night. It will be useful for his article.”

Lestrade stared.

“You don't seriously believe that?”

Holmes smiled.

“Don't I? Well, perhaps I don't. But I am sure that it will interest Mr. Horace Harker and the subscribers of the Central Press Syndicate. Now, Watson, I think that we shall find that we have a long and rather complex day's work before us. I should be glad, Lestrade, if you could make it convenient to meet us at Baker Street at six o'clock this evening. Until then I should like to keep this photograph found in the dead man's pocket. It is possible that I may have to ask your company and assistance upon a small expedition which will have be undertaken to-night, if my chain of reasoning should prove to be correct. Until then, good-bye and good luck!”]

LestradePittCounter is a number that varies. LestradePittCounter is 0.
	
Before talking to Inspector Lestrade when LestradePittCounter > 0:
	if LestradePittCounter is 5:
		say "You smile.

'Don't I? Well, perhaps I don't. But I am sure that it will interest Mr. Horace Harker and the subscribers of the Central Press Syndicate. Now, Watson, I think that we shall find that we have a long and rather complex day's work before us. I should be glad, Lestrade, if you could make it convenient to meet us at Baker Street at six o'clock this evening. Until then I should like to keep this photograph found in the dead man's pocket. It is possible that I may have to ask your company and assistance upon a small expedition which will have be undertaken to-night, if my chain of reasoning should prove to be correct. Until then, good-bye and good luck!'

With that, you nod and Inspector Lestrade takes his leave.";
		now LestradePittCounter is 6;
		now LestradeFollowing is 0;
		now Inspector Lestrade is nowhere instead;
	otherwise if LestradePittCounter is 4:
		say "'If you are going back to Pitt Street you might see Mr. Horace Harker. Tell him from me that I have quite made up my mind, and that it is certain that a dangerous homicidal lunatic with Napoleonic delusions was in his house last night. It will be useful for his article.'

Lestrade stares.

'You don't seriously believe that?'";
		now LestradePittCounter is 5 instead;
	otherwise if LestradePittCounter is 3:
		say "'Oh, you must not let me influence you in any way! I suggest that you go on your line and I on mine. We can compare notes afterwards, and each will supplement the other.'

'Very good,' says Lestrade. 

But you have something more to tell him.";
		now LestradePittCounter is 4 instead;
	otherwise if LestradePittCounter is 2:
		say "You answer, 'No doubt; and yet it is not quite the way in which I should approach the case.'

'What would you do, then?'";
		now LestradePittCounter is 3 instead;
	otherwise if LestradePittCounter is 1:
		say "You say, 'What is it?'

Lestrade says, 'The most practical way of getting at the case, in my opinion, is to identify the dead man. There should be no difficulty about that. When we have found who he is and who his associates are, we should have a good start in learning what he was doing in Pitt Street last night, and who it was who met him and killed him on the doorstep of Mr. Horace Harker. Don't you think so?'";
		now LestradePittCounter is 2 instead;
		add "Suffering Lestrade yet again..." to ScoreList, if absent;

Chapter 5 - High Street

LestradePittDone is a number that varies. LestradePittDone is 0.

Instead of going south from Pitt Street:
	if Murder is relevant:
		say "You are wanted in the house.";
	otherwise if the splintered shards are unexamined:
		say "It would be worthwhile to examine the smashed statue.";
	otherwise if LestradePittCounter < 6:
		say "Lestrade stops you. 'There's something on my mind, Holmes.'";
		if LestradePittCounter is 0:
			now LestradePittCounter is 1;
		now ClueTime is 0;
	otherwise:
		now LestradeFollowing is 0;
		now LestradePittCounter is 0;
		now LestradePittDone is 1;
		say "****************************************************[line break]You and Watson take a cab to High Street.[line break]**************************************************** [paragraph break]You stop to plan your next moves.";
		Now the player is in London Hub;

London Hub is a room. The description of London Hub is "You are on a busy corner on High Street. From here, you can plan your visits to all the locations associated to the case.

You can catch a cab [bold type]east[roman type] to visit Harding Brothers.

A cab can take you [bold type]west[roman type] to Hudson's Art Shop.

Finally, you can go [bold type]north[roman type] to Gelder and Co., the manufacturer of the busts.

 A small restaurant is to the [if the young clerk is not talked to]south, but it is closed[otherwise][bold type]south[roman type]. It is now open[goinrestaurant][end if]. "

To say goinrestaurant:
	say "[first time].

You say, 'I see the restaurant has opened now, Watson. The day is getting on.' You sigh[only]"

The small cafe is scenery in London Hub. The description of the small cafe is "There is a small restaurant here[if the young clerk is not talked to], but it is closed[end if]." Understand "restaurant" as the small cafe. The printed name of the small cafe is "restaurant".

Harding Brothers is east from London Hub. "The shop of Harding Brothers is scarcely of interest. A large counter stands near the front. The exit to the street is to the [bold type]west[roman type]."

Before going east from London Hub:
	say "****************************************************[line break]You and Watson take a cab to Harding Brothers.[line break]****************************************************"

Instead of talking to the young clerk:
	now the young clerk is talked to;
	say "[one of]The young clerk informs you that Mr. Harding will be absent until after noon, and that he himself is a newcomer who can give you no information.

You say to Watson, 'Well, well, we can't expect to have it all our own way, Watson. We must come back in the afternoon if Mr. Harding will not be here until then. I am, as you have no doubt surmised, endeavouring to trace these busts to their source, in order to find if there is not something peculiar which may account for their remarkable fate.' He nods[or]The clerk can provide no additional details[stopping].";

LestradeNapolCounter is a number that varies. LestradeNapolCounter is 0.

StarterScene is a scene. StarterScene begins when LestradeNapolCounter is 4.

LestradeNapolAlmost is a number that varies. LestradeNapolAlmost is 0.

Before going a direction when LestradeNapolAlmost is 1:
	if the player is Sherlock Holmes:
		now LestradeNapolAlmost is 2;
		now LestradeNapol is 1 instead;

When StarterScene begins:
	say "You tell Watson, 'I think we have enough information, now. Let's meet up with Lestrade.'";
	now LestradeNapolAlmost is 1.

Before going west from Harding Brothers:
	if the young clerk is in Harding Brothers:
		if the young clerk is not talked to:
			say "The young clerk may have more information. Perhaps you should come back again later.";
		otherwise:
			say "****************************************************[line break]You return to the street near the restaurant.[line break]****************************************************";
			now WentDealers is 1;
	otherwise if the founder is not talked to:
		say "It would be foolish to come to speak to the founder and not speak to the founder.";

Instead of showing the photograph to the young clerk:
	say "He informs you that the manager would be able to provide you more information when he arrives, but that he is unable to do so."
	
Before going south from London Hub:
	if the young clerk is not talked to:
		say "The restaurant is not open yet." instead;

Nearby Restaurant is south from London Hub. The description of nearby restaurant is "This is a nondescript restaurant. The furnishings look to be roughly twenty years old, but at least it is clean. The street is back to the [bold type]north[roman type]."

The furnishings are scenery in Nearby Restaurant. The description of the furnishings is "Your typical restaurant furnishings: tables, chairs." Understand "table" or "chair" or "tables" or "chairs" as furnishings.

[Allow players to ORDER FOOD]

The news-bill is in Nearby Restaurant. "There is a news-bill at the entrance; you wonder if Horace Harker listened to your suggestions about the nature of the murders." Understand "news" or "bill" or "newsbill" as the news-bill.

The description of the news-bill is "It [one of][or]still[stopping] says, 'It is satisfactory to know that there can be no difference of opinion upon this case, since Mr. Lestrade, one of the most experienced members of the official force, and Mr. Sherlock Holmes, the well-known consulting expert, have each come to the conclusion that the grotesque series of incidents, which have ended in so tragic a fashion, arise from lunacy rather than from deliberate crime. No explanation save mental aberration can cover the facts.'"

Before examining the news-bill:
	now WentRestaurant is 1;
	decrease depression;

Before going north from the Nearby Restaurant:
	if the news-bill is not examined:
		say "The news-bill catches your eye[one of][or] again[stopping]." instead;
	otherwise if DepressionTime is happening:
		say "You feel too depressed to go, now. Talking to Watson should help." instead;
	otherwise:
		say "[one of]You say, 'The Press, Watson, is a most valuable institution if you only know how to use it. And now, if you have quite finished, we will hark back to the streets. The manager of Harding Brothers should be back by now'[counterup].[or]You leave the restaurant again.[stopping]";
		now the young clerk is nowhere;
		now the founder is in Harding Brothers;

To say counterup:
	now LestradeNapolCounter is LestradeNapolCounter plus 1.

Instead of showing the photograph to the founder:
		say "The manager says, 'No, I have never seen this face which you show me in the photograph. You would hardly forget it, would you, sir, for I've seldom seen an uglier.'"
		
Instead of talking to the founder:
	if the founder is not talked to:
		now the founder is talked to;
		say "[one of]He says, 'Yes, sir, I have already read the account in the evening papers. Mr. Horace Harker is a customer of ours. We supplied him with the bust some months ago. We ordered three busts of that sort from Gelder & Co., of Stepney. They are all sold now. To whom? Oh, I dare say by consulting our sales book we could very easily tell you. Yes, we have the entries here. One to Mr. Harker, you see, and one to Mr. Josiah Brown, of Laburnum Lodge, Laburnum Vale, Chiswick, and one to Mr. Sandeford, of Lower Grove Road, Reading. Have we any Americans on the staff? Yes, sir, we have several among our workpeople and cleaners. I dare say they might get a peep at that sales book if they wanted to. There is no particular reason for keeping a watch upon that book. Well, well, it's a very strange business, and I hope that you'll let me know if anything comes of your inquiries[counterup].'[line break][or]He has nothing more to add, himself.[stopping][first time][line break][only]";
		add "Speaking with Harding..." to ScoreList, if absent;
		add "Learning about Tommy the American..." to ScoreList, if absent;
		deliver Staff;
	otherwise:
		say "You've already learned all you can from the founder.";

LestradeNapol is a number that varies. LestradeNapol is 0;

[Sherlock Holmes and I walked together to the High Street, where he stopped at the shop of Harding Brothers, whence the bust had been purchased. A young assistant informed us that Mr. Harding would be absent until after noon, and that he was himself a newcomer who could give us no information. Holmes's face showed his disappointment and annoyance.

“Well, well, we can't expect to have it all our own way, Watson,” he said, at last. “We must come back in the afternoon if Mr. Harding will not be here until then. I am, as you have no doubt surmised, endeavouring to trace these busts to their source, in order to find if there is not something peculiar which may account for their remarkable fate. Let us make for Mr. Morse Hudson, of the Kennington Road, and see if he can throw any light upon the problem.”]

[The afternoon was far advanced before we were able to snatch a hasty luncheon at a restaurant. A news-bill at the entrance announced “Kensington Outrage. Murder by a Madman,” and the contents of the paper showed that Mr. Horace Harker had got his account into print after all. Two columns were occupied with a highly sensational and flowery rendering of the whole incident. Holmes propped it against the cruet-stand and read it while he ate. Once or twice he chuckled.

“This is all right, Watson,” said he. “Listen to this:

“It is satisfactory to know that there can be no difference of opinion upon this case, since Mr. Lestrade, one of the most experienced members of the official force, and Mr. Sherlock Holmes, the well-known consulting expert, have each come to the conclusion that the grotesque series of incidents, which have ended in so tragic a fashion, arise from lunacy rather than from deliberate crime. No explanation save mental aberration can cover the facts.
“The Press, Watson, is a most valuable institution if you only know how to use it. And now, if you have quite finished, we will hark back to Kensington and see what the manager of Harding Brothers has to say to the matter.”

The founder of that great emporium proved to be a brisk, crisp little person, very dapper and quick, with a clear head and a ready tongue.

“Yes, sir, I have already read the account in the evening papers. Mr. Horace Harker is a customer of ours. We supplied him with the bust some months ago. We ordered three busts of that sort from Gelder & Co., of Stepney. They are all sold now. To whom? Oh, I dare say by consulting our sales book we could very easily tell you. Yes, we have the entries here. One to Mr. Harker, you see, and one to Mr. Josiah Brown, of Laburnum Lodge, Laburnum Vale, Chiswick, and one to Mr. Sandeford, of Lower Grove Road, Reading. No, I have never seen this face which you show me in the photograph. You would hardly forget it, would you, sir, for I've seldom seen an uglier. Have we any Italians on the staff? Yes, sir, we have several among our workpeople and cleaners. I dare say they might get a peep at that sales book if they wanted to. There is no particular reason for keeping a watch upon that book. Well, well, it's a very strange business, and I hope that you'll let me know if anything comes of your inquiries.”

Holmes had taken several notes during Mr. Harding's evidence, and I could see that he was thoroughly satisfied by the turn which affairs were taking. He made no remark, however, save that, unless we hurried, we should be late for our appointment with Lestrade.]

Chapter 6 - Pictures Dealer's

WentDealers is a number that varies. WentDealers is 0.

Pictures Dealer's Establishment is a room.  "The picture-dealer's establishment is smaller and more worn out than Harding Brothers. The exit to the street is to the [bold type]east[roman type]."

Pictures Dealer's Establishment is west from London Hub.

Morse Hudson is in Pictures Dealer's Establishment.

A person can be talked to or not talked to. A person is usually not talked to.

Before going west from London Hub:
	say "**************************************************************[line break]You and Watson take a cab to the picture dealer's establishment.[line break]**************************************************************"

Instead of talking to Morse Hudson:
	now Morse Hudson is talked to;
	add "Visiting the picture-dealer's establishment..." to ScoreList, if absent;
	say “[one of]'Yes, sir. On my very counter, sir,' he says. 'What we pay rates and taxes for I don't know, when any ruffian can come in and break one's goods. Yes, sir, it was I who sold Dr. Barnicot his two statues. Disgraceful, sir! A Nihilist plot, that's what I make it. No one but an Anarchist would go about breaking statues. Red republicans, that's what I call [']em. Who did I get the statues from? I don't see what that has to do with it. Well, if you really want to know, I got them from Gelder & Co., in Church Street, Stepney. They are a well-known house in the trade, and have been this twenty years. How many had I? Three--two and one are three--two of Dr. Barnicot's and one smashed in broad daylight on my own counter. '

That was short, but all he has to say for now. You can go[PhotoHint].[line break][or]That was all you could reasonably expect to get from Morse Hudson[photoHint].[stopping]”;

To say photoHint:
	if Employed is not carried by the player:
		say ", unless you can show him some additional evidence"

Instead of showing the photograph to Morse Hudson:
	say "[one of]He says. 'Do I know that photograph? No, I don't. Yes, I do, though. Why, it's Tommy. He was a kind of American piece-work man, who made himself useful in the shop. He could carve a bit and gild and frame, and do odd jobs. The fellow left me last week, and I've heard nothing of him since. No, I don't know where he came from nor where he went to. I have nothing against him while he was here. He was gone two days before the bust was smashed[counterup].'[paragraph break][or]He has already seen the photo.[stopping]";
	deliver Employed;

[say "You say, 'We have this Tommy as a common factor, both in Kennington and in Kensington, so that is worth a ten-mile drive. Now, Watson, let us make for Gelder & Co., of Stepney, the source and origin of busts. I shall be surprised if we don't get some help down there.";]

[A drive of an hour brought us to the picture-dealer's establishment. He was a small, stout man with a red face and a peppery manner.

“Yes, sir. On my very counter, sir,” said he. “What we pay rates and taxes for I don't know, when any ruffian can come in and break one's goods. Yes, sir, it was I who sold Dr. Barnicot his two statues. Disgraceful, sir! A Nihilist plot, that's what I make it. No one but an Anarchist would go about breaking statues. Red republicans, that's what I call 'em. Who did I get the statues from? I don't see what that has to do with it. Well, if you really want to know, I got them from Gelder & Co., in Church Street, Stepney. They are a well-known house in the trade, and have been this twenty years. How many had I? Three--two and one are three--two of Dr. Barnicot's and one smashed in broad daylight on my own counter. Do I know that photograph? No, I don't. Yes, I do, though. Why, it's Beppo. He was a kind of Italian piece-work man, who made himself useful in the shop. He could carve a bit and gild and frame, and do odd jobs. The fellow left me last week, and I've heard nothing of him since. No, I don't know where he came from nor where he went to. I have nothing against him while he was here. He was gone two days before the bust was smashed.”

“Well, that's all we could reasonably expect to get from Morse Hudson,” said Holmes, as we emerged from the shop. “We have this Beppo as a common factor, both in Kennington and in Kensington, so that is worth a ten-mile drive. Now, Watson, let us make for Gelder & Co., of Stepney, the source and origin of busts. I shall be surprised if we don't get some help down there.”]

Chapter 7 - Gelder & Co

WentYard is a number that varies. WentYard is 0.

Before going north from London Hub:
	say "In rapid succession you pass through the fringe of fashionable London, hotel London, theatrical London, literary London, commercial London, and, finally, maritime London, till you come to a riverside city of a hundred thousand souls, where the tenement houses swelter and reek with the outcasts of Europe. Here, in a broad thoroughfare, once the abode of wealthy City merchants, you find the sculpture works for which we searched.

****************************************************[line break]You have arrived at the sculpture works.[line break]****************************************************[line break]";
	add "Visiting the Sculpture Works..." to ScoreList, if absent;
	now WentYard is 1;

Sculpture Works Yard is north from London Hub. "Here, outside the Sculpture Works, is a considerable yard full of monumental masonry. The street is to the [bold type]south[roman type], and the factory itself is to the [bold type]east[roman type]."

Sculpture Works Factory is east from Sculpture Works Yard. "Inside the sculpture works is a large room in which fifty workers are carving or moulding. The exit is to the [bold type]west[roman type]."

Instead of talking to the German manager:
	now the German manager is talked to;
	say "[one of]A reference to his books shows that hundreds of casts had been taken from a marble copy of Devine's head of Napoleon, but that the three which have been sent to Morse Hudson a year or so before were half of a batch of six, the other three being sent to Harding Brothers, of Kensington. There is no reason why those six should be different to any of the other casts. He can suggest no possible cause why anyone should wish to destroy them--in fact, he laughs at the idea. Their wholesale price is six shillings, but the retailer gets twelve or more. The cast is taken in two moulds from each side of the face, and then these two profiles of plaster of Paris are joined together to make the complete bust. The work was usually done by Americans in the room we were in. When finished the busts were put on a table in the passage to dry, and afterwards stored[PhotoQuery].[line break][or]That was all he could tell you[PhotoQuery2].[stopping][first time][line break][only]";
	deliver Sales;

To say PhotoQuery:
	if PhotoGermanShown is 0:
		say ".[paragraph break]Perhaps he would recognize the person in the photo";

To say PhotoQuery2:
	if PhotoGermanShown is 0:
		say ". You still haven't shown him the photo";

PhotoGermanShown is a number that varies. PhotoGermanShown is 0.

Instead of showing the photograph to the German manager:
	now PhotoGermanShown is 1;
	say  "[one of]The production of the photograph has a remarkable effect upon the manager. His face flushes with anger, and his brows knot over his blue Teutonic eyes.

'Ah, the rascal!' he cries. 'Yes, indeed, I know him very well. This has always been a respectable establishment, and the only time that we have ever had the police in it was over this very fellow. It was more than a year ago now. He knifed another American in the street, and then he came to the works with the police on his heels, and he was taken here. Tommy was his name--his second name I never knew. Serve me right for engaging a man with such a face. But he was a good workman, one of the best.'

'What did he get?'

'The man lived and he got off with a year. I have no doubt he is out now; but he has not dared to show his nose here. We have a cousin of his here, and I dare say he could tell you where he is.'

'No, no,' you cry, 'not a word to the cousin--not a word, I beg you. The matter is very important, and the farther I go with it the more important it seems to grow[counterup].'[paragraph break][or]You have already shown him the photo.[stopping]";
	add "Learning about Tommy the American..." to ScoreList, if absent;
	deliver Recognition;

Instead of speeching Sales to the German manager:
	say "[one of]When you referred in your ledger to the sale of those casts I observed that the date was June 3rd of last year. Could you give me the date when Tommy was arrested?'

'I could tell you roughly by the pay-list,' the manager answers. 'Yes,' he continues, after some turning over of pages, 'he was paid last on May 20th.'

'Thank you,' you say. 'I don't think that I need intrude upon your time and patience any more.' With a last word of caution that he should say nothing as to our researches we turned our faces southward once more.[line break][or]You have already discussed this with him.[stopping][first time][line break][only]";
	deliver Incarceration;

[change this to not going west without evidence]

WentRestaurant is a number that varies. WentRestaurant is 0.

Before going south from Sculpture Works Yard:
	if the German manager is not talked to:
		say "The German manager has more to say.";
	otherwise if Recognition is not carried by the player:
		say "You feel like you neglected to learn everything you can from the German manager.";
	otherwise if Incarceration is not carried by the player:
		say "The German manager runs to stop you. 'Mr. Holmes, I just thought of something.'

'Oh? What is it?'

'I was trying to remember the day that Tommy was arrested. According to the pay-list, he was paid last on May 20th.'

'Thank you, sir,' you say, after which he returns to his factory.[paragraph break]";
		deliver incarceration instead;


[In rapid succession we passed through the fringe of fashionable London, hotel London, theatrical London, literary London, commercial London, and, finally, maritime London, till we came to a riverside city of a hundred thousand souls, where the tenement houses swelter and reek with the outcasts of Europe. Here, in a broad thoroughfare, once the abode of wealthy City merchants, we found the sculpture works for which we searched. Outside was a considerable yard full of monumental masonry. Inside was a large room in which fifty workers were carving or moulding. The manager, a big blond German, received us civilly, and gave a clear answer to all Holmes's questions. A reference to his books showed that hundreds of casts had been taken from a marble copy of Devine's head of Napoleon, but that the three which had been sent to Morse Hudson a year or so before had been half of a batch of six, the other three being sent to Harding Brothers, of Kensington. There was no reason why those six should be different to any of the other casts. He could suggest no possible cause why anyone should wish to destroy them--in fact, he laughed at the idea. Their wholesale price was six shillings, but the retailer would get twelve or more. The cast was taken in two moulds from each side of the face, and then these two profiles of plaster of Paris were joined together to make the complete bust. The work was usually done by Italians in the room we were in. When finished the busts were put on a table in the passage to dry, and afterwards stored. That was all he could tell us.

But the production of the photograph had a remarkable effect upon the manager. His face flushed with anger, and his brows knotted over his blue Teutonic eyes.

“Ah, the rascal!” he cried. “Yes, indeed, I know him very well. This has always been a respectable establishment, and the only time that we have ever had the police in it was over this very fellow. It was more than a year ago now. He knifed another Italian in the street, and then he came to the works with the police on his heels, and he was taken here. Beppo was his name--his second name I never knew. Serve me right for engaging a man with such a face. But he was a good workman, one of the best.”

“What did he get?”

“The man lived and he got off with a year. I have no doubt he is out now; but he has not dared to show his nose here. We have a cousin of his here, and I dare say he could tell you where he is.”

“No, no,” cried Holmes, “not a word to the cousin--not a word, I beg you. The matter is very important, and the farther I go with it the more important it seems to grow. When you referred in your ledger to the sale of those casts I observed that the date was June 3rd of last year. Could you give me the date when Beppo was arrested?”

“I could tell you roughly by the pay-list,” the manager answered. “Yes,” he continued, after some turning over of pages, “he was paid last on May 20th.”

“Thank you,” said Holmes. “I don't think that I need intrude upon your time and patience any more.” With a last word of caution that he should say nothing as to our researches we turned our faces westward once more.]

Chapter 8 - Return to Baker Street

LestradeBoasting is a scene. LestradeBoasting begins when LestradeNapol is 1. LestradeBoasting ends when LestradeNapol is 6.

Instead of going north from 221B Baker Street during LestradeBoasting:
	if LestradeNapol < 6:
		say "Lestrade is not yet finished.";

When LestradeBoasting begins:
	now Inspector Lestrade is in 221B Baker Street;
	say "****************************************************[line break]You take a cab home.[line break]****************************************************";
	Now the player is in 221B Baker Street;
	say "You find [Inspector Lestrade] pacing up and down in a fever of impatience. His look of importance shows that his day's work has not been in vain.

'Well?' he asks. 'What luck, Mr. Holmes?'"

Instead of talking to Inspector Lestrade during LestradeBoasting:
	if LestradeNapol is 5:
		say "'No; I fancy Chiswick is an address which is more likely to find him. If you will come with me to Chiswick to-night, Lestrade, I'll promise to go to the American quarter with you to-morrow, and no harm will be done by the delay. And now I think that a few hours' sleep would do us all good, for I do not propose to leave before eleven o'clock, and it is unlikely that we shall be back before morning. You'll dine with us, Lestrade, and then you are welcome walk about the neighborhood until it is time for us to start. In the meantime, Watson, I should be glad if you would ring for an express messenger, for I have a letter to send, and it is important that it should go at once.'";
		now LestradeNapol is 6;
	if LestradeNapol is 4:
		say "'And the next stage?'

'Is a very simple one. I shall go down with Hill to the American quarter, find the man whose photograph we have got, and arrest him on the charge of murder. Will you come with us?'

'I think not. I fancy we can attain our end in a simpler way. I can't say for certain, because it all depends--well, it all depends upon a factor which is completely outside our control. But I have great hopes--in fact, the betting is exactly two to one--that if you will come with us to-night I shall be able to help you to lay him by the heels.'

'In the American quarter?'";
		now LestradeNapol is 5;
	otherwise if LestradeNapol is 3:
		say "'Excellent, Lestrade, excellent!' he cried. 'But I didn't quite follow your explanation of the destruction of the busts.'

'The busts! You never can get those busts out of your head. After all, that is nothing; petty larceny, six months at the most. It is the murder that we are really investigating, and I tell you that I am gathering all the threads into my hands.'";
		now LestradeNapol is 4;
	otherwise if LestradeNapol is 2:
		say "'You don't say so?'

'And found a cause for the crime.'

'Splendid!'

'We have an inspector who makes a specialty of Saffron Hill and the American quarter. Well, this dead man had some sort of weighted walking stick, and that, along with his suit, made me think he was from New York in America. Inspector Hill knew him the moment he caught sight of him. His name is Bill Westman, from Brooklyn, and he is one of the greatest cut-throats in America. He is connected with the Cherry Hill Gang, which, as you know, is a secret society, enforcing its decrees by murder. Now you see how the affair begins to clear up. The other fellow is probably an American also, and a member of the Cherry Hill Gang. He has broken the rules in some fashion. Bill is set upon his track. Probably the photograph we found in his pocket is the man himself, so that he may not knife the wrong person. He dogs the fellow, he sees him enter a house, he waits outside for him, and in the scuffle he receives his own death-wound. How is that, Mr. Sherlock Holmes?'";
		now LestradeNapol is 3;
	otherwise if LestradeNapol is 1:
		say "'We have had a very busy day, and not entirely a wasted one,' my friend explained. 'We have seen both the retailers and also the wholesale manufacturers. I can trace each of the busts now from the beginning.'

'The busts!' cried Lestrade. 'Well, well, you have your own methods, Mr. Sherlock Holmes, and it is not for me to say a word against them, but I think I have done a better day's work than you. I have identified the dead man.'";
		now LestradeNapol is 2;

[ Sure enough, when we reached Baker Street the detective was already there, and we found him pacing up and down in a fever of impatience. His look of importance showed that his day's work had not been in vain.

“Well?” he asked. “What luck, Mr. Holmes?”

“We have had a very busy day, and not entirely a wasted one,” my friend explained. “We have seen both the retailers and also the wholesale manufacturers. I can trace each of the busts now from the beginning.”

“The busts!” cried Lestrade. “Well, well, you have your own methods, Mr. Sherlock Holmes, and it is not for me to say a word against them, but I think I have done a better day's work than you. I have identified the dead man.”

“You don't say so?”

“And found a cause for the crime.”

“Splendid!”

“We have an inspector who makes a specialty of Saffron Hill and the Italian quarter. Well, this dead man had some Catholic emblem round his neck, and that, along with his colour, made me think he was from the South. Inspector Hill knew him the moment he caught sight of him. His name is Pietro Venucci, from Naples, and he is one of the greatest cut-throats in London. He is connected with the Mafia, which, as you know, is a secret political society, enforcing its decrees by murder. Now you see how the affair begins to clear up. The other fellow is probably an Italian also, and a member of the Mafia. He has broken the rules in some fashion. Pietro is set upon his track. Probably the photograph we found in his pocket is the man himself, so that he may not knife the wrong person. He dogs the fellow, he sees him enter a house, he waits outside for him, and in the scuffle he receives his own death-wound. How is that, Mr. Sherlock Holmes?”

Holmes clapped his hands approvingly.

“Excellent, Lestrade, excellent!” he cried. “But I didn't quite follow your explanation of the destruction of the busts.”

“The busts! You never can get those busts out of your head. After all, that is nothing; petty larceny, six months at the most. It is the murder that we are really investigating, and I tell you that I am gathering all the threads into my hands.”

“And the next stage?”

“Is a very simple one. I shall go down with Hill to the Italian quarter, find the man whose photograph we have got, and arrest him on the charge of murder. Will you come with us?”

“I think not. I fancy we can attain our end in a simpler way. I can't say for certain, because it all depends--well, it all depends upon a factor which is completely outside our control. But I have great hopes--in fact, the betting is exactly two to one--that if you will come with us to-night I shall be able to help you to lay him by the heels.”

“In the Italian quarter?”

“No; I fancy Chiswick is an address which is more likely to find him. If you will come with me to Chiswick to-night, Lestrade, I'll promise to go to the Italian quarter with you to-morrow, and no harm will be done by the delay. And now I think that a few hours' sleep would do us all good, for I do not propose to leave before eleven o'clock, and it is unlikely that we shall be back before morning. You'll dine with us, Lestrade, and then you are welcome to the sofa until it is time for us to start. In the meantime, Watson, I should be glad if you would ring for an express messenger, for I have a letter to send, and it is important that it should go at once.”]

Section 1 - Letter to send

LetterWriting is a scene. LetterWriting begins when LestradeBoasting ends. LetterWriting ends when LetterDone is 1.

When LetterWriting begins:
	now Lestrade is nowhere;
	say "After a quick bite of dinner, Lestrade goes out for his walk. Now it's time for your plan. Of the remaining busts, one is in Laburnum Villa in the Chiswick neighborhood of London, and one is much further away, at Lower Grove Road, at Reading, according to the manager of Harding brothers.

Chiswick must be the location that the thief will visit first, as you told Lestrade. But you must alert the owner.

There is paper and a pen on the mantle. You can WRITE a letter.";

Writing is an action applying to one thing. Understand "write [something]" or "write on [something]"as writing.

LetterDone is a number that varies. LetterDone is 0.

The express letter is scenery in 221B Baker Street. Understand "pen" or  "pen and paper" or "paper" as the express letter.  The printed name of the express letter is "[if LetterDone is 0]pen and paper[otherwise]letter[end if]".

Does the player mean writing the express letter:
	it is very likely;

Instead taking the express letter:
	if LetterDone is 0:
		if LetterWriting is happening:
			say "You need to WRITE the letter before you can take it.";
		otherwise:
			say "It's not time for writing.";
	otherwise:
		say "Taken.";
		now the express letter is carried by the player;

Carry out writing:
	if the noun is the express letter:
		if letterDone is 1:
			say "You've already written the letter.";
		otherwise:
			say "You quickly write down an express letter to Josiah Brown of Laburnum Villa, and put it in your pocket.";
			add "Writing an important letter..." to ScoreList, if absent;
			now LetterDone is 1;
			now the express letter is carried by the player;
	otherwise:
		say "This isn't something that needs to be written on.";

LetterSending is a scene. LetterSending begins when LetterWriting ends. LetterSending ends when the express letter is carried by the messenger boy.

When LetterSending begins:
	say "A knock comes to the door, and Watson answers. The messenger boy Watson sent for is here, now.";
	now the front door is open;
	now the messenger boy is in 221B Baker Street;
	
Instead of going a direction during LetterSending:
	if the player is Sherlock Holmes:
		say "You need to deliver the letter, first.";

The messenger boy is a man. "A messenger boy is waiting for you to give him the letter." The description of the messenger boy is "He is waiting for you to give him your letter."

Instead of talking to the messenger boy:
	say "He's waiting for you to give him a letter to send.";

Instead of giving the express letter to the messenger boy:
	now the messenger boy is nowhere;
	say "You hand the express letter to the messenger  boy, along with a small coin. Now Josiah Brown will be prepared.";
	now the express letter is carried by the messenger boy.

Instead of showing the express letter to the messenger boy:
	try giving the express letter to the messenger boy;

When LetterSending ends:
	say "A four-wheeler is at the door at eleven, and in it you drive to a spot at the other side of Hammersmith Bridge. A short walk brings you to a secluded road fringed with pleasant houses, each standing in its own grounds.

****************************************************[line break]You have arrived at Laburnum Villa.[line break]****************************************************";
	now Inspector Lestrade is in Laburnum Villa;
	Now the player is in Laburnum Villa;


Chapter 9 - Laburnum Villa

[change this to have the first part be displayed as you travel there.]

Laburnum Villa is a room. "In the light of a street lamp you read 'Laburnum Villa' upon the gate-post of one of the houses. The occupants have evidently retired to rest, for all is dark save for a fanlight over the hall door, which sheds a single blurred circle on to the garden path. The wooden fence which separates the grounds from the road throws a dense black shadow upon the inner side, and here it is that you stand."

Instead of talking to someone when the player is in Laburnum Villa and LaburnumWaitTime is 0:
	say "[one of]'I fear that you'll have a long wait,' you whisper. 'We may thank our stars that it is not raining. I don't think we can even venture to smoke to pass the time. However, it's a two to one chance that we get something to pay us for our trouble.'[or]It's time to wait.[stopping]"
	
LaburnumWaitTime is a number that varies. LaburnumWaitTime is 0.


Before doing anything when LaburnumWaitTime is 1 and the player is in Laburnum Villa:
	if the current action is not looking:
		say "Before you can do anything, Lestrade whispers, 'Let us get to the open window. We will nab him as he climbs out.'

But before you can move the man has emerged again. As he comes out into the glimmering patch of light you see that he carries something white under his arm. He looks stealthily all round him. The silence of the deserted street reassures him. Turning his back upon you he lays down his burden, and the next instant there is the sound of a sharp tap, followed by a clatter and rattle.";
		now Tommy is in Laburnum Villa; 
		now LaburnumWaitTime is 2 instead;

Instead of waiting when the player is in Laburnum Villa and LaburnumWaitTime is 0:
	say "In an instant, without the least sound to warn you of his coming, the garden gate swings open, and a lithe, shadowy figure, as swift and active as an ape, rushes up the garden path. You see it whisk past the light thrown from over the door and disappear against the black shadow of the house. There is a long pause and then a very gentle creaking sound comes to your ears. The window is being opened. The noise ceases, and again there is a long silence. The fellow is making his way into the house. You see the sudden flash of a dark lantern inside the room. What he seeks is evidently not there, for again you see the flash through another blind, and then through another.";
	now LaburnumWaitTime is 1;

Instead of doing anything when Tommy is in the location of the player:
	say "No time for that! With the bound of a tiger you are on his back, and an instant later Lestrade and Watson have him by either wrist and the handcuffs are fastened.

[the description of Tommy]

Lestrade bundles Tommy away. The fractured bust lays on the step.";
	now Lestrade is nowhere;
	now Tommy is nowhere;
	add "Capturing the murderer..." to ScoreList, if absent;
	now the fractured bust is in Laburnum Villa;
	now BustCounter is 5;

[put the step in]

The fractured bust is a thing. The description of the fractured bust is "[one of]You squat on the doorstep, engaged in most carefully examining that which the man had brought from the house. It is a bust of Napoleon like the one which you saw that morning, and it has been broken into similar fragments. Carefully you hold each separate shard to the light, but in no way does it differ from any other shattered piece of plaster. 

You have just completed your examination when the hall lights fly up, the door opens, and the owner of the house presents himself.[or]You've already examined the fractured bust.[stopping]". Understand "napoleon" as the fractured bust.

Before examining the fractured bust:
	now Josiah Brown is in Laburnum Villa;
	add "Examining another bust..." to ScoreList, if absent;

Instead of taking the fractured bust:
	try examining the fractured bust.
	
Instead of searching the fractured bust:
	try taking the fractured bust;

Instead of talking to Josiah Brown:
	say "'Mr. Josiah Brown, I suppose?' you say.

'Yes, sir; and you, no doubt, are Mr. Sherlock Holmes? I had the note which you sent by the express messenger, and I did exactly what you told me. We locked every door on the inside and awaited developments. Well, I'm very glad to see that you have got the rascal. I hope, gentlemen, that you will come in and have some refreshment.'

However, Lestrade is anxious to get his man into safe quarters, so within a few minutes your cab had been summoned and you are all four upon your way to London. Not a word will your captive say; but he glares at you from the shadow of his matted hair. You stay long enough at the police-station to learn that a search of his clothing reveals nothing save a few shillings and a long sheath knife, the handle of which bears copious traces of recent blood.

****************************************************[line break]You arrive back at your rooms.[line break]****************************************************";
	now Josiah Brown is talked to;
	now Inspector Lestrade is in 221B Baker Street;
	Now the player is in 221B Baker Street;
	now LestradeDropTime is 1;


LestradeDropTime is a number that varies. LestradeDropTime is 0.

LestradeDropoff is a scene. LestradeDropoff begins when LestradeDropTime is 1. LestradeDropoff ends when Inspector Lestrade is nowhere.


Instead of talking to Inspector Lestrade when LestradeDropoff is happening:
	say "You say, 'He didn't speak much.'

'That's all right,' says Lestrade, as you part. 'Hill knows all these gentry, and he will give a name to him. You'll find that my theory of the Cherry Hill Gang will work out all right. But I'm sure I am exceedingly obliged to you, Mr. Holmes, for the workmanlike way in which you laid hands upon him. I don't quite understand it all yet.'

'I fear it is rather too late an hour for explanations,' you say. 'Besides, there are one or two details which are not finished off, and it is one of those cases which are worth working out to the very end. If you will come round once more to my rooms at six o'clock to-morrow I think I shall be able to show you that even now you have not grasped the entire meaning of this business, which presents some features which make it absolutely original in the history of crime. If ever I permit you to chronicle any more of my little problems, Watson, I foresee that you will enliven your pages by an account of the singular adventure of the Napoleonic busts.'

Lestrade nods, and leaves.";
	now Inspector Lestrade is nowhere;
	now LestradeDropTime is 2;

[Holmes spent the evening in rummaging among the files of the old daily papers with which one of our lumber-rooms was packed. When at last he descended it was with triumph in his eyes, but he said nothing to either of us as to the result of his researches. For my own part, I had followed step by step the methods by which he had traced the various windings of this complex case, and, though I could not yet perceive the goal which we would reach, I understood clearly that Holmes expected this grotesque criminal to make an attempt upon the two remaining busts, one of which, I remembered, was at Chiswick. No doubt the object of our journey was to catch him in the very act, and I could not but admire the cunning with which my friend had inserted a wrong clue in the evening paper, so as to give the fellow the idea that he could continue his scheme with impunity. I was not surprised when Holmes suggested that I should take my revolver with me. He had himself picked up the loaded hunting-crop which was his favourite weapon.

A four-wheeler was at the door at eleven, and in it we drove to a spot at the other side of Hammersmith Bridge. Here the cabman was directed to wait. A short walk brought us to a secluded road fringed with pleasant houses, each standing in its own grounds. In the light of a street lamp we read “Laburnum Villa” upon the gate-post of one of them. The occupants had evidently retired to rest, for all was dark save for a fanlight over the hall door, which shed a single blurred circle on to the garden path. The wooden fence which separated the grounds from the road threw a dense black shadow upon the inner side, and here it was that we crouched.

“I fear that you'll have a long wait,” Holmes whispered. “We may thank our stars that it is not raining. I don't think we can even venture to smoke to pass the time. However, it's a two to one chance that we get something to pay us for our trouble.”

It proved, however, that our vigil was not to be so long as Holmes had led us to fear, and it ended in a very sudden and singular fashion. In an instant, without the least sound to warn us of his coming, the garden gate swung open, and a lithe, dark figure, as swift and active as an ape, rushed up the garden path. We saw it whisk past the light thrown from over the door and disappear against the black shadow of the house. There was a long pause, during which we held our breath, and then a very gentle creaking sound came to our ears. The window was being opened. The noise ceased, and again there was a long silence. The fellow was making his way into the house. We saw the sudden flash of a dark lantern inside the room. What he sought was evidently not there, for again we saw the flash through another blind, and then through another.

“Let us get to the open window. We will nab him as he climbs out,” Lestrade whispered.

But before we could move the man had emerged again. As he came out into the glimmering patch of light we saw that he carried something white under his arm. He looked stealthily all round him. The silence of the deserted street reassured him. Turning his back upon us he laid down his burden, and the next instant there was the sound of a sharp tap, followed by a clatter and rattle. The man was so intent upon what he was doing that he never heard our steps as we stole across the grass plot. With the bound of a tiger Holmes was on his back, and an instant later Lestrade and I had him by either wrist and the handcuffs had been fastened. As we turned him over I saw a hideous, sallow face, with writhing, furious features, glaring up at us, and I knew that it was indeed the man of the photograph whom we had secured.

But it was not our prisoner to whom Holmes was giving his attention. Squatted on the doorstep, he was engaged in most carefully examining that which the man had brought from the house. It was a bust of Napoleon like the one which we had seen that morning, and it had been broken into similar fragments. Carefully Holmes held each separate shard to the light, but in no way did it differ from any other shattered piece of plaster. He had just completed his examination when the hall lights flew up, the door opened, and the owner of the house, a jovial, rotund figure in shirt and trousers, presented himself.

“Mr. Josiah Brown, I suppose?” said Holmes.

“Yes, sir; and you, no doubt, are Mr. Sherlock Holmes? I had the note which you sent by the express messenger, and I did exactly what you told me. We locked every door on the inside and awaited developments. Well, I'm very glad to see that you have got the rascal. I hope, gentlemen, that you will come in and have some refreshment.”

However, Lestrade was anxious to get his man into safe quarters, so within a few minutes our cab had been summoned and we were all four upon our way to London. Not a word would our captive say; but he glared at us from the shadow of his matted hair, and once, when my hand seemed within his reach, he snapped at it like a hungry wolf. We stayed long enough at the police-station to learn that a search of his clothing revealed nothing save a few shillings and a long sheath knife, the handle of which bore copious traces of recent blood.

“That's all right,” said Lestrade, as we parted. “Hill knows all these gentry, and he will give a name to him. You'll find that my theory of the Mafia will work out all right. But I'm sure I am exceedingly obliged to you, Mr. Holmes, for the workmanlike way in which you laid hands upon him. I don't quite understand it all yet.”]

Chapter 10 - Lestrade Again

SleepySixSherlock is a scene. SleepySixSherlock begins when LestradeDropoff ends. SleepySixSherlock ends when CaseSolution of SixNapoleons is 1.

Before sleeping during SleepySixSherlock:
	if the player is Sherlock Holmes:
		say "You need to get in your bed, first." instead;

SixInBed is a number that varies. SixInBed is 0.

Every turn during SleepySixSherlock:
	if the player is Sherlock Holmes:
		say "[one of]You are tired.[or][run paragraph on][or][run paragraph on]You are ready to sleep.[or][run paragraph on][or][run paragraph on][cycling]";
	
[check to see this works]

Before entering Watson's bed when SleepySixSherlock is happening:
	say "There's nothing for you to do in Watson's bed." instead;
	
Before entering Sherlock's bed when SleepySixSherlock is happening:
	say "You get ready for bed, and sleep.";
	if CaseSolution of SixNapoleons is 0:
		Playerchange Mind Holmes;
		say "[line break]It's time for you to completely resolve the case before you meet with Lestrade in the morning.[if Emerald is not carried by the player][line break]For some reason, you can't stop thinking about the Timing of the crime... perhaps more light can be shed here, within the vaults of your mind.[end if]";
		try looking instead;
	otherwise:
		now SixInBed is 1;
	
Before going nowhere when SleepySixSherlock is happening:
	if the noun is outside:
		say "The task at hand is too important." instead;

When SleepySixSherlock ends:
	now SixInBed is 1;

After deciding the scope of the player when inserting into: 
	if the noun is a quip:
		place the noun in scope;
	repeat with current running through quips carried by sherlock holmes:
		place current in scope.

LestradeSixFinale is a scene. LestradeSixFinale begins when SixInBed is 1.

When LestradeSixFinale begins:
	say "****************************************************[line break]The next day passes by.[line break]****************************************************

The next evening, when you met again, Lestrade has been furnished with much information concerning your prisoner.";
	now Inspector Lestrade is in 221B Baker Street;
	Playerchange Sherlock Holmes;
	Now the player is in 221B Baker Street;
	
Instead of talking to Inspector Lestrade when LestradeSixFinale is happening:
	say "[one of]You ask Lestrade about his prisoner.

His name, it appears, is Tommy, second name unknown. He is a well-known ne'er-do-well among the American expatriates. He was once a skilful sculptor and had earned an honest living, but he has taken to evil courses and has twice already been in jail--once for a petty theft and once, as you have already heard, for stabbing a fellow-countryman. His reasons for destroying the busts are still unknown, and he refuses to answer any questions upon the subject; but the police have discovered that these same busts might very well have been made by his own hands, since he was engaged in this class of work at the establishment of Gelder & Co. 

[bracket]Not a New thought - Timing[close bracket]

[bracket]Old News - Common[close bracket]

There is a ring at the bell. A minute later you hear steps upon the stairs, and a man is ushered in, who must be Mr Sandeford. In his right hand he carries an old-fashioned carpet-bag, which he places upon the table.

'Is Mr. Sherlock Holmes here?'[or]Lestrade is watching Mr. Sandeford.[stopping]";
	add "Suffering Lestrade a final time..." to ScoreList, if absent;
	now Mr Sandeford is in 221B Baker Street;

SandefordCounter is a number that varies. SandefordCounter is 0.

Instead of talking to Mr Sandeford:
	if SandefordCounter is 6:
		say "You find a paper and a ten-pound note and lay them upon the table.

'You will kindly sign that paper, Mr. Sandeford, in the presence of these witnesses. It is simply to say that you transfer every possible right that you ever had in the bust to me. I am a methodical man, you see, and you never know what turn events might take afterwards. Thank you, Mr. Sandeford; here is your money, and I wish you a very good evening.'

Mr. Sandeford takes his leave.";
		now Mr Sandeford is nowhere;
		now SandefordCounter is 7;
	otherwise if SandefordCounter is 5:
		say "'I am sure the scruple does you honour, Mr. Sandeford. But I have named that price, so I intend to stick to it.'

'Well, it is very handsome of you, Mr. Holmes. I brought the bust up with me, as you asked me to do. Here it is!' He opens his bag, and at last you see placed upon your table a complete specimen of that bust which you had already seen more than once in fragments.";
		now SandefordCounter is 6;
	otherwise if SandefordCounter is 4:
		say "'No, he did not.'

'Well, I am an honest man, though not a very rich one. I only gave fifteen shillings for the bust, and I think you ought to know that before I take ten pounds from you.'";
		now SandefordCounter is 5;
	otherwise if SandefordCounter is 3:
		say "'Of course you must have been surprised, but the explanation is very simple. Mr. Harding, of Harding Brothers, said that they had sold you their last copy, and he gave me your address.'

'Oh, that was it, was it? Did he tell you what I paid for it?'”;
		now SandefordCounter is 4;
	otherwise if SandefordCounter is 2:
		say "'Certainly.'

'I was very much surprised at your letter, for I could not imagine how you knew that I owned such a thing.'";
		now SandefordCounter is 3;
	otherwise if SandefordCounter is 1:
		say "'Exactly.'

'I have your letter here. You said, [‘]I desire to possess a copy of Devine's Napoleon, and am prepared to pay you ten pounds for the one which is in your possession.[’] Is that right?'";
		now SandefordCounter is 2;
	otherwise if SandefordCounter is 0:
		say "You bow and smile. 'Mr. Sandeford, of Reading, I suppose?' you say.

'Yes, sir, I fear that I am a little late; but the trains were awkward. You wrote to me about a bust that is in my possession.'";
		now SandefordCounter is 1;

LestradeSixExplanation is a scene.

LestradeSixExplanation begins when SandefordCounter is 7. LestradeSixExplanation ends when Inspector Lestrade is nowhere.

The sitting room table is a supporter in 221B Baker Street. The sitting room table is scenery. The description of the sitting room table is "A merely functional table.". Understand "merely" or "functional" as the sitting room table.

When LestradeSixExplanation begins:
	say "You pull out a clean white cloth and set it on the table, placing the bust on it.";
	now the clean white cloth is on the sitting room table;
	now the final bust is on the sitting room table;
	
The clean white cloth is scenery. The description of the clean white cloth is "A simple, clean white cloth.".

Instead of taking the clean white cloth:
	say "You still need the cloth where it is."

When LestradeSixExplanation ends:
	now the clean white cloth is nowhere;

The final bust is a thing. "The final bust of Napoleon is here, on the table. It's time to break it." Understand "napoleon" as the final bust.

Instead of attacking the final bust:
	say "You smash open the bust, revealing the Rockefeller Emerald.";
	now the final bust is nowhere;
	add "Discovering the Rockefeller Emerald..." to ScoreList, if absent;
	now the Rockefeller Emerald is on the sitting room table;

Does the player mean doing something with the Rockefeller Emerald:
	it is likely;

The Rockefeller Emerald is a thing. The description of the Rockefeller Emerald is "The infamous Rockefeller Emerald, in a setting of platinum and diamonds." Understand "infamous" or "Emeralds" or "emerald" or "rockefeller" or "platinum" or "setting" or "diamond" or "diamonds" as the Rockefeller Emerald.

Instead of taking the Rockefeller Emerald:
	say "Lestrade and Watson gasp.

Watson says, 'But Holmes, how did you know you would find it?'

'Let me lay it out step by step. I solved the case by...[paragraph break]";
	repeat with current running through ScoreList:
		say "[current][paragraph break]";
	say "And that, Watson, is how I finished the business.'";
	now NapoleonDone is 1;
	if SpeckledDone is 0:
		now pertinentcase is BaseCase;
		say "[paragraph break]**********************************************[line break]You return to your memories...[line break]**********************************************[line break]";
		now the worn lash is in Conscious Mind;
		repeat with current running through quips carried by the player:
			now current is nowhere;
			now current is not relevant;
		now Mind Holmes is in Conscious Mind;
		now WatsonSleeping is 1;
		now Inspector Lestrade is nowhere;
		now Watson is on Watson's Bed;
		now ScoreList is {"Preparing the correct mental state..."} ;
		Playerchange Mind Holmes;
		now the Rockefeller Emerald is nowhere;
		now Sherlock Holmes is on Sherlock's Bed;
		now the front door is closed;
		try looking;
	otherwise:
		now pertinentcase is BaseCase;
		say "[paragraph break]**********************************************[line break]You return to yourself.[line break]**********************************************";
		now OldHolmes is on sickbed;
		Playerchange OldHolmes;
		try looking;
[Do a funny thing here where Lestrade tells you things you already know and it says 'not a new clue']

[“I fear it is rather too late an hour for explanations,” said Holmes. “Besides, there are one or two details which are not finished off, and it is one of those cases which are worth working out to the very end. If you will come round once more to my rooms at six o'clock to-morrow I think I shall be able to show you that even now you have not grasped the entire meaning of this business, which presents some features which make it absolutely original in the history of crime. If ever I permit you to chronicle any more of my little problems, Watson, I foresee that you will enliven your pages by an account of the singular adventure of the Napoleonic busts.”

When we met again next evening Lestrade was furnished with much information concerning our prisoner. His name, it appeared, was Beppo, second name unknown. He was a well-known ne'er-do-well among the Italian colony. He had once been a skilful sculptor and had earned an honest living, but he had taken to evil courses and had twice already been in jail--once for a petty theft and once, as we had already heard, for stabbing a fellow-countryman. He could talk English perfectly well. His reasons for destroying the busts were still unknown, and he refused to answer any questions upon the subject; but the police had discovered that these same busts might very well have been made by his own hands, since he was engaged in this class of work at the establishment of Gelder & Co. To all this information, much of which we already knew, Holmes listened with polite attention; but I, who knew him so well, could clearly see that his thoughts were elsewhere, and I detected a mixture of mingled uneasiness and expectation beneath that mask which he was wont to assume. At last he started in his chair and his eyes brightened. There had been a ring at the bell. A minute later we heard steps upon the stairs, and an elderly, red-faced man with grizzled side-whiskers was ushered in. In his right hand he carried an old-fashioned carpet-bag, which he placed upon the table.

“Is Mr. Sherlock Holmes here?”

My friend bowed and smiled. “Mr. Sandeford, of Reading, I suppose?” said he.

“Yes, sir, I fear that I am a little late; but the trains were awkward. You wrote to me about a bust that is in my possession.”

“Exactly.”

“I have your letter here. You said, ‘I desire to possess a copy of Devine's Napoleon, and am prepared to pay you ten pounds for the one which is in your possession.’ Is that right?”

“Certainly.”

“I was very much surprised at your letter, for I could not imagine how you knew that I owned such a thing.”

“Of course you must have been surprised, but the explanation is very simple. Mr. Harding, of Harding Brothers, said that they had sold you their last copy, and he gave me your address.”

“Oh, that was it, was it? Did he tell you what I paid for it?”

“No, he did not.”

“Well, I am an honest man, though not a very rich one. I only gave fifteen shillings for the bust, and I think you ought to know that before I take ten pounds from you.”

“I am sure the scruple does you honour, Mr. Sandeford. But I have named that price, so I intend to stick to it.”

“Well, it is very handsome of you, Mr. Holmes. I brought the bust up with me, as you asked me to do. Here it is!” He opened his bag, and at last we saw placed upon our table a complete specimen of that bust which we had already seen more than once in fragments.

Holmes took a paper from his pocket and laid a ten-pound note upon the table.

“You will kindly sign that paper, Mr. Sandeford, in the presence of these witnesses. It is simply to say that you transfer every possible right that you ever had in the bust to me. I am a methodical man, you see, and you never know what turn events might take afterwards. Thank you, Mr. Sandeford; here is your money, and I wish you a very good evening.”

When our visitor had disappeared Sherlock Holmes's movements were such as to rivet our attention. He began by taking a clean white cloth from a drawer and laying it over the table. Then he placed his newly-acquired bust in the centre of the cloth. Finally, he picked up his hunting-crop and struck Napoleon a sharp blow on the top of the head. The figure broke into fragments, and Holmes bent eagerly over the shattered remains. Next instant, with a loud shout of triumph, he held up one splinter, in which a round, dark object was fixed like a plum in a pudding.

“Gentlemen,” he cried, “let me introduce you to the famous Rockefeller Emerald of the Emeralds.”

Lestrade and I sat silent for a moment, and then, with a spontaneous impulse, we both broke out clapping as at the well-wrought crisis of a play. A flush of colour sprang to Holmes's pale cheeks, and he bowed to us like the master dramatist who receives the homage of his audience. It was at such moments that for an instant he ceased to be a reasoning machine, and betrayed his human love for admiration and applause. The same singularly proud and reserved nature which turned away with disdain from popular notoriety was capable of being moved to its depths by spontaneous wonder and praise from a friend.

“Yes, gentlemen,” said he, “it is the most famous pearl now existing in the world, and it has been my good fortune, by a connected chain of inductive reasoning, to trace it from the Prince of Colonna's bedroom at the Dacre Hotel, where it was lost, to the interior of this, the last of the six busts of Napoleon which were manufactured by Gelder & Co., of Stepney. You will remember, Lestrade, the sensation caused by the disappearance of this valuable jewel, and the vain efforts of the London police to recover it. I was myself consulted upon the case; but I was unable to throw any light upon it. Suspicion fell upon the maid of the Princess, who was an Italian, and it was proved that she had a brother in London, but we failed to trace any connection between them. The maid's name was Lucretia Venucci, and there is no doubt in my mind that this Pietro who was murdered two nights ago was the brother. I have been looking up the dates in the old files of the paper, and I find that the disappearance of the pearl was exactly two days before the arrest of Beppo for some crime of violence, an event which took place in the factory of Gelder & Co., at the very moment when these busts were being made. Now you clearly see the sequence of events, though you see them, of course, in the inverse order to the way in which they presented themselves to me. Beppo had the pearl in his possession. He may have stolen it from Pietro, he may have been Pietro's confederate, he may have been the go-between of Pietro and his sister. It is of no consequence to us which is the correct solution.

“The main fact is that he had the pearl, and at that moment, when it was on his person, he was pursued by the police. He made for the factory in which he worked, and he knew that he had only a few minutes in which to conceal this enormously valuable prize, which would otherwise be found on him when he was searched. Six plaster casts of Napoleon were drying in the passage. One of them was still soft. In an instant Beppo, a skilful workman, made a small hole in the wet plaster, dropped in the pearl, and with a few touches covered over the aperture once more. It was an admirable hiding-place. No one could possibly find it. But Beppo was condemned to a year's imprisonment, and in the meanwhile his six busts were scattered over London. He could not tell which contained his treasure. Only by breaking them could he see. Even shaking would tell him nothing, for as the plaster was wet it was probable that the pearl would adhere to it--as, in fact, it has done. Beppo did not despair, and he conducted his search with considerable ingenuity and perseverance. Through a cousin who works with Gelder he found out the retail firms who had bought the busts. He managed to find employment with Morse Hudson, and in that way tracked down three of them. The pearl was not there. Then, with the help of some Italian employe, he succeeded in finding out where the other three busts had gone. The first was at Harker's. There he was dogged by his confederate, who held Beppo responsible for the loss of the pearl, and he stabbed him in the scuffle which followed.”

“If he was his confederate why should he carry his photograph?” I asked.

“As a means of tracing him if he wished to inquire about him from any third person. That was the obvious reason. Well, after the murder I calculated that Beppo would probably hurry rather than delay his movements. He would fear that the police would read his secret, and so he hastened on before they should get ahead of him. Of course, I could not say that he had not found the pearl in Harker's bust. I had not even concluded for certain that it was the pearl; but it was evident to me that he was looking for something, since he carried the bust past the other houses in order to break it in the garden which had a lamp overlooking it. Since Harker's bust was one in three the chances were exactly as I told you, two to one against the pearl being inside it. There remained two busts, and it was obvious that he would go for the London one first. I warned the inmates of the house, so as to avoid a second tragedy, and we went down with the happiest results. By that time, of course, I knew for certain that it was the Emerald pearl that we were after. The name of the murdered man linked the one event with the other. There only remained a single bust--the Reading one--and the pearl must be there. I bought it in your presence from the owner--and there it lies.”

We sat in silence for a moment.

“Well,” said Lestrade, “I've seen you handle a good many cases, Mr. Holmes, but I don't know that I ever knew a more workmanlike one than that. We're not jealous of you at Scotland Yard. No, sir, we are very proud of you, and if you come down to-morrow there's not a man, from the oldest inspector to the youngest constable, who wouldn't be glad to shake you by the hand.”

“Thank you!” said Holmes. “Thank you!” and as he turned away it seemed to me that he was more nearly moved by the softer human emotions than I had ever seen him. A moment later he was the cold and practical thinker once more. “Put the pearl in the safe, Watson,” said he, “and get out the papers of the Conk-Singleton forgery case. Good-bye, Lestrade. If any little problem comes your way I shall be happy, if I can, to give you a hint or two as to its solution.”
]

Volume 5 - Default verbs, credits, help, etc

Section 1 - Testing

[This doesn't work;]

[LinkTesting is an action out of world. 

Understand "Link1" as LinkTesting.

Carry out LinkTesting:
	repeat with current1 running through quips:
		repeat with current2 running through quips:
			say "I'm linking [current1] with [current2]";
			try linking current1 with current2;

Link2Testing is an action out of world. 

Understand "link2" as Link2Testing.

Carry out Link2Testing:
	repeat with current1 running through quips:
		now current1 is carried by the player;
		repeat with current2 running through quips:
			now current2 is carried by the player;
			try linking current1 with current2;]

Test me with "test intro / test knocking / test watson / test lady / test sister / test scream / test questions / test roylott / test voyage / test cab / test stoke / test stonerroom / test royroom / test entrancelinkage / test snakelinkage / test innermind / test plan / test village / test nightwait / test checkroy"

Test linkage with "test intro / test knocking / test watson / test lady / test sister / test scream / test questions / test roylott / test voyage / test cab / test stoke / test stonerroom / test royroom "

Test intro with "x watson / talk to watson / x face / x stick / link  medical to sick / say incurable / open package / n /  x  placard / s  / x me / w / take lash"

Test knocking with "x me / e / open door /  talk to hudson"

Test watson with "s / talk to watson / n"

Test lady with "greeting / x lady / x mud / x glove / say dogcart / say trainride / say testimony"

Test Sister with "x bridge / x laborers / n / e / s / e / e / s  / talk to julia / talk to julia"

Test scream with "enter bed /sleep / get out of bed / n / w / s / help julia / n"

Test questions with "say speckled / say  laborers / say clang / say safety / say whistle / say visit / say farewell"

Test Roylott with " x watson / l / provoke / g / g / g / g / g"

Test voyage with " take poker / n / e  / e / talk to clerk / w / s / e"

Test cab with "z  / z / talk to cabman /  x lady"

Test stoke with "n / e / x windows / x stonework / ne / w"

Test StonerRoom with "s / x window / x bed / x ventilator / x bell pull / pull pull / n"

Test royroom with "w / s / x bed / x safe / x lash / n"

Test entrancelinkage with "link shutters to bolted / link  hallway to safety"

Test snakelinkage with "e / e / e / se  / link creature to speckled / link snake to dangerous / link snake to secured / link snake to fake / link snake to connected"

Test innermind with "put snake in means / put presence in opportunity / put income in motive"

Test plan with "say plan / impress / impress / impress / impress / impress / w / s"

Test village with "say Needless / say bolted / say income / z / z / n";

Test nightwait with "n / n /turn off lamp / z / z / kill band"

Test checkroy with "n / w / s / x dr / take lash / trap band / talk to watson / g"

Test temp with "w / n / n / n / turn off lamp / z  / z / kill band / n / w / s / x dr / take lash / trap band /talk to watson / g"

Test fullsix with "test firstsix / test firstreport / test secondreport / test firstlestrade / test telegram / test outsidetime / test HoraceHarker / test streetlight / test lestradepitt/ test motivetime / test hardingtime/ test morsetime / test SculptureWorks / test restaurant / test depression / test perplink / test 2hardingtime / test returnlestrade / test lettertime / test laburnum / test 3lestrade / test sixsolution / test sandeford / test sixwin"

Test firstsix with "take dust / talk to lestrade / g"

Test firstreport with "say reports / s  / n / x bust / n / talk to constable"

Test secondreport with "say reports / d / n / x fragments / w / n"

Test firstlestrade with "say thoughts / say variety / say removed / say cheap / say farewell"

Test telegram with "open door  / s / show telegram to Watson"

Test outsidetime with "n / n / e / n"

Test HoraceHarker with "e / talk to Horace Harker / say testimony / take poker / d / w / x man / blow whistle"

Test streetlight with "talk to lestrade / g / g / w / n / x shards"

Test lestradepitt with "s / s / talk to lestrade/ g / g / g / g"

Test motivetime with "x photograph  / t / link muffled to removed / link methodical to hatred / link murderer to revenge"

Test HardingTime with "s / e/talk to clerk / w"

Test MorseTime with "w/talk to morse / show photo to morse /e "

Test SculptureWorks  with "n /e / talk to manager / show photograph to manager / say sales to manager"

Test restaurant with "w / s/s/ x news-bill";

Test depression with "say sales / say employed / say murderer ";

Test perplink with "link recognition to employed / n "

Test 2hardingtime with "e/talk to founder / w"

Test ReturnLestrade with "talk to lestrade / g / g / g  /g"

Test lettertime with "write letter / give letter to boy"

Test laburnum with "z / z / x man / x bust / talk to owner"

Test 3Lestrade with "talk to lestrade / w / enter bed"

Test sixsolution with "put common in means / link sales to incarceration / put timing in opportunity slot / e / look up timing / w / put Emerald in motive"

Test sandeford with "talk to lestrade / talk to sandeford / g / g / g / g / g / g"

Test sixwin with "break bust / take emerald"

Section 2 - Default verbs

Understand "batter" as attacking.

To say ed:
	say "[if the story tense is past tense]ed[end if]";

To say havehad:
	say "[if the story tense is present tense]have[otherwise]had[end if]"

To say doesdid:
	say "[if the story tense is present tense]does[otherwise]did[end if]"

To say iswas:
	say "[if the story tense is present tense]is[otherwise]was[end if]"

To say cancould:
	say "[if the story tense is present tense]can[otherwise]could[end if]"

To say seesaw:
	say "[if the player is Sherlock Holmes]see[otherwise]saw[end if]"

Singing is an action applying to nothing. Understand "sing" as singing.

Carry out singing:
	if the player is Sherlock Holmes:
		say "You quietly sing a line from [italic type]Aida[roman type].";
	otherwise:
		say "[We] [dodid] not feel it [iswas] the right time to sing."
	

 The block vaguely going rule response (A) is "[We] need[ed] a direction to travel in."
 The can't take yourself rule response (A) is "[We] already [havehad] possesion of [our]self."
 The can't take other people rule response (A) is "[The noun] [doesdid] not look like [if the noun is male]he[otherwise if the noun is female]she[otherwise]they[end if] would appreciate that."
  The can't drop yourself rule response (A) is "Dropping oneself right [now] [iswas] a foolhardy act."
  The can't eat unless edible rule response (A) is "[We] [cancould] hardly think of food at such a time.".

  The examine undescribed things rule response (A) is "[if the player is Sherlock Holmes]You scan [the noun] for clues, but find none of importance.[otherwise if the story viewpoint is first person singular]I don't recall anything about [the noun], Mr. Holmes.[otherwise if the player is Mind Holmes]It is difficult to focus on.[otherwise]They didn't tell me anything about that in their testimony, Mr. Holmes.[end if]"

   The standard looking under rule response (A) is "[We] crouch[ed] down and look[ed], but [seesaw] nothing."

	The block showing rule response (A) is "[We] tend[ed] to use speech over silent displays."

	The block throwing at rule response (A) is "[We] prefer[if the player is not sherlock]red[end if] methods both safer and more direct."
	
	The block attacking rule response (A) is "It [iswas] not the right time.".

	The kissing yourself rule response (A) is "[We] kiss[ed] [our]self for solace, and discover[ed] sweet solace therein."
	The block kissing rule response (A) is "[if the player is Sherlock and  the noun is Watson]You grab Watson firmly by both shoulders and give him a smoldering, passionate, intense look of brotherly friendship, which he returns, as you continue your entirely platonic relationship in your romance-free life.[otherwise][We] [cancould] not see the merit in such an amorous course of action.[end if]"

	The block answering rule response (A) is "[bracket][if the player is Sherlock Holmes]In this game, speech is handled by using SAY [bracket]a thought[close bracket] TO [bracket]someone[close bracket], where thoughts you know can be found by typing THOUGHTS. In situations of boredom or extreme excitement, Sherlock can only TALK TO individuals.[otherwise]During flashbacks, conversation advances by using TALK TO [bracket]someone in the flashback[close bracket].[end if][close bracket]"

	The telling yourself rule response (A) is "[We] whisper[ed] to [our]self quiety."
	
	The block telling rule response (A) is "[bracket][if the player is Sherlock Holmes]In this game, speech is handled by using SAY [bracket]a thought[close bracket] TO [bracket]someone[close bracket], where thoughts you know can be found by typing THOUGHTS. In situations of boredom or extreme excitement, Sherlock can only TALK TO individuals.[otherwise]During flashbacks, conversation advances by using TALK TO [bracket]someone in the flashback[close bracket].[end if][close bracket]"

	The block asking rule response (A) is "[bracket][if the player is Sherlock Holmes]In this game, speech is handled by using SAY [bracket]a thought[close bracket] TO [bracket]someone[close bracket], where thoughts you know can be found by typing THOUGHTS. In situations of boredom or extreme excitement, Sherlock can only TALK TO individuals.[otherwise]During flashbacks, conversation advances by using TALK TO [bracket]someone in the flashback[close bracket].[end if][close bracket]"

	The standard report waiting rule response (A) is "[We] pause[if the player is Mind Holmes][otherwise if the player is not Sherlock]d[end if].".

	The report touching yourself rule response (A) is "I beg your pardon?"	

	The report touching other people rule response (A) is "[We] [cancould] not see the merit in that sort of physical interaction."
	
	The report touching things rule response (A) is "[We] stud[if the player is Sherlock]y[otherwise if the player is Mind Holmes]y[otherwise]ied[end if] it from a distance, instead."
	
   The can't pull people rule response (A) is "[We] [cancould] not see the merit in that sort of physical interaction."

	The can't push people rule response (A) is "[We] [cancould] not see the merit in that sort of physical interaction."
	The can't turn people rule response (A) is "[We] [cancould] not see the merit in that sort of physical interaction."
	The innuendo about squeezing people rule response (A) is "[We] [cancould] not see the merit in that sort of physical interaction."
	
	 The block saying yes rule response (A) is "[bracket][if the player is Sherlock Holmes]In this game, speech is handled by using SAY [bracket]a thought[close bracket] TO [bracket]someone[close bracket], where thoughts you know can be found by typing THOUGHTS. In situations of boredom or extreme excitement, Sherlock can only TALK TO individuals.[otherwise]During flashbacks, conversation advances by using TALK TO [bracket]someone in the flashback[close bracket].[end if][close bracket]"

	The block saying no rule response (A) is "[bracket][if the player is Sherlock Holmes]In this game, speech is handled by using SAY [bracket]a thought[close bracket] TO [bracket]someone[close bracket], where thoughts you know can be found by typing THOUGHTS. In situations of boredom or extreme excitement, Sherlock can only TALK TO individuals.[otherwise]During flashbacks, conversation advances by using TALK TO [bracket]someone in the flashback[close bracket].[end if][close bracket]"

To say arewere:
	say "[if the player is Sherlock Holmes]are[otherwise]were"

	The block burning rule response (A) is "There [arewere] other means to accomplish [our] goals."
	
	The block waking up rule response (A) is "[We] [are] not asleep."
	
	The block thinking rule response (A) is "[bracket]To see Sherlock's thoughts, try typing T.[close bracket]"
	
	The report smelling rule response (A) is "[We] sniff[ed], but it [doesdid] not provide any more information."
	
	The report listening rule response (A) is "[We] strain[ed] to hear something useful, but [we] [cancould] not make out anything."

To say dodid:
	say "[if the player is Sherlock Holmes]do[otherwise]did[end if]"

	The report tasting rule response (A) is "[We] [dodid]n't feel like tasting anything.";
	
The block cutting rule response (A) is "[We] [dodid]n't have appropriate tools for cutting.".
   
The parser error internal rule response (E) is "[bracket]I didn't understand the object in that command, but I understood the first part.[close bracket]";

The parser error internal rule response (X) is "[bracket]LOOK[close bracket]

[lookaction]";

The parser error internal rule response (N) is "[one of][bracket]Your first word had a typo or was a word not anticipated by the author.[or][bracket]The first word you typed was not recognized.[stopping][close bracket]"; 

The parser error internal rule response (B) is "Your sentence had too many words; you can try typing just the part where you wanted to ";

The parser error internal rule response (C) is "Your sentence had too many words; you can try typing just the part where you wanted to (go) ";
	
	The report jumping rule response (A) is "[We] leap[ed] into the air when [we] [are] sure no one [iswas] looking."
	
	The block tying rule response (A) is "[We] consider[ed] that idea, then discard it."
	
	The block drinking rule response (A) is "[We] [are] not thirsty at all."

	The block saying sorry rule response (A) is "I should imagine so."

	The block swinging rule response (A) is "Persuasion is better than force."

	The can't rub another person rule response (A) is "Please, no."

	The block buying rule response (A) is "There's nothing left [we] want[ed] to buy."

	The block climbing rule response (A) is "[We] [are] not ready for that right [now]."

	The block sleeping rule response (A) is "[We] [cancould] hardly sleep at a time like [now].".

	The requested actions require persuasion rule response (A) is "[bracket][if the player is Sherlock Holmes]In this game, speech is handled by using SAY [bracket]a thought[close bracket] TO [bracket]someone[close bracket], where thoughts you know can be found by typing THOUGHTS. In situations of boredom or extreme excitement, Sherlock can only TALK TO individuals.[otherwise]During flashbacks, conversation advances by using TALK TO [bracket]someone in the flashback[close bracket].[end if][close bracket]".

	The carry out requested actions rule response (A) is "[bracket][if the player is Sherlock Holmes]In this game, speech is handled by using SAY [bracket]a thought[close bracket] TO [bracket]someone[close bracket], where thoughts you know can be found by typing THOUGHTS. In situations of boredom or extreme excitement, Sherlock can only TALK TO individuals.[otherwise]During flashbacks, conversation advances by using TALK TO [bracket]someone in the flashback[close bracket].[end if][close bracket]"

	The can't go that way rule response (A) is "[We] consider[ed] moving that way, but [are] prevented. [DirectionsList]."

To say DirectionsList:
	let TempList be a list of directions;
	repeat with way running through directions: 
		let place be the room way from the location of the player;
		if place is a room:
			add way to TempList;
	if TempList is {}:
		say "Perhaps a different command would be better";
	otherwise:
		say "The available directions [arewere]: [TempList]"
			

To say lookaction:
	say "[We] look[ed] around.";
	try looking;

Volume 6 - Inspiration

Book 1 - Fog

[It was a foggy, cloudy morning, and a dun-coloured veil hung over the house-tops, looking like the reflection of the mud-coloured streets beneath.]

[It was a September evening, and not yet seven o'clock, but the day had been a dreary one, and a dense drizzly fog lay low upon the great city. Mud-colored clouds drooped sadly over the muddy streets. Down the Strand the lamps were but misty splotches of diffused light which threw a feeble circular glimmer upon the slimy pavement. The yellow glare from the shop-windows streamed out into the steamy, vaporous air, and threw a murky, shifting radiance across the crowded thoroughfare. There was, to my mind, something eerie and ghost-like in the endless procession of faces which flitted across these narrow bars of light,--sad faces and glad, haggard and merry. Like all human kind, they flitted from the gloom into the light, and so back into the gloom once more. I am not subject to impressions, but the dull, heavy evening, with the strange business upon which we were engaged, combined to make me nervous and depressed. I could see from Miss Morstan's manner that she was suffering from the same feeling. Holmes alone could rise superior to petty influences. ]

[It was a cold morning of the early spring, and we sat after breakfast on either side of a cheery fire in the old room at Baker Street. A thick fog rolled down between the lines of dun-coloured houses, and the opposing windows loomed like dark, shapeless blurs through the heavy yellow wreaths. ]

[It was the end of November and Holmes and I sat, upon a raw and foggy night, on either side of a blazing fire in our sitting-room in Baker Street.]

[It was a blazing hot day in August. Baker Street was like an oven, and the glare of the sunlight upon the yellow brickwork of the house across the road was painful to the eye. It was hard to believe that these were the same walls which loomed so gloomily through the fogs of winter. Our blinds were half-drawn, and Holmes lay curled upon the sofa, reading and re-reading a letter which he had received by the morning post. For myself, my term of service in India had trained me to stand heat better than cold, and a thermometer at ninety was no hardship. But the morning paper was uninteresting. Parliament had risen. Everybody was out of town, and I yearned for the glades of the New Forest or the shingle of Southsea.]

[In the third week of November, in the year 1895, a dense yellow fog settled down upon London. From the Monday to the Thursday I doubt whether it was ever possible from our windows in Baker Street to see the loom of the opposite houses. The first day Holmes had spent in cross-indexing his huge book of references. The second and third had been patiently occupied upon a subject which he hand recently made his hobby--the music of the Middle Ages. But when, for the fourth time, after pushing back our chairs from breakfast we saw the greasy, heavy brown swirl still drifting past us and condensing in oily drops upon the window-panes, my comrade's impatient and active nature could endure this drab existence no longer. He paced restlessly about our sitting-room in a fever of suppressed energy, biting his nails, tapping the furniture, and chafing against inaction.]

[The house of the famous official was a fine villa with green lawns stretching down to the Thames. As we reached it the fog was lifting, and a thin, watery sunshine was breaking through.]

[ Bring with you a jemmy, a dark lantern, a chisel, and a revolver.
-- S.H.

It was a nice equipment for a respectable citizen to carry through the dim, fog-draped streets. I stowed them all discreetly away in my overcoat and drove straight to the address given. There sat my friend at a little round table near the door of the garish Italian restaurant.]


Book 2 - Streets

[“Whatever have you been doing with yourself, Watson?” he asked in undisguised wonder, as we rattled through the crowded London streets. “You are as thin as a lath and as brown as a nut.”]

[This conversation had occurred while our cab had been threading its way through a long succession of dingy streets and dreary by-ways. In the dingiest and dreariest of them our driver suddenly came to a stand. “That's Audley Court in there,” he said, pointing to a narrow slit in the line of dead-coloured brick. “You'll find me here when you come back.”

Audley Court was not an attractive locality. The narrow passage led us into a quadrangle paved with flags and lined by sordid dwellings. We picked our way among groups of dirty children, and through lines of discoloured linen, until we came to Number 46, the door of which was decorated with a small slip of brass on which the name Rance was engraved. On enquiry we found that the constable was in bed, and we were shown into a little front parlour to await his coming.]

[At first I had some idea as to the direction in which we were driving; but soon, what with our pace, the fog, and my own limited knowledge of London, I lost my bearings, and knew nothing, save that we seemed to be going a very long way. Sherlock Holmes was never at fault, however, and he muttered the names as the cab rattled through squares and in and out by tortuous by-streets.

“Rochester Row,” said he. “Now Vincent Square. Now we come out on the Vauxhall Bridge Road. We are making for the Surrey side, apparently. Yes, I thought so. Now we are on the bridge. You can catch glimpses of the river.”

We did indeed bet a fleeting view of a stretch of the Thames with the lamps shining upon the broad, silent water; but our cab dashed on, and was soon involved in a labyrinth of streets upon the other side.

“Wordsworth Road,” said my companion. “Priory Road. Lark Hall Lane. Stockwell Place. Robert Street. Cold Harbor Lane. Our quest does not appear to take us to very fashionable regions.”

We had, indeed, reached a questionable and forbidding neighborhood. Long lines of dull brick houses were only relieved by the coarse glare and tawdry brilliancy of public houses at the corner. Then came rows of two-storied villas each with a fronting of miniature garden, and then again interminable lines of new staring brick buildings,--the monster tentacles which the giant city was throwing out into the country. At last the cab drew up at the third house in a new terrace. None of the other houses were inhabited, and that at which we stopped was as dark as its neighbors, save for a single glimmer in the kitchen window.]

[ As we drove away I stole a glance back, and I still seem to see that little group on the step, the two graceful, clinging figures, the half-opened door, the hall light shining through stained glass, the barometer, and the bright stair-rods. It was soothing to catch even that passing glimpse of a tranquil English home in the midst of the wild, dark business which had absorbed us.

And the more I thought of what had happened, the wilder and darker it grew. I reviewed the whole extraordinary sequence of events as I rattled on through the silent gas-lit streets. There was the original problem: that at least was pretty clear now...

Pinchin Lane was a row of shabby two-storied brick houses in the lower quarter of Lambeth. I had to knock for some time at No. 3 before I could make my impression. At last, however, there was the glint of a candle behind the blind, and a face looked out at the upper window.]

[We had during this time been following the guidance of Toby down the half-rural villa-lined roads which lead to the metropolis. Now, however, we were beginning to come among continuous streets, where laborers and dockmen were already astir, and slatternly women were taking down shutters and brushing door-steps. At the square-topped corner public houses business was just beginning, and rough-looking men were emerging, rubbing their sleeves across their beards after their morning wet. Strange dogs sauntered up and stared wonderingly at us as we passed, but our inimitable Toby looked neither to the right nor to the left, but trotted onwards with his nose to the ground and an occasional eager whine which spoke of a hot scent.]

[It is past ten, however, and quite time that we started. If you two will take the first hansom, Watson and I will follow in the second.”

Sherlock Holmes was not very communicative during the long drive and lay back in the cab humming the tunes which he had heard in the afternoon. We rattled through an endless labyrinth of gas-lit streets until we emerged into Farrington Street.

We had reached the same crowded thoroughfare in which we had found ourselves in the morning. Our cabs were dismissed, and, following the guidance of Mr. Merryweather, we passed down a narrow passage and through a side door, which he opened for us. ]

[He flicked the horse with his whip, and we dashed away through the endless succession of sombre and deserted streets, which widened gradually, until we were flying across a broad balustraded bridge, with the murky river flowing sluggishly beneath us. Beyond lay another dull wilderness of bricks and mortar, its silence broken only by the heavy, regular footfall of the policeman, or the songs and shouts of some belated party of revellers. A dull wrack was drifting slowly across the sky, and a star or two twinkled dimly here and there through the rifts of the clouds. Holmes drove in silence, with his head sunk upon his breast, and the air of a man who is lost in thought, while I sat beside him, curious to learn what this new quest might be which seemed to tax his powers so sorely, and yet afraid to break in upon the current of his thoughts. We had driven several miles, and were beginning to get to the fringe of the belt of suburban villas, when he shook himself, shrugged his shoulders, and lit up his pipe with the air of a man who has satisfied himself that he is acting for the best.]

[ vanished amid the labyrinth of small streets which lie at the back of Tottenham Court Road.]

[Ten minutes later we were both in a cab and rattling through the silent streets on our way to Charing Cross Station. The first faint winter's dawn was beginning to appear, and we could dimly see the occasional figure of an early workman as he passed us, blurred and indistinct in the opalescent London reek. Holmes nestled in silence into his heavy coat, and I was glad to do the same, for the air was most bitter and neither of us had broken our fast. It was not until we had consumed some hot tea at the station, and taken our places in the Kentish train, that we were sufficiently thawed, he to speak and I to listen. Holmes drew a note from his pocket and read it aloud:]

[Darkness had fallen, and a keen blizzard was blowing so that the streets were nearly deserted; but a few loiterers followed the group, and emboldened by invisibility shouted imprecations at the prisoner.

“Lynch the cursed Scowrer!” they cried. “Lynch him!” They laughed and jeered as he was pushed into the police station. After a short, formal examination from the inspector in charge he was put into the common cell. Here he found Baldwin and three other criminals of the night before, all arrested that afternoon and waiting their trial next morning.]

Book 3 - Locations of interest

[Within there was a small corridor, which ended in a very massive iron gate. This also was opened, and led down a flight of winding stone steps, which terminated at another formidable gate. Mr. Merryweather stopped to light a lantern, and then conducted us down a dark, earth-smelling passage, and so, after opening a third door, into a huge vault or cellar, which was piled all round with crates and massive boxes.]

Book 4 - Baker Street

[sideboard-There were big changes in service style through Queen Victoria's 63-year reign, says food historian Annie Gray. Towards the end food was served to guests at the table sequentially, known as "a la russe". It's silver service as we now know it. 

There were four to six courses, with seven to nine dishes in each. For big occasions dishes often included cod with oyster sauce, ballotines of duck in Cumberland sauce and roast lamb. There would be a dessert course, with dishes like chocolate profiteroles. A buffet of hot and cold meats was also kept on a sideboard during the meal, just in case you got hungry between courses. 

What was unusual about Victoria was the speed with which she ate. Usually a banquet would last for hours, but she could put away seven courses in 30 minutes, says Gray. 
]

[sideboard has goose, bread, tumbler, hat, slice of beef from joint, plate, glasses, bottle of wine]

[ They consisted of a couple of comfortable bed-rooms and a single large airy sitting-room, cheerfully furnished, and illuminated by two broad windows. So desirable in every way were the apartments, and so moderate did the terms seem when divided between us, that the bargain was concluded upon the spot, and we at once entered into possession. That very evening I moved my things round from the hotel, and on the following morning Sherlock Holmes followed me with several boxes and portmanteaus. For a day or two we were busily employed in unpacking and laying out our property to the best advantage. That done, we gradually began to settle down and to accommodate ourselves to our new surroundings.]

[It was a cold morning of the early spring, and we sat after breakfast on either side of a cheery fire in the old room at Baker Street. A thick fog rolled down between the lines of dun-coloured houses, and the opposing windows loomed like dark, shapeless blurs through the heavy yellow wreaths. Our gas was lit and shone on the white cloth and glimmer of china and metal, for the table had not been cleared yet. Sherlock Holmes had been silent all the morning, dipping continuously into the advertisement columns of a succession of papers until at last, having apparently given up his search, he had emerged in no very sweet temper to lecture me upon my literary shortcomings.]

[As I entered I saw, it is true, an unwonted tidiness, but the old landmarks were all in their place. There were the chemical corner and the acid-stained, deal-topped table. There upon a shelf was the row of formidable scrap-books and books of reference which many of our fellow-citizens would have been so glad to burn. The diagrams, the violin-case, and the pipe-rack--even the Persian slipper which contained the tobacco--all met my eyes as I glanced round me. There were two occupants of the room--one Mrs. Hudson, who beamed upon us both as we entered; the other the strange dummy which had played so important a part in the evening's adventures. It was a wax-coloured model of my friend, so admirably done that it was a perfect facsimile. It stood on a small pedestal table with an old dressing-gown of Holmes's so draped round it that the illusion from the street was absolutely perfect.]

[ I find a man who keeps his cigars in the coal-scuttle, his tobacco in the toe end of a Persian slipper, and his unanswered correspondence transfixed by a jack-knife into the very centre of his wooden mantelpiece, then I begin to give myself virtuous airs. I have always held, too, that pistol practice should be distinctly an open-air pastime; and when Holmes, in one of his queer humors, would sit in an arm-chair with his hair-trigger and a hundred Boxer cartridges, and proceed to adorn the opposite wall with a patriotic V. R. done in bullet-pocks, I felt strongly that neither the atmosphere nor the appearance of our room was improved by it.

Our chambers were always full of chemicals and of criminal relics which had a way of wandering into unlikely positions, and of turning up in the butter-dish or in even less desirable places. But his papers were my great crux. He had a horror of destroying documents, especially those which were connected with his past cases, and yet it was only once in every year or two that he would muster energy to docket and arrange them; for, as I have mentioned somewhere in these incoherent memoirs, the outbursts of passionate energy when he performed the remarkable feats with which his name is associated were followed by reactions of lethargy during which he would lie about with his violin and his books, hardly moving save from the sofa to the table. Thus month after month his papers accumulated, until every corner of the room was stacked with bundles of manuscript which were on no account to be burned, and which could not be put away save by their owner. One winter's night, as we sat together by the fire, I ventured to suggest to him that, as he had finished pasting extracts into his common-place book, he might employ the next two hours in making our room a little more habitable. He could not deny the justice of my request, so with a rather rueful face he went off to his bedroom, from which he returned presently pulling a large tin box behind him. This he placed in the middle of the floor and, squatting down upon a stool in front of it, he threw back the lid. I could see that it was already a third full of bundles of paper tied up with red tape into separate packages.]

[I went to my bedroom and followed his advice. When I returned with the pistol the table had been cleared, and Holmes was engaged in his favourite occupation of scraping upon his violin.]

[Bedroom costumes:He disappeared into his bedroom and returned in a few minutes in the character of an amiable and simple-minded Nonconformist clergyman. His broad black hat, his baggy trousers, his white tie, his sympathetic smile, and general look of peering and benevolent curiosity were such as Mr. John Hare alone could have equalled. It was not merely that Holmes changed his costume. 

Again:

It was close upon four before the door opened, and a drunken-looking groom, ill-kempt and side-whiskered, with an inflamed face and disreputable clothes, walked into the room. Accustomed as I was to my friend's amazing powers in the use of disguises, I had to look three times before I was certain that it was indeed he. With a nod he vanished into the bedroom, whence he emerged in five minutes tweed-suited and respectable, as of old. Putting his hands into his pockets, he stretched out his legs in front of the fire and laughed heartily for some minutes.]

[The development for which my friend had asked came in a quicker and an infinitely more tragic form than he could have imagined. I was still dressing in my bedroom next morning when there was a tap at the door and Holmes entered, a telegram in his hand. He read it aloud:

“Come instantly, 131, Pitt Street, Kensington.
-- “Lestrade.”]

[It was with a sinking heart that I reentered Holmes's bedroom. For all that I knew the worst might have happened in my absence. To my enormous relief, he had improved greatly in the interval. His appearance was as ghastly as ever, but all trace of delirium had left him and he spoke in a feeble voice, it is true, but with even more than his usual crispness and lucidity.]

[But it was destined to be resumed long before that hour, and in circumstances which gave me a shock hardly second to that caused by his spring to the door. I had stood for some minutes looking at the silent figure in the bed. His face was almost covered by the clothes and he appeared to be asleep. Then, unable to settle down to reading, I walked slowly round the room, examining the pictures of celebrated criminals with which every wall was adorned. Finally, in my aimless perambulation, I came to the mantelpiece. A litter of pipes, tobacco-pouches, syringes, penknives, revolver-cartridges, and other debris was scattered over it. In the midst of these was a small black and white ivory box with a sliding lid. It was a neat little thing, and I had stretched out my hand to examine it more closely when--]

[He was indeed a deplorable spectacle. In the dim light of a foggy November day the sick room was a gloomy spot, but it was that gaunt, wasted face staring at me from the bed which sent a chill to my heart. ]

[Holmes grinned at the last item. “Well,” he said, “I say now, as I said then, that a man should keep his little brain-attic stocked with all the furniture that he is likely to use, and the rest he can put away in the lumber-room of his library, where he can get it if he wants it. Now, for such a case as the one which has been submitted to us to-night, we need certainly to muster all our resources. Kindly hand me down the letter K of the ‘American Encyclopaedia’ which stands upon the shelf beside you. ]

Book 5 - Holmes

Part 1 - Physical Appearance

[As the weeks went by, my interest in him and my curiosity as to his aims in life, gradually deepened and increased. His very person and appearance were such as to strike the attention of the most casual observer. In height he was rather over six feet, and so excessively lean that he seemed to be considerably taller. His eyes were sharp and piercing, save during those intervals of torpor to which I have alluded; and his thin, hawk-like nose gave his whole expression an air of alertness and decision. His chin, too, had the prominence and squareness which mark the man of determination. His hands were invariably blotted with ink and stained with chemicals, yet he was possessed of extraordinary delicacy of touch, as I frequently had occasion to observe when I watched him manipulating his fragile philosophical instruments.]

[Things had indeed been very slow with us, and I had learned to dread such periods of inaction, for I knew by experience that my companion's brain was so abnormally active that it was dangerous to leave it without material upon which to work. For years I had gradually weaned him from that drug mania which had threatened once to check his remarkable career. Now I knew that under ordinary conditions he no longer craved for this artificial stimulus, but I was well aware that the fiend was not dead, but sleeping; and I have known that the sleep was a light one and the waking near when in periods of idleness I have seen the drawn look upon Holmes's ascetic face, and the brooding of his deep-set and inscrutable eyes. Therefore I blessed this Mr. Overton, whoever he might be, since he had come with his enigmatic message to break that dangerous calm which brought more peril to my friend than all the storms of his tempestuous life.]

Part 2 - Holmes his mind 

[Knowledge of Literature.--Nil.
Philosophy.--Nil.
Astronomy.--Nil.
Politics.--Feeble.
Botany.--Variable. Well up in belladonna, opium, and poisons generally. Knows nothing of practical gardening.
Geology.--Practical, but limited. Tells at a glance different soils from each other. After walks has shown me splashes upon his trousers, and told me by their colour and consistence in what part of London he had received them.
Chemistry.--Profound.
Anatomy.--Accurate, but unsystematic.
Sensational Literature.--Immense. He appears to know every detail of every horror perpetrated in the century.
Plays the violin well.
Is an expert singlestick player, boxer, and swordsman.
Has a good practical knowledge of British law.]

[“I consider that a man's brain originally is like a little empty attic, and you have to stock it with such furniture as you choose. A fool takes in all the lumber of every sort that he comes across, so that the knowledge which might be useful to him gets crowded out, or at best is jumbled up with a lot of other things so that he has a difficulty in laying his hands upon it. Now the skilful workman is very careful indeed as to what he takes into his brain-attic. He will have nothing but the tools which may help him in doing his work, but of these he has a large assortment, and all in the most perfect order. It is a mistake to think that that little room has elastic walls and can distend to any extent. Depend upon it there comes a time when for every addition of knowledge you forget something that you knew before. It is of the highest importance, therefore, not to have useless facts elbowing out the useful ones.”]

[Sherlock Holmes drew a long breath, and wiped the perspiration from his forehead. “I should have more faith,” he said; “I ought to know by this time that when a fact appears to be opposed to a long train of deductions, it invariably proves to be capable of bearing some other interpretation. Of the two pills in that box one was of the most deadly poison, and the other was entirely harmless. I ought to have known that before ever I saw the box at all.”]

[You will not apply my precept,” he said, shaking his head. “How often have I said to you that when you have eliminated the impossible whatever remains, however improbable, must be the truth? We know that he did not come through the door, the window, or the chimney. We also know that he could not have been concealed in the room, as there is no concealment possible. Whence, then, did he come?”]

[“When I arrived at the house,” continued Holmes, “I at once went very carefully round it to observe if there were any traces in the snow which might help me. I knew that none had fallen since the evening before, and also that there had been a strong frost to preserve impressions. I passed along the tradesmen's path, but found it all trampled down and indistinguishable. Just beyond it, however, at the far side of the kitchen door, a woman had stood and talked with a man, whose round impressions on one side showed that he had a wooden leg. I could even tell that they had been disturbed, for the woman had run back swiftly to the door, as was shown by the deep toe and light heel marks, while Wooden-leg had waited a little, and then had gone away. I thought at the time that this might be the maid and her sweetheart, of whom you had already spoken to me, and inquiry showed it was so. I passed round the garden without seeing anything more than random tracks, which I took to be the police; but when I got into the stable lane a very long and complex story was written in the snow in front of me.

“There was a double line of tracks of a booted man, and a second double line which I saw with delight belonged to a man with naked feet. I was at once convinced from what you had told me that the latter was your son. The first had walked both ways, but the other had run swiftly, and as his tread was marked in places over the depression of the boot, it was obvious that he had passed after the other. I followed them up and found they led to the hall window, where Boots had worn all the snow away while waiting. Then I walked to the other end, which was a hundred yards or more down the lane. I saw where Boots had faced round, where the snow was cut up as though there had been a struggle, and, finally, where a few drops of blood had fallen, to show me that I was not mistaken. Boots had then run down the lane, and another little smudge of blood showed that it was he who had been hurt. When he came to the highroad at the other end, I found that the pavement had been cleared, so there was an end to that thought.

“On entering the house, however, I examined, as you remember, the sill and framework of the hall window with my lens, and I could at once see that someone had passed out. I could distinguish the outline of an instep where the wet foot had been placed in coming in. I was then beginning to be able to form an opinion as to what had occurred. A man had waited outside the window; someone had brought the gems; the deed had been overseen by your son; he had pursued the thief; had struggled with him; they had each tugged at the coronet, their united strength causing injuries which neither alone could have effected. He had returned with the prize, but had left a fragment in the grasp of his opponent. So far I was clear. The question now was, who was the man and who was it brought him the coronet?]

[“My dear fellow,” said Sherlock Holmes as we sat on either side of the fire in his lodgings at Baker Street, “life is infinitely stranger than anything which the mind of man could invent. We would not dare to conceive the things which are really mere commonplaces of existence. If we could fly out of that window hand in hand, hover over this great city, gently remove the roofs, and peep in at the queer things which are going on, the strange coincidences, the plannings, the cross-purposes, the wonderful chains of events, working through generations, and leading to the most outré results, it would make all fiction with its conventionalities and foreseen conclusions most stale and unprofitable.”]

Part 3 -Habits

[Holmes was certainly not a difficult man to live with. He was quiet in his ways, and his habits were regular. It was rare for him to be up after ten at night, and he had invariably breakfasted and gone out before I rose in the morning. Sometimes he spent his day at the chemical laboratory, sometimes in the dissecting-rooms, and occasionally in long walks, which appeared to take him into the lowest portions of the City. Nothing could exceed his energy when the working fit was upon him; but now and again a reaction would seize him, and for days on end he would lie upon the sofa in the sitting-room, hardly uttering a word or moving a muscle from morning to night. On these occasions I have noticed such a dreamy, vacant expression in his eyes, that I might have suspected him of being addicted to the use of some narcotic, had not the temperance and cleanliness of his whole life forbidden such a notion.]

[I had seen little of Holmes lately. My marriage had drifted us away from each other. My own complete happiness, and the home-centred interests which rise up around the man who first finds himself master of his own establishment, were sufficient to absorb all my attention, while Holmes, who loathed every form of society with his whole Bohemian soul, remained in our lodgings in Baker Street, buried among his old books, and alternating from week to week between cocaine and ambition, the drowsiness of the drug, and the fierce energy of his own keen nature. He was still, as ever, deeply attracted by the study of crime, and occupied his immense faculties and extraordinary powers of observation in following out those thoughts, and clearing up those mysteries which had been abandoned as hopeless by the official police. From time to time I heard some vague account of his doings: of his summons to Odessa in the case of the Trepoff murder, of his clearing up of the singular tragedy of the Atkinson brothers at Trincomalee, and finally of the mission which he had accomplished so delicately and successfully for the reigning family of Holland. Beyond these signs of his activity, however, which I merely shared with all the readers of the daily press, I knew little of my former friend and companion.]

Book 6 - Descriptions of people

[ He was more than six feet high, was in the prime of life, had small feet for his height, wore coarse, square-toed boots and smoked a Trichinopoly cigar. He came here with his victim in a four-wheeled cab, which was drawn by a horse with three old shoes and one new one on his off fore leg. In all probability the murderer had a florid face, and the finger-nails of his right hand were remarkably long. ]

[Miss Morstan entered the room with a firm step and an outward composure of manner. She was a blonde young lady, small, dainty, well gloved, and dressed in the most perfect taste. There was, however, a plainness and simplicity about her costume which bore with it a suggestion of limited means. The dress was a sombre grayish beige, untrimmed and unbraided, and she wore a small turban of the same dull hue, relieved only by a suspicion of white feather in the side. Her face had neither regularity of feature nor beauty of complexion, but her expression was sweet and amiable, and her large blue eyes were singularly spiritual and sympathetic. In an experience of women which extends over many nations and three separate continents, I have never looked upon a face which gave a clearer promise of a refined and sensitive nature. I could not but observe that as she took the seat which Sherlock Holmes placed for her, her lip trembled, her hand quivered, and she showed every sign of intense inward agitation.]

[A man entered who could hardly have been less than six feet six inches in height, with the chest and limbs of a Hercules. His dress was rich with a richness which would, in England, be looked upon as akin to bad taste. Heavy bands of astrakhan were slashed across the sleeves and fronts of his double-breasted coat, while the deep blue cloak which was thrown over his shoulders was lined with flame-coloured silk and secured at the neck with a brooch which consisted of a single flaming beryl. Boots which extended halfway up his calves, and which were trimmed at the tops with rich brown fur, completed the impression of barbaric opulence which was suggested by his whole appearance. He carried a broad-brimmed hat in his hand, while he wore across the upper part of his face, extending down past the cheekbones, a black vizard mask, which he had apparently adjusted that very moment, for his hand was still raised to it as he entered. From the lower part of the face he appeared to be a man of strong character, with a thick, hanging lip, and a long, straight chin suggestive of resolution pushed to the length of obstinacy.]

[I did not gain very much, however, by my inspection. Our visitor bore every mark of being an average commonplace British tradesman, obese, pompous, and slow. He wore rather baggy grey shepherd's check trousers, a not over-clean black frock-coat, unbuttoned in the front, and a drab waistcoat with a heavy brassy Albert chain, and a square pierced bit of metal dangling down as an ornament. A frayed top-hat and a faded brown overcoat with a wrinkled velvet collar lay upon a chair beside him. Altogether, look as I would, there was nothing remarkable about the man save his blazing red head, and the expression of extreme chagrin and discontent upon his features.]

[ Even his voice was gentle. He'd had the quinsy and swollen glands when he was young, he told me, and it had left him with a weak throat, and a hesitating, whispering fashion of speech. He was always well dressed, very neat and plain, but his eyes were weak, just as mine are, and he wore tinted glasses against the glare.”]

[One singular point which struck her quick feminine eye was that although he wore some dark coat, such as he had started to town in, he had on neither collar nor necktie.]

[As he stepped into the circle of yellow light thrown by the lantern she saw that he was a person of gentlemanly bearing, dressed in a gray suit of tweeds, with a cloth cap. He wore gaiters, and carried a heavy stick with a knob to it. She was most impressed, however, by the extreme pallor of his face and by the nervousness of his manner. His age, she thought, would be rather over thirty than under it.]

[“Dear me! Why, I could have sworn to it. You wore a costume of dove-colored silk with ostrich-feather trimming.”]

[The man whom I found myself facing was a well built, fresh-complexioned young fellow, with a frank, honest face and a slight, crisp, yellow mustache. He wore a very shiny top hat and a neat suit of sober black, which made him look what he was--a smart young City man, of the class who have been labeled cockneys, but who give us our crack volunteer regiments, and who turn out more fine athletes and sportsmen than any body of men in these islands. His round, ruddy face was naturally full of cheeriness, but the corners of his mouth seemed to me to be pulled down in a half-comical distress. It was not, however, until we were all in a first-class carriage and well started upon our journey to Birmingham that I was able to learn what the trouble was which had driven him to Sherlock Holmes.]

[ An instant afterwards there appeared a little wizened fellow with a cringing manner and a shambling style of walking. He wore an open jacket, with a splotch of tar on the sleeve, a red-and-black check shirt, dungaree trousers, and heavy boots badly worn. His face was thin and brown and crafty, with a perpetual smile upon it, which showed an irregular line of yellow teeth, and his crinkled hands were half closed in a way that is distinctive of sailors. As he came slouching across the lawn I heard Mr. Trevor make a sort of hiccoughing noise in his throat, and jumping out of his chair, he ran into the house. He was back in a moment, and I smelt a strong reek of brandy as he passed me.]

[His broad, grizzled head, with its shining patch of baldness, was in the immediate foreground of our vision. He was leaning far back in the red leather chair, his legs outstretched, a long black cigar projecting at an angle from his mouth. He wore a semi-military smoking jacket, claret-coloured, with a black velvet collar. In his hand he held a long legal document, which he was reading in an indolent fashion, blowing rings of tobacco smoke from his lips as he did so. There was no promise of a speedy departure in his composed bearing and his comfortable attitude.]

[The latter was a small, alert, dark-eyed man about thirty years of age, very sturdily built, with thick black eyebrows and a strong, pugnacious face. He wore a ruddy-tinted tweed suit and had the weather-beaten appearance of one who has spent most of his time in the open air, and yet there was something in his steady eye and the quiet assurance of his bearing which indicated the gentleman.]

[“He is just over fifty, with grizzled hair and moustache, and about the same height. Did you get anything else?”

“He was dressed in a heavy gray suit with a reefer jacket, and he wore a short yellow overcoat and a soft cap.”]

[At present my attention was centred upon the single grim motionless figure which lay stretched upon the boards, with vacant sightless eyes staring up at the discoloured ceiling. It was that of a man about forty-three or forty-four years of age, middle-sized, broad shouldered, with crisp curling black hair, and a short stubbly beard. He was dressed in a heavy broadcloth frock coat and waistcoat, with light-coloured trousers, and immaculate collar and cuffs. A top hat, well brushed and trim, was placed upon the floor beside him. His hands were clenched and his arms thrown abroad, while his lower limbs were interlocked as though his death struggle had been a grievous one. On his rigid face there stood an expression of horror, and as it seemed to me, of hatred, such as I have never seen upon human features. This malignant and terrible contortion, combined with the low forehead, blunt nose, and prognathous jaw gave the dead man a singularly simious and ape-like appearance, which was increased by his writhing, unnatural posture. I have seen death in many forms, but never has it appeared to me in a more fearsome aspect than in that dark grimy apartment, which looked out upon one of the main arteries of suburban London.]

[She was seated by the open window, dressed in some sort of white diaphanous material, with a little touch of scarlet at the neck and waist. The soft light of a shaded lamp fell upon her as she leaned back in the basket chair, playing over her sweet, grave face, and tinting with a dull, metallic sparkle the rich coils of her luxuriant hair. One white arm and hand drooped over the side of the chair, and her whole pose and figure spoke of an absorbing melancholy. At the sound of my foot-fall she sprang to her feet, however, and a bright flush of surprise and of pleasure colored her pale cheeks.]

[A lady dressed in black and heavily veiled, who had been sitting in the window, rose as we entered.]

[ He was quietly dressed in a suit of heather tweed with a soft cloth cap which he had laid down upon my books. Round one of his hands he had a handkerchief wrapped, which was mottled all over with bloodstains. He was young, not more than five-and-twenty, I should say, with a strong, masculine face; but he was exceedingly pale and gave me the impression of a man who was suffering from some strong agitation, which it took all his strength of mind to control.]

[He was a man of about fifty, tall, portly, and imposing, with a massive, strongly marked face and a commanding figure. He was dressed in a sombre yet rich style, in black frock-coat, shining hat, neat brown gaiters, and well-cut pearl-grey trousers. Yet his actions were in absurd contrast to the dignity of his dress and features, for he was running hard, with occasional little springs, such as a weary man gives who is little accustomed to set any tax upon his legs. As he ran he jerked his hands up and down, waggled his head, and writhed his face into the most extraordinary contortions.]

[He hurried to his chamber and was down again in a few minutes dressed as a common loafer. With his collar turned up, his shiny, seedy coat, his red cravat, and his worn boots, he was a perfect sample of the class.]

[As he spoke the door opened and a young lady entered the room. She was plainly but neatly dressed, with a bright, quick face, freckled like a plover's egg, and with the brisk manner of a woman who has had her own way to make in the world.]

[He was well but quietly dressed in a dark-gray suit, and carried a brown wide-awake in his hand. I should have put him at about thirty, though he was really some years older.]

[Her face was turned away as we entered, but we could see that she was dressed in a red frock, and that she had long white gloves on. As she whisked round to us, I gave a cry of surprise and horror. The face which she turned towards us was of the strangest livid tint, and the features were absolutely devoid of any expression. ]

[He was dressed in the seedy frock-coat of the book merchant, but the rest of that individual lay in a pile of white hair and old books upon the table. Holmes looked even thinner and keener than of old, but there was a dead-white tinge in his aquiline face which told me that his life recently had not been a healthy one.]

[He was dressed in a dark suit with a cloth cap. The only thing about his face that I could clearly see was his dark beard. ]

[It was a young fellow about seventeen, dressed like an ostler, with leather cords and gaiters. He lay upon his back, his knees drawn up, a terrible cut upon his head.]

[ He had dressed himself fully before going off in his usual school suit of black Eton jacket and dark grey trousers.]

[ He was a tall and stately person, scrupulously dressed, with a drawn, thin face, and a nose which was grotesquely curved and long. His complexion was of a dead pallor, which was more startling by contrast with a long, dwindling beard of vivid red, which flowed down over his white waistcoat, with his watch-chain gleaming through its fringe.]

[Our visitor was an exceedingly alert man, thirty years of age, dressed in a quiet tweed suit, but retaining the erect bearing of one who was accustomed to official uniform. ]

[He was dressed like a gentleman, in Norfolk jacket and knickerbockers, with a cloth cap upon his head. We watched him staring round with frightened eyes. ]

[He was simply what the porter described as a “medium-looking chap”; a man of fifty, beard grizzled, pale face, quietly dressed. He seemed himself to be agitated.]

[ He was dressed in rusty black, with a very broad brimmed top-hat and a loose white necktie--the whole effect being that of a very rustic parson or of an undertaker's mute.]

[He was dressed in his shirt and trousers, with his favourite blackthorn cudgel in his hand.]

[How was she dressed?”

“Quiet, sir--a long mantle down to her feet.”]

[He was a small, slim, clean-shaven, prim-faced man, flaxen-haired and lean-jawed, between thirty and forty years of age, dressed in a gray suit and wearing a straw hat. A tin box for botanical specimens hung over his shoulder and he carried a green butterfly-net in one of his hands.]

[“He was dressed in a heavy gray suit with a reefer jacket, and he wore a short yellow overcoat and a soft cap.”]

[“And he was well dressed?”

“Very smartly dressed, sir--quite the gentleman. Dark clothes--nothing you would note.”]

[It was an old acquaintance, Inspector Morton, of Scotland Yard, dressed in unofficial tweeds.]

Book 7 - Lestrade

[ A lean, ferret-like man, furtive and sly-looking, was waiting for us upon the platform. In spite of the light brown dustcoat and leather-leggings which he wore in deference to his rustic surroundings, I had no difficulty in recognising Lestrade, of Scotland Yard. With him we drove to the Hereford Arms where a room had already been engaged for us.]

[There was one little sallow rat-faced, dark-eyed fellow who was introduced to me as Mr. Lestrade, and who came three or four times in a single week.]

[“Gregson is the smartest of the Scotland Yarders,” my friend remarked; “he and Lestrade are the pick of a bad lot. They are both quick and energetic, but conventional--shockingly so. They have their knives into one another, too. They are as jealous as a pair of professional beauties. There will be some fun over this case if they are both put upon the scent.”]

[ Lestrade is a well-known detective.]

[Lestrade, who had been in the front room while we were holding this conversation in the hall, reappeared upon the scene, rubbing his hands in a pompous and self-satisfied manner.]

Book 8 - Mechanics

[I had imagined that Sherlock Holmes would at once have hurried into the house and plunged into a study of the mystery. Nothing appeared to be further from his intention. With an air of nonchalance which, under the circumstances, seemed to me to border upon affectation, he lounged up and down the pavement, and gazed vacantly at the ground, the sky, the opposite houses and the line of railings. Having finished his scrutiny, he proceeded slowly down the path, or rather down the fringe of grass which flanked the path, keeping his eyes riveted upon the ground. Twice he stopped, and once I saw him smile, and heard him utter an exclamation of satisfaction. There were many marks of footsteps upon the wet clayey soil, but since the police had been coming and going over it, I was unable to see how my companion could hope to learn anything from it. Still I had had such extraordinary evidence of the quickness of his perceptive faculties, that I had no doubt that he could see a great deal which was hidden from me.]

Book 9 - Watson

[‘Here is a gentleman of a medical type, but with the air of a military man. Clearly an army doctor, then. He has just come from the tropics, for his face is dark, and that is not the natural tint of his skin, for his wrists are fair. He has undergone hardship and sickness, as his haggard face says clearly. His left arm has been injured. He holds it in a stiff and unnatural manner. Where in the tropics could an English army doctor have seen much hardship and got his arm wounded? Clearly in Afghanistan.’ The whole train of thought did not occupy a second. I then remarked that you came from Afghanistan, and you were astonished.”]

Book 10 - Telegrams

Book 11 - Theater

Book 12 - Urchins

Book 13 - Colorful language

[, said he]

[“It's awful, Mr. Holmes, simply awful! I wonder my hair isn't grey. Godfrey Staunton--you've heard of him, of course? He's simply the hinge that the whole team turns on. I'd rather spare two from the pack and have Godfrey for my three-quarter line. Whether it's passing, or tackling, or dribbling, there's no one to touch him; and then, he's got the head and can hold us all together. What am I to do? That's what I ask you, Mr. Holmes. There's Moorhouse, first reserve, but he is trained as a half, and he always edges right in on to the scrum instead of keeping out on the touch-line. He's a fine place-kick, it's true, but, then, he has no judgment, and he can't sprint for nuts. Why, Morton or Johnson, the Oxford fliers, could romp round him. Stevenson is fast enough, but he couldn't drop from the twenty-five line, and a three-quarter who can't either punt or drop isn't worth a place for pace alone. No, Mr. Holmes, we are done unless you can help me to find Godfrey Staunton.”]

[“Got your message, sir,” said he, “and brought 'em on sharp. Three bob and a tanner for tickets.”]

[I found out where he was through a sailor man that had met him in London, and down I went to squeeze him. The first night he was reasonable enough, and was ready to give me what would make me free of the sea for life. We were to fix it all two nights later. When I came I found him three parts drunk and in a vile temper. We sat down and we drank and we yarned about old times, but the more he drank the less I liked the look on his face. I spotted that harpoon upon the wall, and I thought I might need it before I was through. Then at last he broke out at me, spitting and cursing, with murder in his eyes and a great clasp-knife in his hand. He had not time to get it from the sheath before I had the harpoon through him. Heavens! what a yell he gave; and his face gets between me and my sleep! I stood there, with his blood splashing round me, and I waited for a bit; but all was quiet, so I took heart once more. I looked round, and there was the tin box on a shelf. I had as much right to it as Peter Carey, anyhow, so I took it with me and left the hut. Like a fool I left my baccy-pouch upon the table.]

Volume 7 - Ideas

[The fogs]

[Trains to far-off one-shot lands]

[Bird on sidetable]

[Get cases at home]

[put ads in paper]

[only call in watson for action scenes; sherlock doesn't always have him with him, or wants him to act dumb]

[need watson to make you famous to get more cases]

[time passing?]

[in the house, or perhaps in all houses, Sherlock always assumes languid or odd positions]

[can research things in his mind]

[Sherlock needs a costume change or two]

[play out confessions in-game]

[statistical analysis: less dialogue, longer stories?]

[Include testimony's in distinctive style; the testimonies are just re-enactments. Sherlock can flashback to recreate scenes to test out hypotheses; incorrect versions fail, like Spider and Web. Still 800 to 900 actions.]

[now the story viewpoint is first person past

Example is a room. The printed name is "West of House". The description is "[We] [are] in an open field west of a white house.".
A small mailbox is here. "[regarding the small mailbox][There] [are] a small mailbox here.".
This'll produce:]

[Highest-rated stories: scandal in bohemia, red-headed league, adventure of the blue carbuncle, adventure of the speckled band, silver blaze, musgrave ritual, empty house, dancing men,  six napoleons, bruce-partington plans]

[Give game a rhythm: initial consultation (with examination of person and deductions), interaction with watson (points are scored by tellling watson juicy details), exploration at 1-3 new locales (for a total of 10 rooms or so per case), assigning tasks to urchins/telegrams/police/watson, scientific analysis, arrangement with watson for final confession and/or capture.

The final case has bits spread out through all of the other cases. Each case has a piece of evidence or statement or some such thing that doesn't fit, because it is part of the grand finales. Do it based on number of cases solved, and add a midway point with a small amount of exploration, setting up foreshadowing. The beginning also has foreshadowing.]

[have players act out confessions of the truth, cutting to black]

Volume 8 - Hints

Hinting is an action out of world. Understand "hint" as hinting.

Mind Holmes is not portable.

Carry out hinting:
	if DepressionTime is happening:
		say "[one of]You should talk to Watson about the case.[or]Just  SAY [a random relevant unwatsongiven quip] TO WATSON.[stopping]";
	otherwise if pertinentcase is BaseCase:
		if the player is enclosed by Sanatorium:
			if the player is OldHolmes:
				say "You've done very well. You can just SLEEP.";
			otherwise if ClueTime is 0:
				say "[one of]Since this is the beginning of the game, you may be wondering how to phrase commands. Typing HINT long enough at any point in the game will tell you an exact command. Usually, it will give you a softer hint first. Type HINT again to get an actual hint.[or]You still haven't talked to Watson. Type HINT again to get an exact command to type.[or]TALK TO WATSON.[stopping]";
			otherwise if Sick is not carried by the player:
				say "[one of]You need to examine Watson more.[or]Something is odd about his face.[or]X FACE.[stopping]";
			otherwise if Medical is not carried by the player:
				say "[one of]You need to examine Watson more.[or]His stick seems interesting.[or]X STICK.[stopping]";
			otherwise if Incurable is not carried by the player:
				say "[one of]Now that you have two thoughts with something in common, you can link them. Type HINT again for the exact command to use.[or]LINK MEDICAL TO SICK.[stopping]";
			otherwise if OldWatson is in Sanatorium:
				say "[one of]Painful as it is, you should talk to Watson about his disease.[or]SAY INCURABLE TO WATSON.[stopping]";
			otherwise:
				say "[one of]Watson has left you a package.[or]OPEN PACKAGE.[stopping]";
		otherwise if the player is not in Conscious Mind:
			let way be the best route from the location of the player to Conscious Mind;
			say "You need to select a case to remember; you can do so in the room to the [bold type][way][roman type].";
		otherwise:
			say "[one of]You can TAKE a memory to experience the case associated to it.[or]Just TAKE [the random portable thing contained in Conscious Mind].[stopping]";
	otherwise if pertinentcase is SpeckledBand:
		if the player is Mind Holmes:
			if SpeckledSolution is not happening:
				say "You can simply WAKE UP to leave.";
			otherwise:
				if the player is not in Conscious Mind:
					let way be the best route from the location of the player to Conscious Mind;
					say "You need to be near at the center of things, to the [bold type][way][roman type].";
				otherwise if MeansFlag of SpeckledBand is 0:
					say "[one of]You already know the means; what could Roylott use to commit the murder?[or]PUT SNAKE IN THE MEANS SLOT.[stopping]";
				otherwise if OpportunityFlag of SpeckledBand is 0:
					say "[one of]You know that Roylott was there that day; put that piece of information in the opportunity slot.[or]PUT PRESENCE IN THE OPPORTUNITY SLOT.[stopping]";
				otherwise:
					say "[one of]You know exactly why Roylott did it.[or]PUT INCOME IN THE MOTIVE SLOT.[stopping]";
		otherwise if the player is in Train Car:
			say "You need to talk to Watson.";
		otherwise if Dr Roylott is in Dr Roylott's Room:
			if the player is not in Dr Roylott's Room:
				let way be the best route from the location of the player to Dr Roylott's Room, using doors;
				say "[one of]You need to check on Dr Roylott.[or]You should go [way] to Dr. Roylott's room.[stopping]";
			otherwise if the small dog lash is not carried by the player:
				say "[one of]You need something to trap the snake with.[or]Take the dog lash.[stopping]";
			otherwise:
				say "[one of]You need to dispose of the snake.[or]You can TRAP the SNAKE.[stopping]";
		otherwise if the speckled band is in the location of the player:
			say "Attack the snake!";
		otherwise if the player is in a dark room:
			say "You only need to wait.";
		otherwise if Daytime is 0:
			if the dimmed lamp is enclosed by the location of the player:
				say "You need to turn off the lamp.";
			otherwise:
				say "You need to go to the room, to the north.";
		otherwise if DepressionTime is happening:
			say "[one of]You should talk to Watson about the case.[or]Just  SAY [a random relevant unwatsongiven quip] TO WATSON.[stopping]";
		otherwise if the player is in Village Room:
			if the middle window signal is in Village Room:
				say "It is time! Go to the north.";
			otherwise:
				say "The only thing to do is wait.";
		otherwise if ImpressCounter > 4:
			if the player is not in SherlockStokeMoran:
				let way be the best route from the location of the player to SherlockStokeMoran, using doors;
				say "[one of]You can leave, now.[or]The way out is to the [way].[stopping]";
			otherwise:
				say "You can leave to the south.";
		otherwise if PlanTime is happening:
			say "You need to IMPRESS Miss Helen Stoner with the seriousness of the case.";
		otherwise if Plan is carried by the player:
			say "You need to SAY the PLAN to Miss Helen Stoner.";
		otherwise if Snakelevel > 0:
			if a relevant snakeful quip is carried by the player:
				say "[one of]You need to make sure that you know what killed Julia Stoner.[or]You need to LINK more thoughts with SNAKE.[or]Just LINK [a random relevant snakeful quip carried by the player] TO SNAKE.[stopping]";
			otherwise:
				let BobQuip be a random undiscarded snakeful quip not carried by the player;
				say "[One of]You need to investigate more.[or]There is another clue in [TruthLocation of BobQuip].[or]If you want something specific, you can examine [the TruthThing of BobQuip] in [TruthLocation of BobQuip].[stopping]";
		otherwise if creature is carried by the player:
			say "[one of]You need to deduce the identity of the speckled band.[or]You have the means to do so.[or]Consider the thought CREATURE.[or]LINK CREATURE TO SPECKLED.[stopping]";
		otherwise if SearchFlag is 1:
			let way be the best route from the location of the player to Dr Roylott's Room, using doors;
			if the player is not in Dr Roylott's Room:
				say "[one of]You need to investigate the estate thoroughly.[or]You can discover quite a bit in Dr. Roylott's Room.[or]Go to Dr. Roylott's room, to the [way].[stopping]";
			otherwise:
				say "[one of]You need to examine everything in the room.[or]Examine the safe.[stopping]";
		otherwise if TrapStoner is enclosed by the location of the player:
			say "[one of]You should verify the identity of the lady.[or]Just EXAMINE the WOMAN.[stopping]";
		otherwise if TrapEstate is enclosed by the location of Trap:
			say "[one of]Perhaps the cabman has something interesting to say about the estate.[or]Try TALKing TO the CABMAN.[stopping]";
		otherwise if the player is in Trap:
			say "There's nothing for you to do right now but wait.";
		otherwise if the player is in Waterloo Station:
			say "You can catch the train to the east.";
		otherwise if SawWill is 1:
			let way be the best route from the location of the player to Waterloo Station, using doors;
			say "The train to Stoke Moran is at Waterloo Station, to the [way].";
		otherwise if the player is in Doctor's Commons:
			say "You can TALK TO the clerk.";
		otherwise if RoyArrival has ended:
			if the player is not in London Streets:
				let way be the best route from the location of the player to London Streets, using doors;
				say "You need to go to Doctor's Commons to the [way].";
			otherwise:
				say "You need to go to Doctor's Commons to the east.";
		otherwise if RoyArrival is happening:
			say "Dr. Roylott needs to go; just DISMISS him.";
		otherwise if Farewell is StonerGiven:
			say "You need only to WAIT right now.";
		otherwise if Farewell is carried by the player:
			say "[one of]You've heard enough.[or]You can say FAREWELL to Miss Helen Stoner.[stopping]";
		otherwise if Visit is carried by the player:
			say "You can SAY VISIT to suggest a visit to Stoke Moran.";
		otherwise if VisitFlag is 1:
			say "[one of]You need only talk to Miss Stoner about your various thoughts.[or]Just SAY [a random relevant not stonergiven quip carried by the player] to Miss Helen Stoner.[stopping]";
		otherwise if the shawl is worn by the player and the player is in Julia's room:
			if Speckled is carried by Sherlock Holmes:
				say "I had to see the doctor to the NORTH.";
			otherwise:
				say "[one of]I needed to do something, anything at all![or]I needed to HELP JULIA.[stopping]";
		otherwise if the shawl is worn by the player:
			let way be the best route from the location of the player to Julia's room, using even locked doors;
			say "I needed to see my sister, to the [way].";
		otherwise if the player is on Helen's bed:
			if Julia is in Julia's room:
				say "I needed to GET OUT OF BED.";
			otherwise:
				say "I needed to SLEEP.";
		otherwise if the player is enclosed by Helen's Room:
			if Julia is not in Helen's room:
				say "I could GET IN BED.";
			otherwise:
				say "I just wanted to TALK TO my sister.";
		otherwise if the player is Miss Helen Stoner:
			let way be the best route from the location of the player to Helen's room, using doors;
			say "I felt like retiring to my room, to the [way].";
		otherwise if testimony is carried by the player and testimony is relevant:
			say "[one of]It is time to hear Miss Stoner's story.[or]Just SAY TESTIMONY TO MISS STONER.[stopping]";
		otherwise if dogcart is StonerGiven:
			if trainride is not carried by the player:
				say "[one of]You need to examine Miss Stoner more carefully.[or]EXAMINE her GLOVE.[stopping]";
			otherwise:
				say "You need to impress her more by SAYing TRAINRIDE to her.";
		otherwise if dogcart is carried by the player:
			say "You need to impress her more by SAYing DOGCART to her.";
		otherwise if Miss Helen Stoner is in 221B Baker Street:
			if the player is not in 221B Baker Street:
				let way be the best route from the location of the player to 221B Baker Street, using doors;
				say "Mrs. Hudson is waiting outside your front door, which is in the sitting room to the [way].";
			otherwise:
				say "[one of]You need to examine her more carefully.[or]Have you EXAMINEd the LADY?[or]Have you EXAMINEd the MUD?[stopping]";
		otherwise if WatsonSleeping is 0:
			if the player is in 221B Baker Street:
				say "Just open the front door.";
			otherwise: 
				let way be the best route from the location of the player to 221B Baker Street, using doors;
				say "Mrs. Hudson is waiting outside your front door, which is in the sitting room to the [way].";
		otherwise if the player is in Watson's Bedroom:
			say "Just TALK TO WATSON.";
		otherwise if GetWatson is happening:
			if Mrs Hudson is in the location of the player:
				say "[one of]Mrs. Hudson needs your attention.[or]You can TALK TO Mrs. Hudson.[stopping]";
			otherwise:
				let way be the best route from the location of the player to Watson's Bedroom, using doors;
				say "You need to see Watson, to the [way].";
		otherwise if HudsonKnocking is happening:
			if the player is in 221B Baker Street:
				say "You can just OPEN the FRONT DOOR.";
			otherwise:
				let way be the best route from the location of the player to 221B Baker Street, using doors;
				say "You need to go to your front door, to the [way].";
		otherwise:
			say "Something has gone terribly wrong. You are on your own.";
	otherwise if pertinentcase is sixnapoleons:
		if the player is Mind Holmes:
			if SleepySixSherlock is not happening:
				say "You can simply go outside.";
				stop the action;		
		if the Rockefeller Emerald is on the table:
			say "All that's left is to take the emerald.";
		otherwise if SandefordCounter is 7:
			if the player is in 221B Baker Street:
				say "[one of]It's time to make the big reveal.[or]BREAK THE BUST.[stopping]";
			otherwise:
				let way be the best route from the location of the player to 221B Baker Street;
				say "Everyone is waiting for you to [the way].";
		otherwise if Mr Sandeford is in 221B Baker Street:
			if the player is in the location of Inspector Lestrade:
				say "[one of]It seems that Mr. Sandeford wants you to talk to him.[or]TALK TO SANDEFORD.[stopping]";
			otherwise:
				let way be the best route from the location of the player to the location of Inspector Lestrade;
				say "Lestrade is waiting for you, to [the way].";
		otherwise if SixInBed is 1:
			if the player is in the location of Inspector Lestrade:
				say "[one of]It seems that Lestrade wants you to talk to him.[or]TALK TO LESTRADE.[stopping]";
			otherwise:
				let way be the best route from the location of the player to the location of Inspector Lestrade;
				say "Lestrade is waiting for you, to [the way].";
		otherwise if LestradeDropTime is 2:
			if the player is Sherlock Holmes:
				if the player is in Sherlock's Bed:
					say "You can sleep, now.";
				otherwise if the player is in Sherlock's Bedroom:
					say "[one of]You can just get in bed.[or]ENTER BED.[stopping]";
				otherwise:
					let way be the best route from the location of the player to Sherlock's Bedroom;
					say "You need to go to bed to [the way].";
			otherwise:
				if Revenge is relevant:
					say "You can eliminate some of your motive-related thoughts by LINKing other thoughts with them.";
				otherwise if Hatred is relevant:
					say "You can eliminate some of your motive-related thoughts by LINKing other thoughts with them.";
				otherwise if common is not carried by Sherlock Holmes:
					say "[one of]You need to know who the perpetrator is.[or]You have enough evidence from your thoughts.[or]Only one person you know of has conections at each location.[or]LINK RECOGNITION TO EMPLOYED.[stopping]";
				otherwise if Timing is not carried by Sherlock Holmes:
					say "[one of]Isn't there something odd about the timing of Tommy's incarceration and the sales of the bust?[or]LINK SALES TO INCARCERATION.[stopping]";
				otherwise if Emerald is not carried by Sherlock Holmes:
					if the player is not in Human Sciences:
						let way be the best route from the location of the player to Human Sciences;
						say "You'll find better luck in Human Sciences, to [the way].";
					otherwise:
						say "[one of]You remember something interesting that happened around the time Tommy was released. You should look up something about that.[or]LOOK UP TIMING.[stopping]";
				otherwise if MotiveFlag of SixNapoleons is 0:
					if the player is not in Conscious Mind:
						let way be the best route from the location of the player to Conscious Mind;
						say "You have everything you need to solve the case; but you need to be in the Conscious Mind, to [the way].";
					otherwise:
						say "[one of]You've found the motive for this case. You can put it in the motive slot.[or]PUT Emerald IN MOTIVE SLOT.[stopping]";
				otherwise if OpportunityFlag of SixNapoleons is 0:
					if the player is not in Conscious Mind:
						let way be the best route from the location of the player to Conscious Mind;
						say "You have everything you need to solve the case; but you need to be in the Conscious Mind, to [the way].";
					otherwise:
						say "[one of]You've already found the opportunity for this case. You can put it in the opportunity slot.[or]PUT TIMING IN OPPORTUNITY SLOT.[stopping]";
				otherwise if MeansFlag of SixNapoleons is 0:
					if the player is not in Conscious Mind:
						let way be the best route from the location of the player to Conscious Mind;
						say "You have everything you need to solve the case; but you need to be in the Conscious Mind, to [the way].";
					otherwise:
						say "[one of]You've already found the means for this case. You can put it in the means slot.[or]How could Tommy be able to find all of the busts?[or]PUT COMMON IN MEANS SLOT.[stopping]";
		otherwise if Josiah Brown is talked to:
			if the player is in the location of Inspector Lestrade:
				say "[one of]It seems that Lestrade wants you to talk to him.[or]TALK TO LESTRADE.[stopping]";
			otherwise:
				let way be the best route from the location of the player to the location of Inspector Lestrade;
				say "Lestrade is waiting for you, to [the way].";
		otherwise if the fractured bust is examined:
			say "All you need to do is to talk to Josiah Brown.";
		otherwise if BustCounter is 5:
			say "You should look at the bust.";
		otherwise if LaburnumWaitTime is 2:
			say "[one of]You need to do something, anything.[or]Or you can just wait.[stopping]";
		otherwise if the express letter is carried by the messenger boy:
			say "There's nothing to do but to wait.";
		otherwise if LetterDone is 1:
			if the player is in 221B Baker Street:
				say "You can give the letter to the messenger boy, now.";
			otherwise:
				let way be the best route from the location of the player to 221B Baker Street;
				say "The messenger boy is to [the way].";
		otherwise if LestradeNapol is 6:
			if the player is in 221B Baker Street:
				say "[one of]You can write a letter here to Josiah Brown.[or]WRITE LETTER.[stopping]";
			otherwise:
				let way be the best route from the location of the player to 221B Baker Street;
				say "Your letter-writing materials are to [the way].";
		otherwise if LestradeNapol > 0:
			if the player is in the location of Inspector Lestrade:
				say "[one of]It seems that Lestrade wants you to talk to him.[or]TALK TO LESTRADE.[stopping]";
			otherwise:
				let way be the best route from the location of the player to the location of Inspector Lestrade;
				say "Lestrade is waiting for you, to [the way].";
		otherwise if LestradePittDone is 1:
			if the young clerk is not talked to:
				if the player is in Harding Brothers:
					say "You can talk to the clerk.";
				otherwise:
					let way be the best route from the location of the player to Harding Brothers;
					say "It's time to go to Harding Brothers, to [the way].";				
			otherwise if the news-bill is not examined:
				if the player is in nearby restaurant:
					say "[one of]The news-bill looks interesting.[or]X NEWS BILL.[stopping]";
				otherwise:
					let way be the best route from the location of the player to nearby restaurant;
					say "You should take a break in the restaurant, to [the way].";
			otherwise if FoodDepressionDone is 0:
				say "[one of]You're feeling very depressed; you should talk to Watson.[or]Say [a random relevant quip] to Watson.[stopping]";
			otherwise if Employed is not carried by the player:
				if the player is in Pictures Dealer's establishment:
					if Morse Hudson is not talked to:
						say "You can talk to Morse Hudson.";
					otherwise:
						say "You can SHOW the PHOTOgraph to Morse Hudson.";
				otherwise:
					let way be the best route from the location of the player to Pictures Dealer's Establishment;
					say "It's time to go to Hudson's Art Shop, to [the way].";
			otherwise if the German Manager is not talked to:
				if the player is in the location of the German Manager:
					say "You can talk to the German manager.";
				otherwise:
					let way be the best route from the location of the player to the location of the German Manager;
					say "You need to talk to the manufacturer of the busts, to [the way].";
			otherwise if PhotoGermanShown is 0:
				if the player is in the location of the German Manager:
					say "You should show the photograph to the German manager.";
				otherwise:
					let way be the best route from the location of the player to the location of the German Manager;
					say "You should show the photo to the manager, to [the way].";
			otherwise if Incarceration is not carried by the player:
				if the player is in the location of the German Manager:
					say "[one of]You should ask the manager about the date of the sales.[or]SAY SALES TO MANAGER.[stopping]";
				otherwise:
					let way be the best route from the location of the player to the location of the German Manager;
					say "You still need to talk to the manager, to [the way].";
			otherwise if the founder is not talked to:
				if the player is in Harding Brothers:
					say "You should talk to the founder.";
				otherwise:
					let way be the best route from the location of the player to Harding Brothers;
					say "It's time to go to Harding Brothers, to [the way].";				
			otherwise:
				say "Just go anywhere.";
		otherwise if the splintered shards are examined:
			if the player is in the location of Inspector Lestrade:
				if the player is in Pitt Street:				
					if LestradePittCounter > 5:
						say "You need to go home to the SOUTH.";
					otherwise:
						if ClueTime is 0:
							say "You need to go SOUTH.";
						otherwise:
							say "[one of]It seems that Lestrade wants you to talk to him.[or]TALK TO LESTRADE.[stopping]";
				otherwise:
					let way be the best route from the location of the player to Pitt Street;
					say "You need to go home, to the [way].";
			otherwise:
				if LestradePittCounter > 5:
					say "You need to go home to the SOUTH.";
				otherwise:
					let way be the best route from the location of the player to the location of Inspector Lestrade;
					say "Lestrade is waiting for you, to [the way].";
		otherwise if PhotoCounter is 4:
			if the player is not in the location of the splintered shards:
				let way be the best route from the location of the player to the location of the splintered shards;
				say "The scene of the crime is to [the way].";
			otherwise:
				say "Have you examined the splintered shards?";
		otherwise if PhotoCounter > 0:
			say "You really ought to talk to Lestrade.";
		otherwise if the player is Horace Harker:
			if Harker's poker is not carried by the player:
				say "You should take the poker with you.";
			otherwise if the police whistle is not carried by the player:
				if the player is not in Harker's Landing:
					let way be the best route from the location of the player to Harker's Landing;
					say "You heard something earlier, to [the way].";
				otherwise:
					say "[one of]You should examine the dead man.[or]X BODY.[stopping]";
			otherwise:
				say "[one of]You should blow the whistle![or]BLOW WHISTLE.[stopping]";
		otherwise if HoraceTalked is 1:
			if Inspector Lestrade is not in the location of the player:
				let way be the best route from the location of the player to the location of Inspector Lestrade;
				say "You need to see Lestrade, to [the way].";
			otherwise:
				say "[one of]You can ask Horace Harker about his testimony.[or]SAY TESTIMONY TO HARKER.[stopping]";			
		otherwise if Murder is carried by the player:
			if Inspector Lestrade is not in the location of the player:
				let way be the best route from the location of the player to the PittHouse;
				say "You need to see Lestrade, to [the way].";
			otherwise:
				say "You can talk to Horace Harker.";
		otherwise if NapoleonWatson has ended:
			let way be the best route from the location of the player to PittHouse, using doors;
			say "You need to go to Lestrade, to [the way].";
		otherwise if NapoleonWatson is happening:
			if WatsonSleeping is 1:
				if the player is not in Watson's Bedroom:
					let way be the best route from the location of the player to Watson's Bedroom, using doors;
					say "You need to see Watson, to the [way].";
				otherwise:
					say "[one of]Watson would like you to talk to him.[or]TALK TO WATSON.[stopping]";
			otherwise:
				say "You both need to go back to your sitting room to the north.";
		otherwise if NewTelegram is happening:
			if the player is in 221B Baker Street:
				say "[one of]There is someone at the front door.[or]OPEN DOOR.[stopping]";
		otherwise if LestradeCounter is 5:
			if the player is in the location of Inspector Lestrade:
				say "[one of]Perhaps you should say farewell to Lestrade.[or]SAY FAREWELL TO LESTRADE.[stopping]";
			otherwise:
				let way be the best route from the location of the player to the location of Inspector Lestrade;
				say "Lestrade is waiting for you, to [the way].";			
		otherwise if LestradeFlag is 1:
			if the player is in the location of Inspector Lestrade:
				say "[one of]Perhaps you should discuss the case more with Lestrade.[or]SAY [a random relevant public quip] TO LESTRADE.[stopping]";
			otherwise:
				let way be the best route from the location of the player to the location of Inspector Lestrade;
				say "Lestrade is waiting for you, to [the way].";			
		otherwise if the player is Dr Barnicot:
			if muffled is not carried by Sherlock Holmes:
				let way be the best route from the location of the player to Barnicot's Surgery;
				say "No matter what, it's time for you to go to your surgery, to [the way].";
			otherwise:
				say "Try doing something, anything.";
		otherwise if whichreport is 2:
			if the player is in the location of Inspector Lestrade:
				say "[one of]You can ask Lestrade about his reports again.[or]SAY REPORTS TO LESTRADE.[stopping]";
			otherwise:
				let way be the best route from the location of the player to the location of Inspector Lestrade;
				say "Lestrade is waiting for you, to [the way].";
		otherwise if WhereisSmasher is happening:
			if the player is in the location of the several passers-by:
				say "Try talking to the passers-by.";
			otherwise:
				say "[one of]He ran to the north![or]GO NORTH.[stopping]";
		otherwise if HeadSmashing is happening:
			say "[one of]Something terrible has happened to the north![or]GO NORTH.[stopping]";
		otherwise if the player is the assistant:
			say "[one of]The assistant was needed in the back room.[or]GO SOUTH.[stopping]";
		otherwise if Reports is carried by the player:
			if the player is in the location of Inspector Lestrade:
				say "[one of]You can ask Lestrade about his reports, now.[or]SAY REPORTS TO LESTRADE.[stopping]";
			otherwise:
				let way be the best route from the location of the player to the location of Inspector Lestrade;
				say "Lestrade is waiting for you, to [the way].";
		otherwise:
			if the player is in the location of Inspector Lestrade:
				say "[one of]It seems that Lestrade wants you to talk to him.[or]TALK TO LESTRADE.[stopping]";
			otherwise:
				let way be the best route from the location of the player to the location of Inspector Lestrade;
				say "Lestrade is waiting for you, to [the way].";
	otherwise:
		say "Something has gone terribly wrong. You are on your own.";
			

Understand "get out of bed" as exiting.

A quip has a room called the TruthLocation. TruthLocation of a quip is usually 221B Baker Street.

A quip has an object called the TruthThing. TruthThing of a quip is usually front door.

TruthLocation of Connected is Miss Stoner's Room. TruthThing of Connected is the narrow white-counterpaned bed.

Before examining the narrow white-counterpaned bed:
	now the truththing of connected is the ventilator;

TruthLocation of Secured is Dr Roylott's Room. TruthThing of Secured is the safe.

TruthLocation of Fake is Miss Stoner's Room. TruthThing of Fake is the narrow white-counterpaned bed.

Before examining the narrow white-counterpaned bed:
	now TruthThing of Fake is the odd bell-pull;

TruthLocation of Dangerous is Dr Roylott's Room. TruthThing of Dangerous is the camp-bed.

Before examining the camp-bed:
	now Truththing of Dangerous is the small dog lash;
	now TruthThing of Fake is the odd bell-pull;

A quip can be snakeful or not snakeful. Connected is a snakeful quip.  Secured is a snakeful quip. Fake is a snakeful quip.  Dangerous is a snakeful quip.

[secured, fake, connected, dangerous]

[Before going south from SherlockStokeMoran:
	if daytime is 0:
		say "The life of Miss Helen Stoner may rely on this; you will not abandon your post." instead;
	otherwise if the player is carrying a relevant entranceful quip:
		say "You have several unanswered questions; it is time to eliminate the impossible by LINKing thoughts. You have not eliminated all the possibilities by which the danger may have entered." instead;
	otherwise if connected is not carried by the player:
		say "You have several unanswered questions; you have eliminated all normal entrances to the room. There must be another entrance!" instead;
	otherwise if snakelevel < 4:
		say "You have not yet determined the means by which Julia Stoner died; you feel close to an answer." instead;
	otherwise if impresscounter < 5:
		say "You have not shared all of your plan with Miss Stoner, yet.";	
	otherwise:
		say "You turn to Miss Stoner. You say, 'And now, Miss Stoner, we must leave you for if Dr. Roylott returned and saw us our journey would be in vain. Good-bye, and be brave, for if you will do what I have told you, you may rest assured that we shall soon drive away the dangers that threaten you.'";
		now StonerFollowFlag is 0;
		now miss helen stoner is nowhere;
		Now the player is in Village Room instead;]
		
Volume 9 - XYZZY

The Professor's Office is a room.

Professor M is a man in The Professor's Office. The description of Professor M is "Sam Kabo Moriarty, known to your  enemies as Professor M and to your shadowy cabal as [italic type]Maga[roman type]."

TempPlayer is a person that varies.

XYZZYing is an action out of world. Understand "XYZZY" as XYZZYing.

Carry out XYZZYing:
	if the player is not Professor M:
		now TempPlayer is the player;
		say "**********************************************[line break]Meanwhile, far, far away...[line break]**********************************************";
		Playerchange Professor M;
		try looking;
	otherwise:
		say "**********************************************[line break]Back to our heroes...[line break]**********************************************";
		Playerchange TempPlayer;
		try looking;
		
The description of The Professor's Office is "Your office is covered by a hodgepodge of scientific texts, literary treatises and articles.

The diploma on the wall proclaims you as Dr. Moriarty to all who enter."

The diploma is scenery in the professor's office. The description of the diploma is "This diploma  testifies to your competent knowledge of mathematics, physics, and interactive fiction criticism."

The sheaf of papers is in The Professor's Office. "A sheaf of papers is lying on the floor." The description of the sheaf of papers is "This is a collection of scathing reviews of the new West End offerings. You nod your head in approval. A note on the sheaf says 'Use XYZZY to return.'" Understand "note" as the sheaf of papers.