"S.T.I.F.L.E." by Jeff Watson Section 1 - Setup and game-wide scripts To strip the player: now every thing carried by the player is in Elsewhere. The former location is a room that varies. Retreating is an action applying to nothing. Carry out retreating: move the player to the former location. [And to deal with the case where the player has not yet moved:] When play begins: change the former location to the Saarbrucken Room. Instead of retreating when the former location is the location: say "You haven't gone anywhere yet." Use full-length room descriptions. [The Exit List] When play begins: change left hand status line to "Exits: [exit list]"; say "Type HELP at any time for assistance.[paragraph break]Explore, examine and interact as you will.". When play ends: say "You explored [number of visited rooms] out of [number of rooms] total rooms."; say "You interacted with [number of met people] out of [number of people] total characters.". To say exit list: let place be location; repeat with way running through directions: let place be the room way from the location; if place is a room, say " [way]". Rule for printing the name of a direction (called the way) while constructing the status line: choose row with a heading of the way in the Table of Abbreviation; say "[shortcut entry]". Table of Abbreviation heading shortcut north "N" northeast "NE" northwest "NW" east "E" southeast "SE" south "S" southwest "SW" west "W" up "U" down "D" inside "IN" outside "OUT" [Misc useful scripts] A person can be met or unmet. A person is usually unmet. Rule for printing the announcement of darkness: say "" instead. A chicken feather is a kind of thing. [Dynamic responses to mistakes, etc] Rule for printing a parser error: say "[one of]Try something else.[or]They did warn you that the drugs would cloud your thinking...[or]You stopped making sense a long time ago.[or]Would Jean have understood what you meant by that?[or]That might work well in theory, but unfortunately not in practice.[or]Try putting it another way.[or]Type HELP if you need assistance.[or]Huh?[or]What?[or]This dream is turning into a nightmare...[or]Confused? Type HELP for assistance.[or]That command didn't make any sense.[in random order]". Understand "talk to [someone]" as a mistake ("To start a conversation, try to ASK [the noun] ABOUT something or TELL [the noun] ABOUT something."). Understand "help" or "hint" or "hints" or "instructions" or "info" or "about" as asking for help. Asking for help is an action out of world. Carry out asking for help: say "To explore the room you're in, try experimenting with some canonical Interactive Fiction commands, such as INVENTORY, EXAMINE (an object), OPEN (something), LOOK, or TAKE (an item). [paragraph break]To start a conversation, try to ASK (someone) ABOUT something, or try to TELL (someone) ABOUT something (the key here is the word ABOUT -- believe me, it's going to come in handy).[paragraph break]To move between rooms and other areas, look for the available exits in the left-hand status bar at the top of the window, then move in your chosen direction by typing GO (direction, e.g. SOUTH). Keep in mind that if there's a door in the way, you're going to have to OPEN it first before moving. [paragraph break]A good general tip for this story is to EXAMINE everything (you can save yourself time by just typing 'x' for short) and interact with the characters by ASKing them about various topics. The system will be able to parse other text as well, so don't be afraid to experiment...". Understand "scream" or "yell" or "cry" as yelping. Yelping is an action applying to nothing. Carry out yelping: say "[one of]You feel even more cowardly than before.[or]It doesn't make a difference.[or]You're starting to understand the role fear plays in your life.[or]This is one thing you're not going to be able to run away from...[or]You feel slightly worse.[cycling]". [The player's memory] [Crucial to this story, at least in a schematic sense, is the player's memory of Jean, their ex-spouse.] [Asking about Jean] Understand "ask [someone] about Jean" or "talk to [someone] about Jean" or "say Jean to [someone]" or "ask [someone] Jean" or "tell [someone] about Jean" or "tell [someone] Jean" as asking about jean. Asking about jean is an action applying to one thing. Carry out asking about jean: say "[one of][The noun] asks you to think about why you left Jean in the first place.[or][The noun] reminds you that marriages don't always work out the way you want them to.[or][The noun] says [the noun as possessive] contract prevents [the noun as identity] from talking about that.[or][The noun] raises [the noun as possessive] eyebrows. 'Aren't you getting ahead of yourself?' [the noun as pronoun] asks.[or]'Word has it you ask about Jean a lot,' quips [the noun].[cycling] "; [Thinking about Jean] Understand "think about Jean" or "remember Jean" or "recall Jean" or "Jean" or "find Jean" as thinking about Jean. Thinking about Jean is an action applying to nothing. Carry out thinking about Jean: say "[one of]You think about the peculiar way Jean walks.[or]You think about that time you and Jean laughed all day about all the weird stuff on Queen Street.[or]You think about Jean's arms and the way they felt when they wrapped around you.[in random order]". [Anything about STIFLE] After reading a command: if the player's command includes "STIFLE", try stifling. Stifling is an action applying to nothing. Carry out stifling: say "[one of]You learn nothing new.[or]No luck.[or]Doing that is like trying to get blood from a stone.[or]Nada.[or]Nothing.[or]The true nature of STIFLE is apparently a very closely guarded secret.[or]The more you inquire about STIFLE, the more you suspect that all you're ever going to know is what little you can remember from the flyer they gave you when you came in and signed up for the experiment. 'STIFLE,' the flyer read, 'is an international consortium of health care professionals committed to the betterment of the human spirit and the expansion of everday consciousness.'[in random order]". [knowing the truth] A person can be enlightened or unenlightened. The player is unenlightened. Understand "enlighten me o buddha" as Enlightening. Enlightening is an action applying to nothing. Carry out enlightening: now the player is enlightened. Understand "unenlighten me o rove" as Unenlightening. Unenlightening is an action applying to nothing. Carry out Unenlightening: now the player is unenlightened. [dynamic text -- setting miscellaneous pronouns etc] To say (named character - a man) as pronoun: Say "he". To say (named character - a woman) as pronoun: Say "she". To say (named character - a man) as possessive: say "his". To say (named character - a woman) as possessive: say "her". To say (named character - a man) as identity: say "him". To say (named character - a woman) as identity: say "her". Section 1.5 - TIMED EVENTS The time of day is 2:00 AM. At 4:00 AM: say "[if the player is unenlightened]Your stomach spins as you acclimatize yourself to the drug-induced dream environment.[end if]". At 4:10 AM: say "[if the player is unenlightened]The last shreds of nausea have now disappeared. You feel completely at ease in the dream environment, as alert and aware as you've ever felt during waking hours. You attribute this sudden sense of calm to an adjustment in the drug dosage being administered to your sleeping body.[end if]". At 4:18 PM: move the giant robot to the location; say "BEEP! ZIP![paragraph break]--MNEMONIC SLEEP DISCONTINUITY ALERT--[paragraph break]A giant robot materializes behind you in the [location]. It is about ten feet tall. It seems completely out of place here, like something from a cheap fifties sci-fi movie. It beeps and whirrs. Something BUZZES in the back of your head. Somewhere in the distance, you hear someone say, 'oh, shit, not again.'". At 4:22 PM: say "The nurse's voice, now with some sense of urgency, pipes in from the back of your head. [if the player is not in origin point]'Dreamer: please return to the origin point to begin the waking process as soon as possible. Simply say, 'origin' to return.'[otherwise]'Dreamer: begin the waking process. Consult your SNCNJJ-- SSDS-- for more information.'[end if]". At 4:29 PM: say "[if the player is unenlightened]The nurse's voice, now garbled, echoes in the back of your head: 'Dream-- now-- imperative-- begin process-- urgent-- SKJKF kfd ndkfN FDKNKD--'.[end if]". At 4:32 PM: say "[if the player is unenlightened]Something at the back of your brain goes POP.[end if]". At 4:45 PM: say "[if the player is unenlightened]You start feeling light headed. It occurs to you that you should listen to the nurse and head back to the origin point PDQ.[end if]". At 5:10 PM: say "[if the player carries the cell phone]The cell phone you found at the ranch house buzzes in your pocket. When you retrieve it, it falls silent.[end if]". At 10:00 PM: say "'Psst,' a voice whispers from somewhere close behind. 'Lie down to stand up. Wake where you sleep.'". Section SPECIAL - The Interlopers The giant robot is a man. The description of the giant robot is "A fifties-style robot, about nine feet tall, with various blinking lights and tubes. It is vaguely anthropomorphic in shape, although it has two large tank-track-like appendages instead of legs.". Every turn: if the giant robot is in a room (called the current space): let next space be a random room which is adjacent to the current space; if the giant robot is visible, say "The giant robot heads to [the next space].[paragraph break]"; move the giant robot to next space; if the giant robot is visible, say "The giant robot arrives from [the current space]. [one of]Whirr! Whirr![or]It fires a laser out of one of its eyes and spins around moronically.[or]One of its arms falls off. It bends over to retrieve it, then bumps past you.[or]It doesn't seem to notice you, but appears to be on a mission of its own.[or]A puff of smoke emanates from its head as it wheels around.[or]It falls over, then rights itself by extending its telescoping chest attachment.[or]Bleep! Boop! Blip![or]It stops, spins around, then freezes up for a moment before regaining its senses.[in random order]". The giant robot carries the bag of birdseed. After asking the giant robot about something: say "The robot stops and opens a hatch in its stomach. A small reticulated arm extends from within and hands you a sack of birdseed.[paragraph break]'Nourishment for your species!' it blurts, spinning on its tracks.[paragraph break]"; move the bag of birdseed to the player; say "The robot zips off on its merry way."; remove the giant robot from play. Understand "ask giant robot for help" or "ask giant robot for assistance" as AskRobot. AskRobot is an action applying to nothing. Carry out AskRobot: try asking the giant robot about "the telescope". Rene Descartes is a man. The description of the Rene Descartes is "René Descartes, also known as Renatus Cartesius (latinized form), was a highly influential French philosopher, mathematician, scientist, and writer. He has been dubbed the 'Father of Modern Philosophy,' and much of subsequent Western philosophy is a response to his writings which continue to be studied closely to this day. In particular, his Meditations continues to be a standard text at most university philosophy departments. Descartes' influence in mathematics is also apparent, the Cartesian coordinate system allowing geometric shapes to be expressed in algebraic equations being named for him. Descartes was also one of the key figures in the Scientific Revolution.". After asking Rene Descartes about something: say "Descartes looks at you sternly. 'I have only one thing to say to you in terms of direct question-and-response, and I will repeat it over and over until it gets through your thick head. And it is this: Whatever I have accepted until now as most true has come to me through my senses. But occasionally I have found that they have deceived me, and it is unwise to trust completely those who have deceived us even once.'". Every turn: if Rene Descartes is in a room (called the current space): let next space be a random room which is adjacent to the current space; if Rene Descartes is visible, say "Rene Descartes heads to [the next space]. "; move Rene Descartes to next space; if Rene Descartes is visible, say "Rene Descartes arrives from [the current space], saying, '[one of]I think; therefore I am.'[or]Each problem that I solved became a rule which served afterwards to solve other problems.'[or]If you would be a real seeker after truth, it is necessary that at least once in your life you doubt, as far as possible, all things.'[or]The first precept was never to accept a thing as true until I knew it as such without a single doubt.'[or]It is only prudent never to place complete confidence in that by which we have even once been deceived.'[or]In order to improve the mind, we ought less to learn, than to contemplate.'[or]Common sense is the most fairly distributed thing in the world, for each one thinks he is so well-endowed with it that even those who are hardest to satisfy in all other matters are not in the habit of desiring more of it than they already have.'[or]The greatest minds, as they are capable of the highest excellencies, are open likewise to the greatest aberrations.' [or]The two operations of our understanding, intuition and deduction, on which alone we have said we must rely in the acquisition of knowledge.'[in random order]". Section 2 - The waking world The Waking World is a region. Sleep Study Room and purple hallway are in the Waking World. [Dream Chamber] Getting Groggy is a scene. Getting Groggy begins when the player is on the bed for the fourth turn. Getting Groggy ends when the player is on the bed for the tenth turn. When Getting Groggy begins: say "[if the player is unenlightened]You're getting groggy. The drugs are making you feel like you're being buried in sand.[end if]". When Getting Groggy ends: say "[if the player is unenlightened]As much as you try to resist their effects, the drugs finally overwhelm you.[end if]"; if the player is unenlightened, try going to sleep. Sleep Study Room is a room. "[if unvisited]YOU'RE NOT SURE WHY YOU DID THIS. You told your friends it was the eight grand the STIFLE foundation was offering as remuneration, but now, as the drugs flood into your system, something about that explanation doesn't ring true. Maybe it was what Jean said on the day you broke up, that you'd had so much trouble facing things that you'd put off dealing with the problems that might have saved your relationship, or if not that, at least ended it sooner, before the damage was done. [paragraph break]So maybe that was why you came here. To prove something to yourself. But if it was your courage you wanted to test, why not go skydiving or sign up for that humanitarian program you heard about, the refugee camp thing, the one where a quarter of the volunteers ended up quitting after less than a month? Or even better, why not just call Jean? [paragraph break]You can find no answers to these existential questions, no escape from the recursivity of your overanalytical and hypervigilant mind. But perhaps this 'treatment,' whatever it is, is just what you need to break the impasse. After all, the doctor said it was supposed to be a kind of therapy. 'Electrostatic dream therapy,' he called it. 'If this round of tests works out the way we think it will, it's going to revolutionize psychiatry,' he'd told you when you called about the Craigslist ad. So maybe you weren't being careless at all, signing up to be a guinea pig for this thing. Maybe this was your destiny, your way out of a lifetime of impossible-to-pin-down dysfunction. The thought gives you strength.[paragraph break][end if]The sleep study room is a rather bland hospital room with a single padded door to the south. An EEG machine sits in the corner next to the bed. A bundle of wires leads down from the bed and through a hole in the wall. There's a mirror on the east wall that you suspect is actually a window.[if unvisited][paragraph break]This is getting creepy. Maybe this was all a mistake.[end if]". The bed is in the sleep study room. It is fixed in place and scenery. The description of the bed is "It's a typical hospital bed. Room enough for one." The player is on the bed. The player wears an EEG cap. The description of the EEG cap is "[if the player wears the eeg cap]You examine the cap by looking at your reflection in the mirror. [end if]Hundreds of tiny wires are attached to a matrix of electrodes embedded in the cap. The wires collect into a bundle which is attached to the EEG machine." In the sleep study room is a mirror. The mirror is fixed in place and scenery. The description of the mirror is "[if the player is wearing the eeg cap]You look at yourself in the mirror. The tangle of wires coming off your EEG cap makes you look like a futuristic Medusa.[otherwise]The mirror dimly reflects your image. If you squint, you can barely make out the outlines of a small room on the other side of the glass.[end if]". Your reflection is in the mirror. The description of the reflection is "[if the player is wearing the eeg cap]The tangle of wires coming off your EEG cap makes you look like a futuristic Medusa.[otherwise]The mirror dimly reflects your image.[end if][if the player is enlightened][paragraph break]It strikes you that you look older somehow... Where did all those gray hairs come from? Maybe it's true what they say about nightmares.[end if]". The EEG machine is in the sleep study room. It is fixed in place and scenery. The description of the EEG machine is "[one of]The EEG machine tracks your brain's alpha waves. You notice that it spikes whenever you think about Jean.[or]A standard-issue EEG machine. The more anxious you get, the more it responds.[or]The logo on the EEG machine indicates that it is manufactured by Meardrouy, Inc.[or]You see nothing else remarkable about the EEG machine.[or]The same old EEG machine, exactly as it always was.[stopping]". The sleep technician is a woman in the sleep study room. The description of the sleep technician is "[one of]The sleep technician, an attractive woman in her late 20s, takes notes as she monitors the EEG and triple-checks the wires attached to your head.[or]The sleep technician smiles as she notices you looking at her, then resumes her work.[or]There's not much else to notice about the sleep technician.[stopping]". Understand "get out of bed" or "get up" or "leave bed" as GettingUp. GettingUp is an action applying to nothing. Carry out GettingUp: try getting off the bed. Understand "go to sleep" or "sleep" or "fall asleep" or "relax" as going to sleep. Instead of sleeping when the player is on the bed: try going to sleep. Going to sleep is an action applying to nothing. After asking about Jean the sleep technician: say "[one of]She presses a button on the EEG unit and writes down another note.[or][stopping]". After asking the sleep technician about something: say "The sleep tech [one of]smiles softly[or]clears her throat[or]brushes back her hair[or]sighs[or]scrawls down another note[or]makes an adjustment to your EEG cap[or]bats her eyes[in random order] and [one of]asks, 'Are you feeling the drugs now?'[or]says, 'That's something you'll have to ask the doctor.'[or]says, 'Now's not the time for talking.'[or]wistfully wonders aloud: 'Why do I do this job?'[or]says nothing.[in random order]". Check going to sleep: if the player is not on the bed, say "You try to sleep, but you can't. Maybe that's because you're already slumbering." instead; if the player carries a totem, say "The drugs must have worn off. You feel much too alert to fall back asleep." instead. Carry out going to sleep: say "You drift off to the near-inaudible whirr of the EEG machine. As your eyes flicker shut, you see the sleep technician bending over you, a quizzical, almost bemused expression forming on her face...[paragraph break]"; move the player to Origin Point; remove the EEG cap from play; now the player carries the flashlight; remove the sleep technician from play; now the time of day is 4:00 AM. Instead of getting off the bed when the player is unenlightened: if the player does not carry a totem, say "[one of]The sleep study technician gently pushes you back onto the bed.[paragraph break]'If you left now, you'd just pass out somewhere outside. Don't fight the medication,' she says. 'Just relax.'[or]You try to get up, but the drugs are kicking in ever more strongly now. You can barely lift your head, let alone your entire body.[or]You can't.[or]The nurse smiles quizzically. 'Just go to sleep now. It will all be over soon.'[or]You muster up a second wind, despite the increasing paralysis caused by the drugs. You manage to get up onto your elbows, but that's as far as you can go.[cycling]". Instead of getting off the bed for the sixth time: say "You expend your last bit of energy trying once again to get out of bed. But the drugs have worked their magic, and you are helpless to resist them.[paragraph break]"; try going to sleep. A person can be strapped down or free. A person is usually free. Instead of taking off the EEG cap: if the player does not carry a totem, say "As you groggily try to remove your EEG cap, the sleep technician presses a button on a pager-like device she carries in her pocket. Moments later, two burly orderlies enter the room and strap you down.[paragraph break]The sleep technician shakes her head and smiles at you as the orderlies depart. 'Don't be alarmed. Sometimes the drugs make you have paranoid thoughts. It will be better this way,' she says. 'Now just relax...'"; now the player is strapped down. Instead of taking off the EEG cap when the player is strapped down: say "Your arms are now strapped firmly to the bed, making it impossible for you to reach up and remove the EEG cap.". Instead of getting off the bed when the player is strapped down: say "[one of]Unfortunately, you are now strapped to the bed and can't move at all.[or]Not happening.[or]The straps are too tight for you to move.[or]You can't.[stopping]". The sleep technician carries a clipboard, a pen, and a pager. The padded door is a door. The padded door is south of the sleep study room and north of the Purple Hallway. Instead of opening the padded door when the player is on the bed: say "You need to get out of bed first." The Purple Hallway is a room. The description of the Purple Hallway is "The hallway south of the sleep study room glows with purple luminescence. It is very unusual for a hospital hallway, and stretches for what seems like a hundred yards. At the north end is a heavy steel door. [if unvisited]For the life of you, you can't remember coming down this hallway when you arrived. Indeed, you can't remember much about what happened before you got here. You wonder if you drove or took the bus. If you drove, you're in trouble, because you can't remember where you parked.[paragraph break]A familiar person stands near the door at the far end of the hallway.[end if]" The steel door is a door. The steel door is south of the Purple Hallway and north of the Gelatin Orb. Instead of opening the steel door: say "As you open the door, your mind reels. Suddenly, you find yourself propelled through what feels like a thick gelatinous goo. Your vision blurs. Something SNAPS--"; move the player to the Crystal Cavern. Section 3 - Dreamworld - Origin Point The Dreamworld is a region. Origin Point is in the Dreamworld. Instead of waking up in the Dreamworld: say "You try to wake up, but can't. The drugs weigh on you like cement. You've never felt so lucid in a dream before. It's almost as if it's real.". Understand "open eyes" as waking up. [The Origin Point (objects, a flashlight, a drawer, a gameboard that transports the player to various places on the map, a ladder going down, and various conditional statements)] Origin Point is a dark room. "[if unvisited]PANNING THE FLASHLIGHT AROUND, you can see that you are standing in the midst of a large white room. You are vaguely aware that this is a dream, but you've never had a dream quite as lifelike as this. Everything here looks and feels real. [paragraph break]There is an oak table in the middle of the room, a desk with a single drawer pushed up against a wall, and a heavy wooden door, above which is written the word 'south' in large and crisp medieval lettering. There's also a small, precisely-cut human-sized opening in the floor next to the desk. A ladder leads down through the opening into a darkened room below.[otherwise]The Origin Point contains a table, a single-drawer desk with a microphone bolted to its surface, a door marked 'south', and a ladder leading down.[end if]". GoSouthWeenie is a scene. GoSouthWeenie begins when the player is in the Origin Point for the third turn. GoSouthWeenie ends when the player is in the Origin Point for the fifth turn. When GoSouthWeenie begins: say "You hear a metal CLANK coming from beyond the door to the south.". When GoSouthWeenie ends: say "You hear a faraway SCREAM followed by an even more distant SPLASH somewhere beyond the room to the south.". Understand "turn on [device]" as switching on. A light source is a kind of device. Carry out switching on a light source: now the noun is lit. Carry out switching off a light source: now the noun is unlit. The flashlight is a light source. In Origin Point is a table. The table is fixed in place and scenery. The description of the table is "This table looks as if it is well over one hundred years old. The kind of thing you'd find at an antique dealer for a hefty price. It seems like it was built for a giant. On the table is a gameboard and a notecard." On the table is a notecard. The notecard is fixed in place. The description of the notecard is "The notecard reads, 'Your anxieties lie to the south. [one of]Relieve[or]Relive[or]Revive[or]Recant[cycling] them by going elsewhere. The totem on this table will [one of]mnemonically[or]nanomonically[or]harmnemonically[or]effortlessly[cycling] transport you to relevant locations in your memory. Only handle the totem if you feel ready to [one of]make the journey[or]take the plunge[or]repeat what you have done a million times before[cycling]. [one of]You may remain in this room for as long as you wish. How the therapy proceeds is entirely up to you.[or]You may remain in this room for as long as you need. The therapy is designed by you.[or]You will remain in this world forever. The therapy is an illusion.[cycling] This notecard is meant for [one of]your personal reference[or]you alone[or]you (are) alone[or]reminding you that there is no escape[cycling] and is available for consultation in this room only.'[paragraph break][one of]You notice the STIFLE logo is stamped on the bottom right hand corner of the notecard.[or]The text shimmers slightly as you read it. You feel a tingling in the back of your brain.[or]You get the strange synaesthetic feeling of smelling the words as you read them.[or]The notecard becomes transparent for a brief moment, then returns to its original color.[in random order]" [The totem is a way of transporting the player around using an 'after' statement. It also includes a means for returning to Origin Point by simply saying, 'origin'.] A person can be InTheKnow or NotInTheKnow. The player is NotInTheKnow. Understand "move [the totem]" or "rearrange [the totem]" as Movetotem. The instructions is in Origin Point. It is fixed in place and scenery. Instead of examining the instructions: try examining the notecard. Movetotem is an action applying to one thing. Carry out Movetotem: say "[one of]You could pick it up if you want, but just moving it around has little effect.[or]Moving or rearranging the totem has little effect. You could just take it if you want...[cycling] ". On the table is a totem. The description of the totem is "A simple cloth totem doll, about the size of a small rat. The little wires coming out of its head make you think it's supposed to be you. There's a small label on the totem that you can read if you squint.". The small label is a part of the totem. The description of the small label is "The label reads, 'Pick me up to travel through memory. Drop me and pick me up again to return.'" Instead of taking the totem when the player is NotInTheKnow: say "Maybe you should look at the instructions on the notecard first.". After examining the notecard: now the player is InTheKnow. After of taking the totem when the player is in Origin Point: say "As you pick up the totem, it emits a strange sonic pulse. Your vision blurs. Something SNAPS--[paragraph break]"; move the player to the former location; now the time of day is 4:04 PM; say "The nurse's voice rings out in your head. [one of]You get the sense that this is some kind of prerecorded message. [or]The prerecorded message again. [or]The same old message. [or]Yet again. [or]You're starting to get sick of hearing her voice this way. [or]You'd think they'd come up with some variety for this, but no. [or]You ignore it as it drones on. [stopping]'When using the totem system to get around your memory,' she says, in a pleasant half-whisper, 'remember that you can return to the STFILE Origin Point at any time by simply saying 'origin'. Make sure not to lose your totem, though, or the system will not be able to mnemonically track you.'[paragraph break]You look down at the totem in your hand and clutch it a little bit more tightly.". Understand "tap the mic three times" or "tap the microphone three times" or "tap the mic 3 times" or "tap the microphone 3 times" or "tap mic three times" or "tap microphone three times" or "tap mic 3 times" or "tap microphone 3 times" as TappingOut. TappingOut is an action applying to nothing. Check TappingOut: if the player is not in Origin Point, say "How would you do that from here?" instead. Carry out TappingOut: say "The microphone unit WHINES loudly as you tap it. Your vision swirls and you peel open your eyes. The microphone feedback noise fades away and you come to in the sleep study room. [if the player is unenlightened]You're back. At last![end if][if the player is strapped down][paragraph break]As you come to, you realize that someone has been kind enough to unstrap you from the bed. Perhaps this place isn't so messed up after all...[end if]"; now the player is enlightened; move the pickup truck to the dusty street; now the player is free; move the player to the bed; move the janitor to the purple hallway; say "The sleep technician is gone, but you're feeling wide awake. You lie there for a moment in bed, gradually reaquainting yourself with the real world.". Understand "get on bed" or "lie down" or "get in bed" or "get on the bed" or "get in the bed" as GetInBed. GetInBed is an action applying to nothing. Carry out GetInbed: move the player to the bed. Understand "wake up" as ReallyWaking. ReallyWaking is an action applying to nothing. Instead of waking up in the Waking World when the player is unenlightened: say "How can you wake up if you're already awake?". Instead of waking up in the Waking World when the player is enlightened: try ReallyWaking. Check ReallyWaking: if the player is not on the bed, say "You can't do that now." instead. Carry out ReallyWaking: move the sleep technician to the sleep study room; say "Back from whence you came...[paragraph break]With gargantuan effort, you burst out of your many-layered dream and awaken -- in the sleep study room again, but this time, you know it's for real. A quick check of your reflection shows that you haven't aged a day. The nurse smiles at you. 'That was quick. You were only out for fifteen minutes!' she chirps. [paragraph break]The doctor enters the room a moment later. 'How do you feel?' he asks. You want to say relieved, but that doesn't seem like the right word. Instead, you quote Descartes from your recent memory: 'The senses deceive from time to time, and it is prudent never to trust wholly those who have deceived us even once,' you say. [paragraph break]The doctor nods. 'I can see the therapy has worked,' he says sagely as he helps you to your feet. You have the distinct feeling that you're never going to be the same...but you don't mind. As long as you can go home. And call Jean."; end the game in victory. Understand "origin" or "say origin" as teleporting home. Teleporting home is an action applying to nothing. Check teleporting home: if the player does not carry a totem, say "The nurse's voice chimes in from somewhere in the back of your head: 'We're sorry, we can't track you properly through your memory-space. Make sure you're carrying your totem before requesting to be returned to the Origin Point.'" instead; if the player is in Origin Point, say "That's where you are." instead. Carry out teleporting home: change the former location to the location; say "[one of]SNAP--[paragraph break][or]BLZSNAP--[paragraph break][or]SNAAPP--[paragraph break][cycling]"; move the player to the Origin Point; say "The voice in the back of your head again: [if the time of day is greater than 4:22 PM]'Please consult your SJKDNC-- JFKSNF-- for information on how to begin the waking process.'[otherwise]'Welcome back to Origin Point. We hope your spatial therapy experience is yielding positive results.'[end if]". In Origin Point is a desk. The desk is fixed in place and scenery. The description of the desk is "A large stainless steel desk with a single drawer. A relic from some industrial office. There's an old microphone here." On the desk is a microphone. The microphone is fixed in place and scenery. The description of the microphone is "This old-fashioned microphone is bolted firmly to the desk. A small VU meter on its base bobs and jerks as it picks up the sound of your movement." The drawer is a part of the desk. The drawer is an openable closed container. In the drawer is a notepad and the gold key. The description of the notepad is "A list of words is crudely scrawled across the first page of the notepad. The fragments you can make out read, [list of rooms].". The wooden door is a door and scenery. The wooden door is south of Origin Point and north of Cave Entrance. Instead of going south from Origin Point when the wooden door is closed: say "[if the flashlight is unlit]You bump into what feels like a sturdy wooden door.[otherwise]You're going to have to open the door first.[end if]". Down from Origin Point is the Cellar. The Cellar is dark. The description of the Cellar is "This is a small cellar, with barely enough headroom for you to stand up straight. There's nothing in here." Instead of going to the Cellar when the flashlight is switched off: say "You can feel the rungs of a ladder and the empty space of an open hatch, but climbing down would be crazy in the pitch dark.". Section 3.0.1 - Dreamworld - Crystal Cave [The Crystal Cave (with locked gate)] The description of Cave Entrance is "[if unvisited]A plain white hallway gives way to a stone cave mouth with an iron gate. [otherwise]A stone cave mouth leads south. A white hallway leads north toward a wooden door.[end if][paragraph break]An inscription on the wall next to the gate reads, 'Understanding the relationship between the space of memory and the memory of space will be crucial to your recovery. Proceed with caution.'" An iron gate is a door and scenery. It is lockable and locked. It is south of Cave Entrance and north of the Crystal Cavern. The gold key unlocks the iron gate. After opening the iron gate: say "The gate creaks open.". The Crystal Cavern is a dark room. "[if the player is enlightened]You're back in the crystal cavern, the one from your memory of that National Geographic special. The giant quartz crystals loom around you. It's hotter and moister in here than before.[otherwise]This cavern is composed almost entirely of giant quartz crystals. It is moist and hot in here. You remember seeing something like this on the National Geographic channel on one of those late nights you spent watching TV just after things ended with Jean. In fact, as you look around, you realize that this place probably IS that cave, or at least, the version you've kept in your memory.[end if][paragraph break][if the player is enlightened]The whine of the Origin Point microphone unit can be heard in the distance to the north. [paragraph break][end if]A red velvet carpet leads off into a darkened cave to the west." In the Crystal Cavern are the crystals. They are fixed in place and scenery. Understand "crystal" as crystals. Instead of examining the crystals: say "The crystals are hot to the touch, and somewhat sweaty. If you run your hand along them, painful slivers get caught in your skin. You also notice they are very slippery.". In the Crystal Cavern is the carpet. It is fixed in place and scenery. Understand "red carpet" as carpet. Instead of examining the carpet: say "A thick, new-looking carpet. There's a yellow chicken feather down here.". On the carpet is a yellow chicken feather. The Transporter is west of the Crystal Cavern. Instead of going to the Transporter when the player is unenlightened: say "For some reason, you can't bring yourself to walk the red carpet right now. Something in the dream-sense tells you that you aren't ready to go there just yet. You get the feeling that you'll have to come back here later.". Instead of going to the Transporter when the player is enlightened: say "Your heart races as you walk toward the darkness at the end of the red carpet. A sense of anticipation and dread overwhelms you. As you step into the black, your head fills with electrical energy--[paragraph break]"; move the player to the Office. Section 4 - The Red Region [RED REGION] The Red Region is a region. The Saarbrucken Room and the dusty road are in the Red Region. Section 5 - The Office [The Office] The Office is a room. The description of the Office is "[if unvisited]Your office. So this must still be a dream. You spent a lot of time here. Everything is exactly as you remember it: the smell, the slight buzz of the building's air conditioner, the temperature of the light passing through the slightly tinted windows.[end if][paragraph break]In your office is an Ikea desk with a small drawer. Your window looks out onto the city skylline. From the looks of it, you're quite high up.[paragraph break]". In the office is an Ikea desk. The Ikea desk is fixed in place and scenery. The small drawer is a part of the Ikea desk. The small drawer is a closed openable container. In the small drawer is a pencil and a red chicken feather. On the Ikea desk is a desktop computer. The desktop computer is fixed in place. On the Ikea desk is a framed photograph. On the Ikea desk is a letter. The description of the letter is "The letter is from Jean, to you. It is brief and to the point: 'This note is just to let you know that I've decided to move on and get married again. I waited long enough for you to figure your shit out. It's too late now. I'm sorry. -- Jean.'" The description of the desktop computer is "BSOD, unfortunately. Even in your dreams, that thing doesn't work as it should. Fucking Windows... You notice that there's a little message bar flashing at the bottom of the screen. [paragraph break]It reads, '**BACK TO WHENCE YE CAME**.'". The description of the framed photograph is "[if the player is unenlightened]A photograph of Jean, taken when you two drove down the coast together.[otherwise]The photograph is blank, as if the film has been overexposed to the point of pure white. All you can see is your reflection in the glass.[paragraph break]You notice that in your reflection, your eyes are closed. You also notice that the background is different: you appear to be lying down. And your hair has more grey in it than before...". The office window is in the office. It is fixed in place and scenery. The description of the office window is "The city appears to be completely empty. You can't see any movement, anywhere.". Understand "look out window" or "look through window" as LookingOut. LookingOut is an action applying to nothing. Carry out LookingOut: try examining the office window. The frosted-glass door is a door. The frosted-glass door is east of the Office and west of the Great Plummet. [The Great Plummet] The Great Plummet is a room. Instead of going to the Great Plummet: say "As you step through the door into the hallway, the floor beneath you suddenly dematerializes.[paragraph break]You plummet for what feels like a full minute, then SPLASH into quick-moving water."; move the player to the Underground River. [The Underground River] The Underground River is a room. "[if unvisited]The rushing water in this sewer-like underground river sweeps you along for several hundred yards. You finally find yourself at the base of a ladder. [end if]The ladder leads up to a manhole above. [paragraph break][if the player has the cell phone]The cell phone you picked up at the ranch rings. You answer. A throaty non-gender-specific voice whispers, '...back...whence...' You can't understand precisely what it's saying. The phone clicks off, and appears to be back to being out of batteries." The Saarbrucken Kitchen is up from the Underground River. The description of the Saarbrucken Kitchen is "[if unvisited]A busy kitchen, packed with various chefs and servers, all of whom are either too busy to talk to you or who simply can't perceive you. As you walk amongst them, you begin to suspect the latter is closer to the truth. Indeed, you feel like something of a ghost walking through here.[paragraph break]As you wait for one of the waiters to pass you by, you notice through the circular window in the door to the main hall that a wedding reception is underway. You peer out and see Jean, sitting at a table, the center of everyone's attention. You realize that this is Jean's wedding reception. A moment passes until you see someone striding toward Jean's table. It takes another moment for you to realize that it is YOU. You watch as your doppelganger approaches Jean unexpectedly. Your double looks drunk and angry. [paragraph break]A fight breaks out and your double is thrown out of the party.[end if]The Saarbrucken Room is through the kitchen door to the east." The swinging kitchen door is a door. The swinging kitchen door is east of the Saarbrucken Kitchen and west of the Saarbrucken Room. Section 6 - The Saarbrucken Room Jean is a person. Instead of examining Jean: say "Jean looks exactly as you remember, only sadder, despite the throng of supporters gathered around. You remain unnoticed, unseen." Instead of asking Jean about something: say "Jean can't hear you." Instead of asking about Jean Jean: say "Jean can't hear you." Instead of opening the swinging kitchen door when the player is unenlightened: say "The door is locked." After opening the swinging kitchen door: move Rene Descartes to the Barn; say "--MNEMONIC SLEEP DISCONTINUITY ALERT--[paragraph break]"; move Jean to the Saarbrucken Room. [The Saarbrucken Room - a simple character with variable descriptions and behaviour] The description of the Saarbrucken Room is "An ornate 30s-style ballroom, complete with massive chandeliers, thick tartan carpet, and space for plenty of dining and dancing. [if the player is enlightened]The room is packed with people celebrating Jean's wedding. The tone of the celebration is somewhat muted in the aftermath of your double's appearance. [end if]A wide entryway leads out to the dusty street beyond.[if unvisited]Something about this place is very familiar to you.[end if]" RememberingSaarbrucken is a scene. RememberingSaarbrucken begins when the player is in the Saarbrucken Room for the third turn. RememberingSaarbrucken ends when the player is in the Saarbrucken Room for the sixth turn. When RememberingSaarbrucken begins: say "[if the player is unenlightened]You can't quite place it, but you have a strong sense that you've been here before.[otherwise]It all comes back to you now--[end if]". When RememberingSaarbrucken ends: say "[if the player is unenlightened]Something in the back of your brain clicks. You hear screams, then nothing.[end if]". The lonely janitor is a man in the Saarbrucken room. The description of the lonely janitor is "The janitor [one of]mops the floor around the bar. [or]adjusts his overalls. [or]fishes around in his pockets and consults his pocketwatch. [or]stops mopping and glances in your direction. [in random order]". BoredJanitor is a scene. BoredJanitor begins when the player is in the Saarbrucken Room for the fourth turn. BoredJanitor ends when the player is in the Saarbrucken Room for the ninth turn. When BoredJanitor begins: say "[if player is unenlightened]It occurs to you that it smells like steak or raw hamburger in here...[end if]". When BoredJanitor ends: say "[if player is unenlightened]The janitor grabs a pack of cigarettes from the ledge next to the entryway as he heads out to the dusty street for his break.[end if]"; move the janitor to the dusty street. FollowJanitor is an action applying to nothing. Understand "follow janitor" as FollowJanitor. Carry out FollowJanitor: move the player to the dusty street; move the janitor to the dusty street. The janitor carries a mop and a bucket. The janitor carries 2 cigarettes. The description of the bucket is "The water in the bucket is blood-red.". After examining the janitor for the fourth time: say "He shakes his head and mumbles something to himself, then sets down his mop, picks up his coat, and goes outside through the double doors to the west."; move the janitor to the dusty street. After asking the janitor about something: say "The janitor [one of]shrugs[or]shakes his head[or]scratches behind his ear[or]snorts[in random order]. [paragraph break][one of]'All's I know is that I mop,' he says. 'I mop, and mop, and mop some more, then I go home. And that's fine by me.'[or]'I do what I'm told,' he says, semi-apologetically. 'I'm not part of this show. Sorry.'[or]'I'm not the one you should be talking to,' he says.[or]He clears his throat, glances in your direction, then dips his mop back into his bucket without a word.[in random order]". After asking the janitor about something for the fourth time: say "The janitor shakes his head and mumbles something to himself, then sets down his mop, picks up his coat, and heads out to the street."; move the mop to the Saarbrucken Room; move the bucket to the Saarbrucken Room; move the janitor to the dusty street. Section 7 - The Dusty Street The Dusty Street is outside of the Saarbrucken Room. "[if the player is unenlightened]The Saarbrucken Room, at least as it manifests itself in this dream, is a strange kind of building. Despite its grand interior, it stands alone in the midst of an otherwise unoccupied desert road.[otherwise]The dusty street is filled with dead bodies. Men and women of all ages, dressed in wedding clothes. Covered in blood. There's a message scrawled in blood on the wall of the Saarbrucken building.[end if]". The bloody message is in the dusty street. It is scenery. The description of the bloody message is "The message, written in crude capital letters, reads, 'BACK FROM WHENCE YE CAME!'". Instead of examining the janitor in the dusty street: say "The janitor smokes a cigarette at the base of the stairs leading up to the Saarbrucken Room. He glares at you. [if the player is enlightened]'Back from whence ye came,' he grunts.[end if]". Instead of asking the janitor about something in the dusty street: say "[one of]The janitor shakes his head and narrows his eyes.[or]'Piss off,' he grunts.[or]'Just keep moving,' he says, with an earnestness that makes you think he really means it.[or]'Enough already, I'm just the janitor, okay?'[or]He sighs deeply. 'Goddammit...' he starts, then trails off.[in random order]". Instead of asking the janitor about something in the dusty street for the third time: say "The janitor grinds out his cigarette and looks you square in the eye.[paragraph break]'No wonder you're here,' he says knowingly. He then shoves you to the ground with the kind of force and confidence that makes you feel like he might have had spent some time in law enforcement or the military. [paragraph break]By the time you get your bearings, he is gone and nowhere to be seen. Which is strange, given the flatness and desolation of your surroundings."; remove the janitor from play. In the dusty street is a vehicle called a pickup truck. Understand "get out of truck" or "exit truck" or "get out of pickup" or "exit pickup" or "leave truck" or "leave the truck" or "get out of the truck" as OutOfTruck. OutOfTruck is an action applying to nothing. Carry out OutOfTruck: try exiting. In the dusty street is a signpost. The signpost is fixed in place. The description of the signpost is "The signpost has arrows pointing north and south. On the south-pointing arrow, it reads, [if the player is enlightened]'Not this way'. On the north-pointing arrow, it reads, 'Not that way'.[otherwise]'Ranch 6 mi.'. On the north-pointing arrow, it reads, 'Canyon 3 mi.'.[end if]" Instead of going to the Saarbrucken Room from the dusty street when the player is in the pickup truck: say "You try driving the truck through the double doors, but it won't fit.". Section 8 - The Ranch After going to the Parking Lot from the dusty street: say "After about 20 minutes of driving through barren desert, the parking lot of a small ranch[if the player is enlightened], consumed by fire,[end if] comes into view..."; try looking. After going to the dusty street from the Parking Lot: say "You leave the ranch behind and drive back through the desert, eventually arriving at the small stretch of street in front of the Saarbrucken Building..."; try looking. The Parking Lot is a room. The Parking Lot is south of the dusty street. The description of the parking lot is "[if the player is unenlightened]The parking lot of a large ranch. You recognize it immediately as the place where Jean's parents lived. There are no other vehicles in the lot, which makes you think that you're the only one here. [otherwise]The ranch and all its outbuildings is on fire. Somehow, you are able to walk amidst the flames. [end if][paragraph break]The ranch house is to the east of the parking lot, and there's a barn farther to the south. The dusty road to the north dead-ends here.". Instead of going to the Parking Lot from the dusty street when the player is not in the pickup truck: say "That's a long walk in this desert. Given that you don't have any water, you better try to find another way. Even though this is a dream, you can already feel yourself getting thirsty.". Instead of going to the dusty street from the parking lot when the player is not in the pickup truck: say "That's a long walk in this desert. Given that you don't have any water, you better try to find another way. Even though this is a dream, you can already feel yourself getting thirsty.". Instead of going to the Ranch House when the player is in the pickup truck: say "You better get out of the truck first.". Instead of going to the Barn when the player is in the pickup truck: say "You better get out of the truck first.". South of the Parking Lot is the Barn. The Ranch House is east of the Parking Lot. The description of the Barn is "[if the player is enlightened]The flames lick the walls, but have left the hay in the center of the barn untouched. Ghostly sounds of distressed cattle zip through your mind.[otherwise]A large cow barn, now empty except for a pile of old hay and a few broken-down wooden stalls.[end if] The parking lot is to the north." The pile of hay is in the barn. The pile of hay is fixed in place and scenery. The description of the hay is "[if the note-paper fragment is on the hay]In amidst the hay is a fragment of note-paper.[otherwise]Just hay.[end if]". The note-paper fragment is on the hay. The description of the note-paper fragment is "The fragment of paper contains some handwritten text, cut off by the tear in the page. The top part of the text reads, 'UP:'. The bottom part of the text reads 'HE MIC.'". The description of the Ranch House is "[if the player is enlightened]Flames roar through the broken windows of the ranch house. A wooden crate sits on the floor where the kitchen used to be. [end if]The ranch house is nothing like you remember -- strange, considering this is supposed to be a journey through your memory. It's clearly been abandoned for years. There's almost nothing in here. A wooden crate sits on the floor near where the kitchen used to be.[paragraph break]A song called 'You're already Here' plays on some unseen phonograph.[paragraph break]There are no other exits here. The parking lot is back to the west." Understand "listen to song" or "listen to phonograph" as ListeningUp. ListeningUp is an action applying to nothing. Carry out ListeningUp: try listening. Instead of listening when the player is in the Ranch House: say "[if the player is enlightened]The lyrics to the song are: 'Though you may be tired / And in the mud mired / Never fear / For you're already here.' They repeat over and over again, as if the record is stuck.'[otherwise]You hear nothing of note.[end if].". The wooden crate is in the Ranch House. It is fixed in place and scenery. The description of the wooden crate is "The crate is full of junk items: old bits of wire, torn-up cardboard and dirty sponges. [if the cell phone is on the crate]Strangely enough -- although you're getting quite comfortable with strange by now -- there's a newish looking cell phone sitting on the top corner of the crate.[end if]". The cell phone is on the crate. The description of the cell phone is "The cell phone appears to be out of batteries, but you get the feeling that it might be worth picking up anyway...". Section 9 - The Canyon The Canyon is a room. The Canyon is north of the dusty street. The description of the canyon is "The dusty road to the south stops at the edge of this vast canyon. There is a telescope here.[if the player is enlightened] You notice the bird organized the birdseed on the ground into a rather intricate pattern of dots and dashes.[end if]" The pattern is in the Canyon. The pattern is fixed in place and scenery. The description of the pattern is "The pattern is very linear and organized. It looks something like this: '.-- .- -.- . / ..- .--. / .. -. / -... . -.. --..-- / ... .-.. . . .--. -.-- .... . .- -..'". Instead of going to the Canyon from the dusty street when the player is not in the pickup truck: say "That's a long walk in this desert. Given that you don't have any water, you better try to find another way. Even though this is a dream, you can already feel yourself getting thirsty.". Instead of going to the dusty street from the Canyon when the player is not in the pickup truck: say "That's a long walk in this desert. Given that you don't have any water, you better try to find another way. Even though this is a dream, you can already feel yourself getting thirsty.". The telescope is in the Canyon. The telescope is fixed in place. The description of the telescope is "[if the bird is in Elsewhere]Peering through the lens, you can see a small bird on a perch on the other side of the canyon. You can just make out a piece of note-paper it holds in its beak.[otherwise]A plane swoops through the air on the other side of the canyon. It leaves behind a skywriting trail that reads, 'BACK FROM WHENCE YE CAME'[end if]". Elsewhere is a room. The bird is an womans in Elsewhere. The bird carries the piece of note-paper. Instead of examining the telescope when the player is in the pickup truck: say "You'll need to get out of the truck first.". Instead of examining the telescope when the player is carrying the bag of birdseed: say "[if the player does not carry the piece of note-paper]Looking through the lens again, you can see that the bird with the note in its beak is in the same spot on the other side, lounging in the sun. In a flash of genius, you sprinkle seeds from the bag of birdseed the robot gave you onto the ground. The bird immediately responds and flies over to your side of the canyon, dropping the note from its beak as it feeds. You pick up the piece of note-paper and prepare to examine it.[otherwise]The telescope affords you a view of the canyon and little else.[end if]"; move the piece of note-paper to the player; move the bird to the Canyon. Understand "look in telescope" or "look through telescope" or "look at telescope" as Telescopage. Telescopage is an action applying to nothing. Carry out Telescopage: try examining the telescope. Understand "sprinkle the birdseed" or "sprinkle birdseed" or "sprinkle seed" or "sprinkle the seed" as Sprinkling. Sprinkling is an action applying to nothing. Check Sprinkling: if the player is not carrying the bag of birdseed, say "You'll need to get the birdseed first to do that." instead. Carry out Sprinkling: say "[if the player does not carry the piece of note-paper]You sprinkle seeds from the bag of birdseed the robot gave you onto the ground. The bird immediately responds and flies over to your side of the canyon, dropping the note from its beak as it feeds. You pick up the piece of note-paper and prepare to examine it.[otherwise]The bird bounces around happily as you drop more birdseed onto the ground.[end if]"; move the piece of note-paper to the player; move the bird to the Canyon. The description of the piece of note-paper is "This is the left half of a torn piece of note-paper. The upper portion of text reads, 'Wake me.' The lower portion reads, 'TAP T'. At the very bottom of the page is written the phrase, 'THREE TIMES.' You note that the handwriting is very similar to your own.". Test me with "ask technician about experiment / look in mirror / look at reflection / x eeg cap / get up / take off eeg cap / get up / scream / xyzzy / relax / turn on flashlight / x gameboard".