The Second Reformation — 1 of 1
Q. Benson
"The Second Reformation" by "Q. Benson".
The story creation year is 2010.
The release number is 2.
The story description is "In an alternate reality, the Church of England is being brought down by a series of coordinated attacks on cathedrals and churches. You, though an atheist, have formerly had connections with your local cathedral, and have now been asked back to help defend it. While fending off a string of Reformers, you are uncomfortably reacquainted with your former way of life."
Include Basic Screen Effects by Emily Short. Release along with cover art, the source text, a website and an interpreter.
Use full-length room descriptions.
When play begins: say "The text you received ten minutes ago warned of an uprising at some point during the Eucharist. And, loyal as ever to your comrades at the cathedral, you have interrupted whatever Sunday morning frippery occupied you for a morning of defence.
You have arrived here in time to prepare yourself. It has been a while since you cased this particular joint, but you are aware that bullets for your pistol should be around here somewhere, and it would be a good idea to be armed. The service begins at ten o['] clock precisely."; now the time of day is 9:00 AM; now the right hand status line is "[time of day]".
Battle is a scene. Battle begins when the time of day is 10:01 AM. Battle ends when Reformer6 is dead or Reformer6 is turgid. Post-Battle is a scene. Post-Battle begins when Battle ends. Post-Battle ends successfully when the number of dead Reformers is greater than the number of turgid Reformers. Post-Battle ends neutrally when the number of dead Reformers is 3 and the number of turgid Reformers is 3. Post-Battle ends unsuccessfully when the number of dead Reformers is less than the number of turgid Reformers.
When Battle ends: say "All becomes quiet, and you realise the Reformers have left the cathedral."
When Post-Battle ends successfully, say "You feel pleased with how you dealt with them."
When Post-Battle ends neutrally, say "You are unsure about whether you dealt with them successfully."
When Post-Battle ends unsuccessfully, say "You have a horrible feeling that more got away than you would have liked."
Denouement is a scene. Denouement begins when Post-Battle ends successfully.
Questionable is a scene. Questionable begins when Post-Battle ends neutrally.
Trickery is a scene. Trickery begins when Post-Battle ends unsuccessfully.
The print final score rule does nothing.
The number of bullets is a number that varies. When play begins: now the number of bullets is 0.
Understand "shoot" as waiting.
[CHEAT]
Instead of sleeping: now the time of day is 11:00 AM; now Reformer1 is dead; now Reformer2 is dead; now Reformer3 is dead; now Reformer4 is dead; now Reformer5 is turgid; now Reformer6 is turgid.
Understand "help" as a mistake ("You have until 10 AM to find bullets to use against the Reformers and any other items you may encounter. After that, the cathedral will come under attack; when a Reformer is in a room, all you will be able to do is defend yourself. A map of the cathedral is available from the Information Desk, south of the nave.[line break]You will fight six Reformers.").
[Setting out rooms first, methinks]
The Porch is a room. "A cold wind blows in through the outer door. This room forms the entrance to the imposing neo-Gothic main body of the cathedral, which you can dimly make out to your east. In happier times, a plethora of notice boards was clustered in this room for the attention of the visiting public; now it is [if the collection box is in the Porch]mostly [end if]bare. [if the collection box is not in the Porch]A few splinters of wood and shards of glass remind you of your earlier act of violence; it was, you hasten to remind yourself, a necessary one." The player is in the porch. The outer door is scenery in the Porch. The description of the outer door is "Through the door, you can make out the great throng of shoppers outside[if the time of day is before 10:00 AM]; since the abolition of Sunday trading laws, the presence of the crowd has become almost perpetual, and it no longer surprises you to see it so early[end if]." Wood is scenery in the porch. Rule for printing the name of wood: say "splinters of wood". The description of the wood is "The splinters of wood would make useful weapons, but you do not favour short-range combat." Understand "splinters" as the wood. Glassi is scenery in the porch. Rule for printing the name of glassi: say "shards of glass". The description of the glassi is "The shards of glass point threateningly towards you, reminding you of the task in hand." Understand "shards" as the glassi. Understand "glass" as the glassi.
The Nave is east of the porch. "The Nave stretches from the west — the entrance to the cathedral — to the east, culminating in the grandeur of the High Altar. Wooden chairs are laid neatly out for the congregation, forming a somewhat ridiculous contrast with the splendid stained glass windows. An archway to the north leads to the cathedral shop, while the information desk is to the south." Hightar is scenery in the nave. Rule for printing the name of hightar: say "High Altar". Understand "altar" as hightar. Understand "high altar" as hightar. The description of hightar is "You turn eastwards and perceive the decadent altar in the distance. Its majesty reminds you of when the Church was a respected institution — unbelievably, less than a year ago. The thought of returning to that situation now seems ludicrous." Chairs are scenery in the nave. "They seem an oddly functional contrast with their surroundings." Chairs are an enterable supporter. Instead of entering chairs, say "You slide onto a chair and are reminded of hours of uncomfortable concerts. Sitting makes you feel uncomfortably vulnerable, and after a moment's pause, you decide it would be better to resume a standing position." Understand "chair" as chairs. Stained glass windows are scenery in the nave. "The windows tell the lives of various saints. Here and there, a rectangle of cardboard serves as an inadequate substitute for a pane. You had expected this — or worse — and the overall effect is uncompromised."
The Steps is east of the nave. "You stand in the centre of the cathedral: here, the transept, running from north to south, intersects with the nave, which goes from west to east, continuing into the quire before leading towards the High Altar. The steps you stand on are carved from black marble." Stepi are scenery in the steps. Rule for printing the name of stepi: say "steps". Understand "steps" as stepi. The description of stepi is "The steps draw your eyes eastwards." Hightir is scenery in the steps. Rule for printing the name of hightir: say "High Altar". Understand "altar" as hightir. Understand "high altar" as hightir. The description of hightir is "You turn eastwards and perceive the decadent altar in the distance. Its majesty reminds you of when the Church was a respected institution — unbelievably, less than a year ago. The thought of returning to that situation now seems ludicrous."
The Quire is east of the steps. "Westwards: back towards the nave; eastwards: the altar. Stalls are placed to the north and south, creating a pleasant symmetry." Highter is scenery in the quire. Rule for printing the name of highter: say "High Altar". Understand "altar" as highter. Understand "high altar" as highter. The description of highter is "You turn eastwards and perceive the decadent altar in the distance. Its majesty reminds you of when the Church was a respected institution — unbelievably, less than a year ago. The thought of returning to that situation now seems ludicrous." Stalls are scenery in the quire. "You have sat in these stalls many times, and felt the superiority of your position. Despite the length of your recent absence from the cathedral, the stalls still seem welcoming."
The High Altar is east of the quire. "You slip beyond the altar rail, and notice that the altar seems larger close up. From here, gates leading north and south follow on to their respective aisles, intended to facilitate the flow of communicants. To your west, you can see the main body of the cathedral." Gates are scenery in the high altar. "The gates are wrought from iron, in a careful floral design. They could perhaps do for weapons someday, but the chapter is not yet desperate enough to consider this." Understand "gate" as gates. The haltar is scenery in the high altar. Rule for printing the name of the haltar: say "altar". Understand "altar" as the haltar. The description of the haltar is "The altar is dressed with the green cloth of the season and a frontispiece of traditional iconography. Only at this level of proximity do you realise its great size — but as an atheist, you refuse to be intimidated by a mere table."
The North Aisle is north of the high altar. "To the south an open gate leads to the High Altar, while to the north there is an archway, with a crudely-printed sign affixed reading 'Chapter House'. To the west, the aisle becomes the north transept; it also continues into the east, which from here appears entirely dark. A set of stairs marked 'Staff Only' — you once took pleasure in ignoring that sign — lead you down to the crypt." A gate is scenery in the north aisle. "The gate is wrought from iron, in a careful floral design. It could perhaps do for weapons someday, but the chapter is not yet desperate enough to consider this." A sign is scenery in the north aisle. "The sign is a laminated piece of paper; a poor effort, you feel." Stairs are scenery in the north aisle. "The stairs form an inviting path down to the crypt."
The Chapter House is north of the north aisle. "Here, unlike everywhere else, function takes priority over form. Bright Sunday morning light streams in, unnerving you. A more subdued archway to the south indicates the way back to the cathedral."
The South Aisle is south of the high altar. "To your west the aisle lead into the south transept, and to the north, an open gate points the way to the altar. On the south is a side chapel. A narrow spiral staircase leads to the organ loft above, while sturdier-looking stone steps allow access to the crypt." A gite is scenery in the south aisle. Rule for printing the name of the gite: say "gate". Understand "gate" as the gite. "The gate is wrought from iron, in a careful floral design. It could perhaps do for weapons someday, but the chapter is not yet desperate enough to consider this." A spiral staircase is scenery in the south aisle. "Mercifully, the staircase is only short, allowing speedy ascent to the organ console." Stone steps are scenery in the south aisle. "You remember years of descending this way, before. The sight of the steps is unexpectedly comforting."
[TO DO describe and add scenery to remaining rooms.]
The Chapel is south of the south aisle. "An archway in the north wall leads back to the south aisle." The North Stalls are north of the quire. "There are more stalls on the south side of the quire." The South Stalls are south of the quire. "There are more stalls on the north side of the quire." The North Transept is north of the steps. "To the east is the north aisle; to the south, the rest of the transept." The South Transept is south of the steps. "The south aisle is to the east, while the transept continues northwards. The information desk is to the west. Unusually, the south door is slightly ajar." The Shop is north of the nave. "The only exit is southwards, to the nave." The Organ Loft is above the south aisle. "Down the steps is the south aisle." The P is down from the north aisle. The P2 is down from the south aisle. The P3 is west of the north aisle. The P4 is east of the north transept. The P5 is west of the south aisle. The P6 is east of the south transept. Instead of going west from the north aisle: move the player to the north transept. Instead of going east from the north transept: move the player to the north aisle. Instead of going west from the south aisle: move the player to the south transept. Instead of going east from the south transept: move the player to the south aisle. The North-East Altar is a dark room. "The plastic moon you carry sheds a little light on your surroundings." The North-East altar is east of the north aisle. The South-East Altar is a dark room. "The altar cloth is reassuringly plain." The South-East altar is south of the North-East Altar. The Information Point is south of the nave and west of the south transept. "The nave is to the north, while the south transept is to the east." Rule for printing the name of the Information Point: say "Information Desk".
The Crypt is a room. "Two staircases, which it is impossible to differentiate, lead upwards, while further rooms lie to the north and south." The Portal is above the crypt. The Vestry is north of the crypt. "The main room of the crypt is to the south." The Music Room is south of the crypt. "The main part of the crypt lies to the north." Instead of going down from the north aisle: move the player to the crypt. Instead of going down from the south aisle: move the player to the crypt. Instead of going up from the Crypt when a random chance of 1 in 2 succeeds: move the player to the north aisle. Instead of going to the Portal: move the player to the south aisle.
Stones is west of the Porch. "A cold wind blows." Rule for printing the name of Stones: say "Outside". Stones2 is south of the south transept. "A cold wind blows." Rule for printing the name of Stones2: say "Outside". Instead of going nowhere from Stones, say "The shops are indeed alluring at the present time, but try to concentrate on the matter at hand." Instead of going nowhere from Stones2, say "The shops are indeed alluring at the present time, but try to concentrate on the matter at hand." Instead of going west in the Porch when the player wears the dress, say "You fear that the public would have an adverse reaction to the dress you are wearing." Instead of going to Stones2 when the player wears the dress, say "You fear that the public would have an adverse reaction to the dress you are wearing."
[Things]
[TO DO: "paragraphs about" objects, and update descriptions. Modify the "romantic" plot: particularly the text.]
The description of the player is "You are clothed in a splendid purple waistcoat which clashes magnificently with your green trousers. This is, of course, of no relevance, although it does serve as a reminder of your perpetual disappointment with the twenty-first century." Instead of examining the player when the player wears the velvet dress, say "You are clothed in a loose velvet dress. Its blackness unsettles your penchant for bright colour."
A leaflet is in the information point. The description of the leaflet is "A map of the cathedral greets you." Figure Map is the file "Map.png". After examining the leaflet, display Figure Map. A stand is in the information point. On the stand are 4 pellets. The description of the pellets is "Finite." Rule for printing the name of the pellets: say "four bullets". Instead of taking the pellets: increase the number of bullets by 4; now the pellets are nowhere; say "You now have [number of bullets] bullets." Understand "bullets" as the pellets.
The player carries a list, a pistol, a pencil, a mobile phone, a ten pound note and an oatcake. The description of the pistol is "Worthless if unloaded. [if the number of bullets is greater than 0]But you possess [the number of bullets] bullets." The description of the mobile phone is "The text you received this morning is still in the inbox.
[italic type]Tipoff from dm. about 1030 today?? need resistors - j couldnt make it x". The description of the ten pound note is "It may buy something of value." The description of the pencil is "In case Bärenreiter and Ivor Novello have an argument." The description of the oatcake is "Nairn[']s; need I say more?" Instead of examining the list: say "You look at the list. A multitude of organ stops jump out at you.
GREAT
Double Open Diapason 16
Open Diapason 8
Open Diapason 8
Claribel 8
Principal 4
Flute Harmonique 4
Twelfth 2-2/3
Fifteenth 2
Mixture 17 19 22 III
Double Trumpet 16
Tromba 8
Clarion 4
Swell to Great
Swell to Great 16’
Swell to Great 4’
Choir to Great
Solo to Great
SWELL
Geigen Principal 16
Open Diapason 8
Lieblich Gedackt 8
Echo Gamba 8
Vox Angelica 8
Geigen Principal 4
Flageolet 2
Mixture 17 19 22 III
Hautboy 8
Vox Humana 8
Contra Fagotto 16
Cornopean 8
Clarion 4
Tremulant
Octave
Sub Octave
Unison Off
CHOIR
Gamba 8
Lieblich Gedackt 8
Hohl Flote 8
Dulciana 8
Gemshorn 4
Lieblich Flote 4
Piccolo 2
Corno di Bassetto 8
Tremulant
Swell to Choir
Solo to Choir
PEDAL
Double Open Diapason 32
Open Diapason (wood, ext) 16
Violone 16
Bourdon 16
Octave (wood) 8
Violoncello (metal) 8
Ophicleide 16
Swell to Pedal
Swell to Pedal 4’
Great to Pedal
Choir to Pedal
Solo to Pedal
Solo to Pedal 4’
SOLO
Harmonic Flute 8
Concert Flute 4
Clarinet 8
Orchestral Oboe 8
Tuba 8
Tremulant
Octave
Sub Octave
Unison Off"
A New English Hymnal is in the Porch. Understand "hymn book" as the hymnal. Rule for writing a paragraph about the hymnal: say "A hymnal is here." Understand "NEH" as the hymnal. The description of the hymnal is "Looks like you struck lucky; this one's got the music in it." A collection box is fixed in place in the porch. A twenty pound note is in the collection box. The description of the collection box is "A heavy Victorian affair." The description of the twenty pound note is "It is of some value." Instead of taking the twenty pound note when the twenty pound note is in the collection box: say "It is difficult to get through the glass." Understand "glass" as the collection box. A headless Virgin is a thing. Instead of attacking the collection box when the player is carrying the statue: now the player carries the twenty pound note; now the collection box is nowhere; now the statue is nowhere; now the player carries a headless Virgin; say "You brandish the statue you carry and fling it against the glass of the collection box. The glass shatters and the head of the statue breaks off. You scoop up the twenty pound note from the wreckage." Instead of attacking the collection box when the player is not carrying the statue: say "Your knuckles skim ineffectually against the glass." Instead of inserting the ten pound note into the collection box, say "You are far too miserly to donate to the Church."
The description of the headless Virgin is "An ugly statue, now an uglier short-distance weapon." Understand "statue" as the headless Virgin.
On the lectern are 3 bullets. The description of the bullets is "Finite." Instead of taking the bullets: increase the number of bullets by 3; now the bullets are nowhere; say "You now have [number of bullets] bullets."
A lectern is fixed in place in the steps. The description of the lectern is " A golden stares at you imperiously, reminding you of the life that you might now be living if all this had not come to pass." A Bible is fixed in place on the lectern. The description of the bible is "A bookmark points to Revelation 1:18.
[italic type]I am the Living One; I was dead, and behold I am alive for ever and ever! And I hold the keys of death and Hades."
In the south-east altar are five grenades. The description of the grenades is "Finite." Rule for printing the name of the grenades: say "five bullets". Instead of taking the grenades: increase the number of bullets by 5; now the grenades are nowhere; say "You now have [number of bullets] bullets." Understand "bullets" as the grenades.
On the haltar is a disc of bread. The description of the bread is "A communion wafer, perhaps left from yesterday. No doubt it will be stale." Understand "taste [things]" as eating. Understand "wafer" as the bread. Instead of eating the bread: say "Bread without wine: it is somehow wrong, and you feel somewhat cheated. You make quick work of it."; now the bread is nowhere.
An statue is in the shop. The description of the statue is "The ubiquitous virgin stands cradling her newborn; a modern rendering." A book is in the shop. The description of the book is "[italic type]Cathedral Trivia[roman type]
To look up a topic in the book, type [italic type]consult the book about X[roman type] or [italic type]look up X in book.". A CD is in the shop. The description of the CD is "Choral works of French composers: Duruflé[']s [italic type]Requiem[roman type], de Sévérac's [italic type]Tantum ergo[roman type], etc." A volunteer is a person in the shop. Understand the command "buy" as something new. Understand "buy [something]" as taking when the location is the shop. Instead of taking the book when the volunteer is in the shop and the player carries the ten pound note: say "You hand over ten pounds as payment."; now the ten pound note is nowhere; now the player carries the book. Instead of taking the CD when the volunteer is in the shop and the player carries the ten pound note: say "You hand over ten pounds as payment."; now the ten pound note is nowhere; now the player carries the CD. Instead of taking the statue when the volunteer is in the shop and the player carries the ten pound note: say "You hand over ten pounds as payment."; now the ten pound note is nowhere; now the player carries the statue. Instead of taking the book when the volunteer is in the shop and the player does not carry the ten pound note: say "You have bought enough today." Instead of taking the CD when the volunteer is in the shop and the player does not carry the ten pound note: say "You have bought enough today." Instead of taking the statue when the volunteer is in the shop and the player does not carry the ten pound note: say "You have bought enough today." Instead of examining the volunteer when the player carries the ten pound note, say "'Please, buy something!' the volunteer shrieks." The description of the volunteer is "She peers over the frames of her glasses in a benevolently alarming way."
A cassock is in the vestry. The description of the cassock is "It looks to have been hung up in a hurry; the left shoulder drapes off the hanger."
A velvet dress is in the chapel. The description of the dress is "Its smell intrigues you; overpowers you, even. It is soft to the touch. You wonder fleetingly why it was left in the chapel." The dress is wearable. After wearing the velvet dress, say "You feel slightly awkward. The dress is a little too wide and also too short. It is also stiflingly warm. Reassuringly, it smells lovely. [if the player wears the necklace]You are satisfied to notice that it goes with the necklace you are wearing." Instead of jumping when the player is wearing the dress, say "The dress bulges around you, carried by the undercurrent."
A shelf is in the north stalls. A pair of glasses is a thing. Instead of examining the shelf when a random chance of 1 in 7 succeeds and the player does not carry the glasses: now the player carries the glasses; say "Poking around at the back of the shelf, you find that somebody had put a pair of glasses there. You scoop them into your hands." The description of the glasses is "They look new; almost unused." The description of the shelf is "The cavernous depths of the shelf require much more searching than that perfunctory scan." Instead of examining the shelf when the player carries the glasses, say "You see nothing special about the shelf."
Instead of searching the shelf when the the player does not carry the glasses:
if a random chance of 1 in 7 succeeds
begin;
now the player carries the glasses;
say "Poking around at the back of the shelf, you find that somebody had put a pair of glasses there. You scoop them into your hands.";
otherwise;
say "The cavernous depths of the shelf require much more searching than that perfunctory scan.";
end if.
The glasses are wearable. After wearing the glasses, say "Everything becomes a little blurred, but it is still possible to distinguish your surroundings."
A hassock is in the south stalls. The description of the hassock is "It is embroidered with the opening line of Cwm Rhondda." On the hassock are 5 missiles. The description of the missiles is "Finite." Rule for printing the name of the missiles: say "five bullets". Instead of taking the missiles: increase the number of bullets by 5; now the missiles are nowhere; say "You now have [number of bullets] bullets." Understand "bullets" as the missiles.
A glow in the dark crescent moon and a stereo are in the music room. The moon is lit. The description of the moon is "You suspect it is the prank of some hyperactive choral scholar." The description of the stereo is "A small portable CD player." Instead of examining the stereo when the player does not carry the stereo: say "A small portable CD player. You decide it will be useful, and you take it."; now the player carries the stereo. Instead of examining the stereo when the player carries the stereo and the player carries the CD: say "You decide the CD you carry is more interesting than the apparatus for playing it." Understand "CD player" as the stereo.
Something called an organ is in the organ loft. The description of the organ is "The organ console seems impenetrable to you as a mere pianist."
A painting is fixed in place in the chapter house. The description of the painting is "Jesus stares down at you from the cross." A silver necklace is on the painting. The description of the necklace is "You reach out your hand to touch the necklace. It slithers under your fingers." Instead of taking the necklace when a random chance of 2 in 3 succeeds: say "You try to get a grip on it, but it falls away from your hand. You shake your fingers and prepare to try again." The necklace is wearable. After wearing the necklace when the player wears the dress, say "It seems to go with the dress."
Understand "map" as the leaflet.
[The book!] [TO DO: more in the book]
Understand "read [things]" as examining. Instead of examining the book when the player wears the glasses, say "The glasses make it impossible to read the book." Instead of examining the book when the player does not carry the book, say "You'll need to pick it up first. [if the book is in the shop and the volunteer is in the shop]That would involve payment."
After consulting the book about "organ", say "[italic type]The organ is considered by many to be the greatest of its kind in the region. It boasts more than sixty stops."
After consulting the book about "crypt", say "[italic type]The crypt is accessible from the north and south aisles. It houses the vestry and music room."
After consulting the book about "cathedral", say "[italic type]The cathedral was one of the last of its kind to be constructed."
After consulting the book about "chapter house", say "[italic type]The chapter house is currently home to a range of artworks by the current artist in residence, Jimos Green."
After consulting the book about "bullets", say "[italic type]Visitors may make an appointment to see the Vestry."
After consulting the book about "Down Ampney", say "[italic type]Ralph Vaughan Williams, one of the greatest English composers of recent centuries -[line break][roman type]Here somebody has written in: [italic type]disapproves of your tomfoolery!"
Instead of consulting the book about anything when the player wears the glasses, say "The glasses make it impossible to read the book."
Instead of consulting the book about anything when the player is in the shop, say "You can't read in the dimmed light of the shop."
[And the hymnal!] [TO DO: more in the hymnal. Cwm Rhondda? (on hassock)]
A scrap of paper is a thing. After consulting the hymnal about "137": say "A small piece of paper floats out from between the pages.
[italic type]I [roman type]still[italic type] love you![roman type]
You pocket it."; now the player carries the paper. The description of the paper is "[italic type]I [roman type]still[italic type] love you!" Understand "piece of paper" as the paper.
After consulting the hymnal about "Down Ampney", say "Hymns must be looked up by number."
After consulting the hymnal about "119", say "Your favourite hymn!"
After consulting the hymnal about "index", say "[italic type]Type the number of a hymn to look it up in the hymnal."
After consulting the hymnal about "333", say "Looking down at the music, you suddenly remember a September day. [if the player wears the velvet dress]You recall, in a moment of inspiration, that the smell of the dress you are wearing was there then, right next to you."
Report consulting the hymnal about:
say "Due to your non-Anglican upbringing, you find it difficult to recognise the hymn on this page." instead.
Instead of consulting the hymnal about anything when the player is in the organ loft, say "You find a hymn and pull out a few stops, and begin an awful rendition."
Instead of examining the organ when the player carries the hymnal, say "You find a hymn and pull out a few stops, and begin an awful rendition."
Instead of consulting the hymnal about anything when the player wears the glasses, say "The glasses make it impossible to read the hymnal."
[And the CD!]
Understand "play [things]" as examining.
Instead of examining the CD when the player does not carry the CD, say "Choral works of French composers: Duruflé[']s [italic type]Requiem[roman type], de Sévérac's [italic type]Tantum ergo[roman type], etc." Instead of examining the CD when the player carries the CD and the player carries the stereo, say "You turn the CD over a few times and then decide to put it in the CD player. You bring the earphones to your ears.
There are a few clicks, and then Duruflé[']s requiem begins. However, after only a few seconds, it cuts out, and you hear a harsh voice speaking to you.
[italic type]J. I hope you can hear me. All is going well. I[']m so glad about last night. I haven't got long, you see, so I[']m just going to mention a couple of things – oh, before I forget, one of the vergers said you left your glasses in the stalls and I[']m—[roman type]
The voice cuts out and the CD stops. You remove it."
[returning broken statue to the shop] [TO DO: not so sudden?]
After going to the shop when the player carries the headless Virgin and the volunteer is in the shop: say "The volunteer looks at the headless statue you carry in surprise. 'Well!' she shrieks. 'I ought to give you a refund for that one, then!' She hands back your ten pounds and puts the statue into a cupboard."; now the headless Virgin is nowhere; now the player carries the ten pound note.
[Shady Deal] [TO DO: not so sudden?]
A contraband dealer is a person in the vestry. Rule for printing the name of the contraband dealer: say "suspicious-looking man". Understand "man" as the dealer. Understand "talk to [things]" as examining. The description of the dealer is "He looks around and motions to be quiet." The dealer carries a satchel. Instead of examining the dealer when the dealer carries the satchel and the player carries a twenty pound note: say "He looks around himself before beckoning you closer. 'Twenty bullets will cost you twenty pounds,' he mutters."; say "You nod in agreement and hand over the twenty pounds. In return, you receive twenty bullets."; now the twenty pound note is nowhere; now the satchel is nowhere; increase the number of bullets by 20; now the dealer is nowhere; say "The suspicious-looking man pockets the money and leaves the room. You now have [number of bullets] bullets." Instead of examining the man when the player does not carry a twenty pound note, say "He looks around himself before beckoning you closer. 'Twenty bullets will cost you twenty pounds,' he mutters.
You do not have sufficient money to complete this transaction."
[Time. I'm clutching at straws.]
At 9:30 AM: say "The bells chime. You have half an hour."
At 10 AM: say "The bells chime ten times, and the service begins. You hurry to the stalls to find a seat; one where you are near the clergy, in order to take orders."; move the player to the north stalls; say "As the proccession moves past you, some catch your eye with a look of fear, while those who see you as an unordained usurper meet it with defiance. All you can do is wait."
When Battle begins: say "Time passes.
A crash interrupts the prayers. It has begun."; now the volunteer is nowhere; now the left hand status line is "[the player's surroundings] -- Killed: [number of dead Reformers], Escaped: [number of turgid Reformers], Remaining: [number of living Reformers]".
[Reformers] [TO DO: maimed not dead reformers? Give them all descriptions. "Instead of going anywhere" rather than "instead of doing anything"? Emphasises that the action is defensive …]
A Reformer is a kind of person. A Reformer can be living, dead or turgid. Reformers are usually living. Rule for printing the name of a Reformer: say "a Reformer". Reformer1 is a reformer. Reformer2 is a reformer. Reformer3 is a reformer. Reformer4 is a reformer. Reformer5 is a reformer. Reformer6 is a reformer.
After going to a room when a random chance of 1 in 4 succeeds during Battle: if Reformer1 is living begin; move Reformer1 to the location; say "A Reformer faces you."; otherwise if Reformer2 is living; move Reformer2 to the location; say "A Reformer faces you."; otherwise if Reformer3 is living; say "A Reformer faces you."; move Reformer3 to the location; otherwise if Reformer4 is living; say "A Reformer faces you."; move Reformer4 to the location; otherwise if Reformer5 is living; say "A Reformer faces you."; move Reformer5 to the location; otherwise if Reformer6 is living; say "A Reformer faces you."; move Reformer6 to the location; end if.
The escape value1 is a number that varies. When play begins: now the escape value1 is 4.
Instead of doing anything when Reformer1 is in the location and the number of bullets is 0: say "You search for something to put in your pistol, but in vain. When you look up, the Reformer is gone."; now Reformer1 is turgid; move Reformer1 to the portal.
Instead of doing anything when Reformer1 is in the location and the escape value1 is 0: say "You load your pistol and take a shot at the Reformer.
The Reformer dodges the bullet and flees."; decrease the number of bullets by 1; now Reformer1 is turgid; move Reformer1 to the portal.
Instead of doing anything when Reformer1 is in the location and the number of bullets is greater than 0: say "You load your pistol and take a shot at the Reformer."; let N be a random number between 1 and 5; if N is 1 begin; say "The Reformer dies."; now Reformer1 is dead; move Reformer1 to the Portal; decrease the number of bullets by 1; otherwise; say "The Reformer dodges the bullet."; decrease the number of bullets by 1; decrease the escape value1 by 1; end if.
The escape value2 is a number that varies. When play begins: now the escape value2 is 4.
Instead of doing anything when Reformer2 is in the location and the number of bullets is 0: say "You search for something to put in your pistol, but in vain. When you look up, the Reformer is gone."; now Reformer2 is turgid; move Reformer2 to the portal.
Instead of doing anything when Reformer2 is in the location and the escape value2 is 0: say "You load your pistol and take a shot at the Reformer.
The Reformer dodges the bullet and flees."; decrease the number of bullets by 1; now Reformer2 is turgid; move Reformer2 to the portal.
Instead of doing anything when Reformer2 is in the location and the number of bullets is greater than 0: say "You load your pistol and take a shot at the Reformer."; let N be a random number between 1 and 5; if N is 1 begin; say "The Reformer dies."; now Reformer2 is dead; move Reformer2 to the Portal; decrease the number of bullets by 1; otherwise; say "The Reformer dodges the bullet."; decrease the number of bullets by 1; decrease the escape value2 by 1; end if.
The escape value3 is a number that varies. When play begins: now the escape value3 is 4.
Instead of doing anything when Reformer3 is in the location and the number of bullets is 0: say "You search for something to put in your pistol, but in vain. When you look up, the Reformer is gone."; now Reformer3 is turgid; move Reformer3 to the portal.
Instead of doing anything when Reformer3 is in the location and the escape value3 is 0: say "You load your pistol and take a shot at the Reformer.
The Reformer dodges the bullet and flees."; decrease the number of bullets by 1; now Reformer3 is turgid; move Reformer3 to the portal.
Instead of doing anything when Reformer3 is in the location and the number of bullets is greater than 0: say "You load your pistol and take a shot at the Reformer."; let N be a random number between 1 and 5; if N is 1 begin; say "The Reformer dies."; now Reformer3 is dead; move Reformer3 to the Portal; decrease the number of bullets by 1; otherwise; say "The Reformer dodges the bullet."; decrease the number of bullets by 1; decrease the escape value3 by 1; end if.
The escape value4 is a number that varies. When play begins: now the escape value4 is 4.
Instead of doing anything when Reformer4 is in the location and the number of bullets is 0: say "You search for something to put in your pistol, but in vain. When you look up, the Reformer is gone."; now Reformer4 is turgid; move Reformer4 to the portal.
Instead of doing anything when Reformer4 is in the location and the escape value4 is 0: say "You load your pistol and take a shot at the Reformer.
The Reformer dodges the bullet and flees."; decrease the number of bullets by 1; now Reformer4 is turgid; move Reformer4 to the portal.
Instead of doing anything when Reformer4 is in the location and the number of bullets is greater than 0: say "You load your pistol and take a shot at the Reformer."; let N be a random number between 1 and 5; if N is 1 begin; say "The Reformer dies."; now Reformer4 is dead; move Reformer4 to the Portal; decrease the number of bullets by 1; otherwise; say "The Reformer dodges the bullet."; decrease the number of bullets by 1; decrease the escape value4 by 1; end if.
The escape value5 is a number that varies. When play begins: now the escape value5 is 4.
Instead of doing anything when Reformer5 is in the location and the number of bullets is 0: say "You search for something to put in your pistol, but in vain. When you look up, the Reformer is gone."; now Reformer5 is turgid; move Reformer5 to the portal.
Instead of doing anything when Reformer5 is in the location and the escape value5 is 0: say "You load your pistol and take a shot at the Reformer.
The Reformer dodges the bullet and flees."; decrease the number of bullets by 1; now Reformer5 is turgid; move Reformer5 to the portal.
Instead of doing anything when Reformer5 is in the location and the number of bullets is greater than 0: say "You load your pistol and take a shot at the Reformer."; let N be a random number between 1 and 5; if N is 1 begin; say "The Reformer dies."; now Reformer5 is dead; move Reformer5 to the Portal; decrease the number of bullets by 1; otherwise; say "The Reformer dodges the bullet."; decrease the number of bullets by 1; decrease the escape value5 by 1; end if.
The escape value6 is a number that varies. When play begins: now the escape value6 is 4.
Instead of doing anything when Reformer6 is in the location and the number of bullets is 0: say "You search for something to put in your pistol, but in vain. When you look up, the Reformer is gone."; now Reformer6 is turgid; move Reformer6 to the portal.
Instead of doing anything when Reformer6 is in the location and the escape value6 is 0: say "You load your pistol and take a shot at the Reformer.
The Reformer dodges the bullet and flees."; decrease the number of bullets by 1; now Reformer6 is turgid; move Reformer6 to the portal.
Instead of doing anything when Reformer6 is in the location and the number of bullets is greater than 0: say "You load your pistol and take a shot at the Reformer."; let N be a random number between 1 and 5; if N is 1 begin; say "The Reformer dies."; now Reformer6 is dead; move Reformer6 to the Portal; decrease the number of bullets by 1; otherwise; say "The Reformer dodges the bullet."; decrease the number of bullets by 1; decrease the escape value6 by 1; end if.
[TO DO: change the "romantic" plot here]
[Denouement]
When Denouement begins: say "You descend to the crypt to meet those who have gathered there to report on the attack."; now the left hand status line is "[the player's surroundings]"; wait for any key; move the player to the crypt; say "One of the resistance leaders hurries to greet you as you descend the stairs. You smile."; end the story finally saying "You have won".
[Questionable]
When Questionable begins: say "You wander to the chapter house."; now the left hand status line is "[the player's surroundings]"; wait for any key; move the player to the chapter house; say "An elderly Canon is waiting for you. He smiles as you enter the room."; if the player wears the dress begin; say "He sees the dress you wear and begins to greet somebody who is not you - but of course - it is [italic type]her[roman type] dress - and gloriously, all becomes clear to you. The Canon's face falls as he realises you are not her, but this does not matter to you; everything is revealed. As he leaves the room in disappointment, you feel elated."; end the story finally saying "You have won"; otherwise; say "Then his face falls as he sees who you are; obviously not the person he was expecting. He gets up and leaves the room, and you are left alone in the Chapter House, cold and confused."; end the story saying "Finis"; end if.
[Trickery]
When Trickery begins: say "Knowing the battle is over, you step out of the cathedral and meet the wind and the crowds outside."; now the left hand status line is "[the player's surroundings]"; wait for any key; move the player to Stones; if the player is wearing the pair of glasses and the player is wearing the silver necklace begin; say "You see a blurred figure waving to you from across the street, and despite the hindrance of the glasses, realise who it is immediately. You run across to her. [line break]'You[']re wearing my glasses,' she says, laughing, and unhooks them from your ears. 'You look so silly.'"; end the story finally saying "You have won"; otherwise; say "The public are indifferent to your travails. You storm past them all and climb into your car, turn on Radio 3 as loud as possible, open all the windows and drive home."; end the story saying "Finis"; end if.