"Nowheresville" by Morpheus Kitami & Cody Gaisser

Part I - Background

Chapter 0 - Includes

[INCLUSIONS]
Include Basic Screen Effects by Emily Short.
Include Menus by Emily Short.
Include Basic Help Menu by Emily Short.
Include Glulx Text Effects by Emily Short.
 
[MISC]
Use American dialect.
Use the serial comma.

[SCORING]
Use scoring.
The maximum score is 10.

[MAX STATIC DATA ERROR FIX]
Use MAX_STATIC_DATA of 1000000.

Chapter 1 - Metadata

[BIBLIOGRAPHIC DATA]
The story title is "Nowheresville".
The story author is "Morpheus Kitami & Cody Gaisser".
The story headline is "a weird fiction text adventure".
The story description is "Hell is other people."
The story creation year is 2022.


[RELEASE]
Release along with the "Quixe" interpreter.
Release along with source text.
Release along with cover art ("A town that repeats infinitely into the horizon.").
Release along with the introductory booklet.
Release along with an introductory postcard.
Release along with a website.


Chapter 2 - Text Formatting


[TEXT FORMATTING]
To say i -- beginning say_i -- running on: (- style underline; -). 
To say /i -- ending say_i -- running on: (- style roman; -). 
To say b -- beginning say_b -- running on: (- style bold; -). 
To say /b -- ending say_b -- running on: (- style roman; -).


Chapter 3 - Status Bar

[STATUS LINE]
To say the player's capitalised surroundings:
	let the masthead be "[the player's surroundings]" in upper case;
	say the masthead.

Table of Fancy Status
left	central	right 
"Location: [the player's capitalised surroundings] ([map region of the location])"	""	"Score: [score]"
"Near: [if a room is adjacent][the list of adjacent rooms][end if][if a room is adjacent and a door is visible], [end if][if a door is visible][the list of visible doors][end if]"	""	""

Rule for constructing the status line:
	 fill status bar with Table of Fancy Status;
	 rule succeeds.

Rule for printing the name of an unvisited room (called the target) while constructing the status line: 
	let aim be the best route from the location to the target; 
	say "somewhere [aim]".
	
After printing the name of a visited room (called the target) while constructing the status line: 
	let aim be the best route from the location to the target;
	if aim is not nothing:
		say " ([aim])".
	
Rule for printing the name of a direction (called the aim) while constructing the status line: 
	choose row with a heading of the aim 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"
fore	"F"
aft	"A"
port	"P"
starboard	"S"


Chapter 4 - Help & Hints

[HELP]
A thing can be examined or unexamined. A thing is usually unexamined. Carry out examining something: now the noun is examined. 

Taking inventory is acting confused. Looking is acting confused. Examining an examined thing is acting confused. 

After acting confused for the sixth turn: 
	say "If you need help, type HELP for assistance." 

When play begins:
	 choose row 1 in Table of Basic Help Options;
	 now description entry is "[i]Nowheresville[/i] is a weird fiction text adventure.[paragraph break]You are stuck in an oddly perfect town that might be Hell. Are you going to try to escape again?[paragraph break]Implemented by Morpheus Kitami & Cody Gaisser.[line break]Tested by Robinson Nox.[line break]Thanks to everyone at INTFICTION.ORG for the invaluable advice."

Table of Basic Help Options (continued)
title	subtable	description 
"Hints"	Table of Hints	-- 
["Settings"	Table of Setting Options	-- ]


Table of Hints
title	subtable	description	toggle 
"What's going on here?"	Table of Basic Hints	""	hint toggle rule 
"What do I do with this toy gun?"	Table of Gun Hints	""	hint toggle rule
"What do I do in the junkyard?"	Table of Junk Hints	""	hint toggle rule
"What do I do with the hammer?"	Table of Hammer Hints	""	hint toggle rule
"What are these numbers on this card?"	Table of Combo Hints	""	hint toggle rule
"How do I get into the mysterious house?"	Table of Mystery Hints	""	hint toggle rule
"How do I get into the nice house?"	Table of Nice Hints	""	hint toggle rule
"I've found a bullet, what do I do with it?"	Table of Bullet Hints	""	hint toggle rule


Table of Basic Hints
hint	used 
"You've found yourself trapped in an oddly perfect town that might be Hell. Will you try to escape again?"	a number 
"You'll need to explore the town and examine your surroundings carefully if you're going to find a way out."	
"You may need to find some tools to help you access hard-to-reach places."	

Table of Gun Hints
hint	used
"What do you usually do with a gun?"	a number
"You shoot things with it."	
"It looks like the gun isn't loaded."	
"You're going to need some ammunition."	
"Surely there's some ammo hidden somewhere."	

Table of Junk Hints
hint	used
"If you're going to accomplish much in the junkyard, you're going to need to get past that pesky guard dog."	a number
"Do you have anything the dog might want?"	
"Take a trip to the butcher."	
"Try feeding the beef to the dog."	
"If the dog eats the raw beef, maybe you can still get more?"	
"Maybe there's a way to incapacitate the dog?"	
"Try drugging the beef."	
"Is there anything in the junkyard you can take?"	
"Is there anything else in the junkyard you can examine?"	
"The old fridge looks suspicious."	
"Can you open the old fridge?"	
"The latch on the old fridge looks rusty."	
"Maybe you can clean or lubricate it somehow?"	
"Have you found a rag anywhere?"	
"There's a clean rag in the garage."	
"Does the clean rag work on the fridge?"	
"Maybe you need some lubricant?"	
"Have you seen any oil anywhere?"	
"Does anything seem out of place on Main Street?"	
"You're going to need what's inside that balloon."	
"How to get the balloon?"	
"You can't seem to reach the balloon..."	
"Maybe you can pop the balloon without actually reaching it."	
"Does poking it achieve anything?"	
"Maybe there's another way to pop the balloon?"	
"Have you found anything sharp and pointy that might pop the balloon?"	
"There should be a pin lying around somewhere..."	
"The pin is in the dressmaker's."	
"Is there a way to reach the balloon with the pin?"	
"Try throwing the pin at the balloon."	
"Now there's a puddle of oil on Main Street."	
"Can you get the oil somehow?"	
"Have you found a rag somewhere?"	
"The rag is in the garage."	
"Try getting the rag oily."	
"Does the oily rag work on the fridge?"	
"After lubricating the latch with the oily rag, you should be able to open the old fridge."	
"What's in the fridge? Could this be useful somehow?"	

Table of Hammer Hints
hint	used
"You can hit or pry things with the clawhammer."	a number	
"The hammer has several uses, some more crucial to your escape than others."	
"Is anything stuck shut that might become openable with some hitting or prying?"	
"Is your attention drawn to anything in the apartment building?"	
"Try using the hammer to open the mailboxes."	

Table of Combo Hints
hint	used
"Maybe these numbers are some kind of clue."	a number	
"Maybe they're some sort of address or password?"	
"Or a combination?"	
"Have you seen anything that needs a combination to open?"	
"Try the lockers in the school."	
"The cobination to locker 5151 is 666."	

Table of Bullet Hints
hint	used
"What do you usually do with a bullet?"	a number
"Bullets go in guns."	
"Put the bullet in the toy gun."	
"Will the gun fire?"	
"Did you lose your bullet?"	
"Be careful what you shoot."	
"What sorts of things might you need to shoot?"	
"People?!"	
"Do you always lose your bullet after shooting the gun?"	
"The bullet is only expended when you shoot the 'wrong' things."	
"What are the 'right' things to shoot?!"	
"Does anything in town look like it has been shot before?"	
"Does any place in town stand out from the rest?"	
"Have you explored the houses in town?"	
"Have you explored the mysterious house?"	
"Have you been to the basement?"	
"Have you examined the wall in the basement?"	
"The wall in the basement has cracks emanating from a hole that looks like it was put there by a bullet."	
"Shoot the hole in the basement in the mysterious house."		

Table of Mystery Hints
hint	used
"Have you tried the door?"	a number
"The door seems to be locked, so you might need a key."	
"Have you explored the other house in town?"	
"Focus on the nice house first."	
"Does anything unusual grab your attention inside the nice house?"	
"Try examining the display cases."	
"Try examining the figurine cabinet."	
"Why is there a figurine that looks like you inside the cabinet?"	
"Can you get the figurine?"	
"Try opening the cabinet."	
"It looks like the cabinet is locked. You'll have to find a way to open it."	
"What are the cabinet doors made of?"	
"Break the cabinet."	
"Now you can take the figurine of yourself."	
"Have you examined the figurine?"	
"Have you examined the figurine while holding it?"	
"It sounds like there's something rattling around inside the figurine."	
"Break the figurine."	
"There's an ornate key inside."	
"The ornate key unlocks the mysterious house."


Table of Nice Hints
hint	used
"Have you tried the door?"	a number
"The door seems to be locked, so you might need a key."	
"Have you examined the door?"	
"Do you notice anything unusual about the door?"	
"The door has a keyhole, maybe you can examine that?"	
"There's a gap under ths door, maybe you can examine that?"	
"The key is in the keyhole, but you're on the wrong side of the door."	
"There are a couple of ways to go about this."	
"You can probably knock the key out of the hole somehow, but you'll still need a way to retrieve it."	
"What could possibly fit through the keyhole?"	
"Have you found any sort of stiff wire in town?"	
"There's a coathanger at the clothing store."	
"Will the coathanger fit in the keyhole?"	
"Maybe if you bent the coathanger?"	
"Put the straightened hanger in the keyhole."	
"The straightened hanger will knock the key to the floor. Did you have a plan for retrieving it?"	
"Do you have anything that will fit under the gap in the door?"	
"Paper or the straightened coathanger should fit under the door."	
"There's paper in the office block if you know where to look."	
"If you put the paper in the gap before putting the hanger in the keyhole, the paper will catch the key when it falls."	
"You can then take the paper and get the key, unless you already knocked the key to the floor."	
"If you already knocked the key on the floor, you can still fish it out."	
"Try using the straightened hanger to fish the key from under the door."	
"The brass key unlocks the nice house."		



Chapter 5 - Quitting

[QUITTING]
Check quitting the game:
	say "Are you absolutely certain you want to quit?";
	if the player consents, say "[line break]Quitter![line break]";
	otherwise stop the action.


Chapter 6 - Testing - Not for release

[TESTING DESCRIPTIONS]
When play begins (this is the run property checks at the start of play rule):
	repeat with item running through things:
		if description of the item is "":
			say "[item] has no description."


Chapter 7 - Introduction


[INTRODUCTION]

When play begins: 
	display the boxed quotation
	"'Hell is other people.' - Jean-Paul Sartre"; 
	show the current quotation;
	pause the game;
	say "[line break]This work is intended for a mature adult audience.";
	wait for any key;
	say "[line break]Player discretion is advised.";
	wait for any key;
	say "[line break]Type HELP at any time.";
	wait for any key;
	clear the screen;
	say "You don't remember how you got here. All you remember is the realization that you were in a strange building, before you walked out and started wandering the streets, desperate to find anything remotely familiar to you.";
	wait for any key;
	say "[line break]You found yourself walking down streets you didn't recognize, through parks you've never seen. Travelling constantly in one direction hoping you find something that resembles your memories. Then you realize you've been walking in circles even though you have been walking in the same direction for hours.";
	wait for any key;
	say "[line break]Dejected, you walk into a diner. The waitress looks a little surprised to see you, as if she wasn't expecting customers. 'Give me a drink', you ask.[paragraph break]She hands you a cup of water and then stares directly at you. It's somewhat unnerving. Surely, you aren't that much of a shocking presence in this strange town?[paragraph break]'Could I have something to eat?'";
	wait for any key;
	say "[line break]'I'm afraid I don't have a chef. Is there anything else I could do for you?'[paragraph break]'Where are we?'[paragraph break]'I'll tell you' she says...";
	wait for any key;
	clear the screen;
	say "[b]N O W H E R E S V I L L E[/b]";
	wait for any key;
	clear the screen;
	say "[line break]'...or Hell. There is no way out or in. We've all been here for a long time. Longer than you've been alive. You're remembering things again. I don't know why but the rest of you fade in and out of...shall we say NPC status. I remember everything.'";
	wait for any key;
	say "[line break]'Lucky you, you're conscious again. Guess what the candy man did to you finally healed. I don't even see any scars.' She looks at your neck. 'Are you going to try to break out again?'";
	wait for any key;
	clear the screen.
Before starting the virtual machine: 
	now the left hand status line is ""; 
	now the right hand status line is "".


Chapter 8 - Directions

[NAUTICAL DIRECTIONS]

The starboard is a direction.  The starboard has opposite port.  Understand "s" as starboard when the location is nautical.

The port is a direction.  The port has opposite starboard.  Understand "p" as port when the location is nautical.

The fore is a direction.  The fore has opposite aft.  Understand "f" as fore when the location is nautical.

The aft is a direction.  The aft has opposite fore.  Understand "a" as aft when the location is nautical.

Does the player mean going a nautical direction when the location is nautical: it is very likely.

Index map with fore mapped as north.
Index map with aft mapped as south.
Index map with port mapped as west.
Index map with starboard mapped as east.

A room can be nautical or earthbound.  A room is usually not nautical.  
A direction can be nautical or earthbound.  A direction is usually not nautical.
Starboard, port, fore, aft, up, down, the inside, and the outside are nautical.

Before going a nautical direction (called D) when the location is not nautical:
	if D is starboard or D is port or D is fore or D is aft:
		say "Nautical directions can only be used on board ship."

Before going an earthbound direction when the location is nautical, say "Compass directions make no sense on board a ship, but you can use [list of nautical directions] instead." instead.


Chapter 9 - Rules


[TALKING]

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

Talking to is a speech-like action.
Asking about is a speech-like action.
Answering that is a speech-like action.
Telling about is a speech-like action.


[PRYABILITY]
Pryability is a kind of value.  The pryabilities are pryable and unpryable.  A thing has a pryability.  A thing is usually unpryable.

[PRYING / PRYING IT WITH]

Prying is an action applying to one thing.
Understand "pry [something]" as prying.

Check prying:
	if the noun is pryable:
		continue the action;
	otherwise:
		say "You can't pry that.";
		stop the action.

Prying it with is an action applying to two things. 
Understand "pry [something] with [something preferably held]" as prying it with.

Check prying it with:
	if the noun is pryable:
		continue the action;
	otherwise:
		say "You can't pry that.";
		stop the action.


[HITTABILITY]
Hittability is a kind of value.  The hittabilities are hittable and unhittable.  A thing has a hittability.  A thing is usually unhittable.

[HITTING / HITTING IT WITH]
Hitting is an action applying to one thing.
Understand "hit [something]" as hitting.

[Check hitting:
	if the noun is a person:
		continue the action;
	otherwise:
		say "You have no reason to hit that.";
		stop the action.]

Hitting it with is an action applying to two things.
Understand "hit [something] with [something preferably held]" as hitting it with.
Understand "strike [something] with [something preferably held]" as hitting it with.
Understand "smash [something] with [something preferably held]" as hitting it with.
Understand "bash [something] with [something preferably held]" as hitting it with.

Check hitting it with:
	if the noun is hittable:
		continue the action;
	otherwise:
		say "You have no reason to hit that.";
		stop the action.
		

[KICKING]
Understand "kick [something]" as attacking.


[PUSHING / PULLING A PERSON]
Instead of pushing something:
	if the noun is an animal:
		try attacking the noun;
	if the noun is a person:
		try attacking the noun;
	otherwise:
		continue the action.
	
Instead of pulling something:
	if the noun is an animal:
		try attacking the noun;
	if the noun is a person:
		try attacking the noun;
	otherwise:
		continue the action.	
		

[DIGGING]
Digging is an action applying to one thing.
Understand "dig [something]" as digging.

Instead of digging:
	say "You can't dig here."


[OPENING IT WITH]
Opening it with is an action applying to two things.
Understand "open [something] with [something preferably held]" as opening it with.


[SPINNING IT TO]
Spinning it to is an action applying to one thing and one number.
Check spinning it to: if the noun is not Locker 5151, say "[The noun] does not spin." instead. 
Report spinning it to: say "Click!  Nothing happens." 

Understand "spin [something] to [a number]" as spinning it to.
Understand "turn [something] to [a number]" as spinning it to.
Understand "rotate [something] to [a number]" as spinning it to.
Understand "set [something] to [a number]" as spinning it to.
Understand "dial [something] to [a number]" as spinning it to.
Understand "open [something] with [a number]" as spinning it to.
Understand "unlock [something] with [a number]" as spinning it to.


[STAIRCASES]

A staircase is a kind of door.  A staircase is usually open.  A staircase is seldom openable.


[SAVEDNESS]
Savedness is a kind of value.  The savednesses are saved and unsaved.  A person has a savedness.  A person is usually unsaved.


[DRUGGABILITY]
Druggability is a kind of value.  The druggabilities are druggable and undruggable.  A thing has a druggability.  A thing is usually undruggable.

[DRUGGEDNESS]
Druggedness is a kind of value.  The druggednesses are drugged and undrugged.  An animal has a druggedness.  An animal is usually undrugged.


[DRUGGING IT WITH]
Drugging it with is an action applying to two things.
Understand "drug [something] with [something preferably held]" as drugging it with.

Check drugging it with:
	if the noun is druggable:
		continue the action;
	otherwise:
		say "You can't figure out how to make that work.";
		stop the action.
		

[FEEDABILITY]
Feedability is a kind of value.  The feedabilities are feedable and unfeedable.  A thing has a feedability.  A thing is usually unfeedable.


[FEEDING IT TO]
Feeding it to is an action applying to two things.
Understand "feed [something preferably held] to [something]" as feeding it to.

Check feeding it to:
	if the noun is feedable:
		continue the action;
	otherwise:
		say "You can't force-feed that.";
		stop the action.

[SHOOTING IT WITH]
Shooting it with is an action applying to two things.
Understand "shoot [something] with [something preferably held]" as shooting it with.
Understand "shoot [something preferably held] at [something]" as shooting it with (with nouns reversed).
Understand the command "fire" as "shoot".

Check shooting it with:
	if the second noun is the toy gun:
		continue the action;
	otherwise:
		say "You can't shoot with that.";
		stop the action.
		

[WIPING IT WITH]
Wiping it with is an action applying to two things.
Understand "wipe [something] with [something preferably held]" as wiping it with.

Check wiping it with:
	if the second noun is the clean rag:
		continue the action;
	if the second noun is the oily rag:
		continue the action;
	otherwise:
		say "You see no reason to wipe anything using that."
		

[CLEANING IT WITH]
Cleaning it with is an action applying to two things.
Understand "clean [something] with [something preferably held]" as cleaning it with.

Check cleaning it with:
	if the second noun is the clean rag:
		continue the action;
	if the second noun is the oily rag:
		continue the action;
	otherwise:
		say "You see no reason to clean anything using that."

[RUBBING IT ON]
Rubbing it on is an action applying to two things.
Understand "rub [something preferably held] on [something]" as rubbing it on.

Check rubbing it on:
	if the second noun is the clean rag:
		continue the action;
	if the second noun is the oily rag:
		continue the action;
	otherwise:
		say "Stop being weird."


[PUNCTURING IT WITH]
Puncturing it with is an action applying to two things.
Understand "puncture [something] with [something preferably held]" as puncturing it with.
Understand "stab [something] with [something preferably held]" as puncturing it with.
Understand "poke [something] with [something preferably held]" as puncturing it with.
Understand "pop [something] with [something preferably held]" as puncturing it with.

Check puncturing it with:
	if the noun is the balloon:
		if the second noun is the pin:
			continue the action;
		if the second noun is the straightened hanger:
			say "The balloon bobbles around a bit, but it doesn't pop. Looks like you'll need something sharper.";
			stop the action;
		otherwise:
			say "You can't puncture the balloon with that.";
			stop the action;
	otherwise:
		if the second noun is the pin:
			say "You don't need to puncture that.";
		otherwise:
			say "You can't figure out how to puncture the [noun] with the [second noun]."
		

[TOSSING]
Understand "toss [something preferably held] at [something]" as throwing it at.


[READING]
Reading is an action applying to one thing.
Understand "read [something preferably held]" as reading.

Check reading:
	if the noun is the dusty tome:
		continue the action;
	if the noun is the pamphlet:
		continue the action;
	if the noun is the police records:
		continue the action;
	otherwise:
		say "You can't find anything to read there.";
		stop the action.
	

[BENDING]
Bending is an action applying to one thing.
Understand "bend [something preferably held]" as bending.
Understand "straighten [something preferably held]" as bending.
Understand "uncoil [something preferably held]" as bending.
Understand "fold [something preferably held]" as bending.
Understand "unfold [something preferably held]" as bending.

Check bending:
	if the noun is the coathanger:
		continue the action;
	if the noun is the straightened hanger:
		say "No matter how you try, you just can't bend it back to its original shape.";
		stop the action;
	otherwise:
		say "You can't bend that.";
		stop the action.


[POKEDNESS]
Pokedness is a kind of value.  The pokednesses are poked and unpoked. A thing has a pokedness. A thing is usually unpoked.
		

[KEYEDNESS] 
Keyedness is a kind of value.  The keyednesses are keyed and unkeyed. A thing has a keyedness. A thing is usually unkeyed.


[GAPPEDNESS]
Gappedness is a kind of value.  The gappednesses are gapped and ungapped.  A thing has a gappedness.  A thing is usually ungapped.


[PUTTING IT UNDER]
Putting it under is an action applying to two things.
Understand "put [something preferably held] under [something]" as putting it under.

Check putting it under:
	if the second noun is the blue door:
		continue the action;
	otherwise:
		say "You don't need to put [i]that[/i] under [i]that[/i].".

[CHAIREDNESS]
Chairedness is a kind of value.  The chairednesses are chaired and unchaired.  A person has a chairedness.  A person is usually unchaired.

Every turn while Max is chaired:
	if Max is on the chairs:
		say "The waitress continues to glare.";
	if Max is on the stool:
		say "The bartender maintains eye contact.";
	if Max is on the antique chairs:
		say "The waiter hovers over you.";
	if Max is on the brown chairs:
		say "You are making the secretary uncomfortable.";
	otherwise:
		continue the action.

[LUBRICATING IT WITH]
Lubricating it with is an action applying to two things.
Understand "lubricate [something] with [something preferably held]" as lubricating it with.
Understand "oil [something] with [something preferably held]" as lubricating it with.
Understand "grease [something] with [something preferably held]" as lubricating it with.

Check lubricating it with:
	if the second noun is the oily rag:
		if the noun is the old fridge:
			continue the action;
		otherwise:
			say "You don't need to lubricate that.";
	otherwise:
		say "You're not going to lubricate anything with that."
		

[INJUREDNESS]

Injuredness is a kind of value.  The injurednesses are uninjured and injured.  A person has an injuredness.  A person is usually uninjured.

Every turn while the player is injured:
	say "[one of]Your hand hurts. A lot.[or]Your hand is throbbing.[or]You find it hard to concentrate due to the pain.[or]You just want the agony to stop.[or]You've almost tuned out the agonizing pain, but you can't help but notice the ache.[or]It hurts more when you move like that.[or]It hurts.[or]Your hand is troubling you again.[or]A sharp pain shoots up your arm.[or]You can't stop thinking about your wounded hand.[or]The pain has receded for a moment.[at random]".

[RAISED SUPPORTERS]

A raised supporter is a kind of supporter.

For printing a locale paragraph about a raised supporter (called the high place):
	if the player is on a supporter (called the riser):
		say "Up on [the high place](and only visible because you're on [the riser])[is-are a list of things on the high place].";
	otherwise:
		say "The [high place] is above you."
			
Definition: a thing (called target item) is out of reach:
	if the player is on a supporter, no;
	if the target item is on a raised supporter, yes;
	no.
	
Before doing something:
	if the noun is out of reach or the second noun is out of reach:
		say "You can't reach from down here." instead.
		
Instead of putting something on a raised supporter when the player is not on a supporter:
	say "You can't reach from down here."
	
Instead of searching or examining a raised supporter when the player is not on a supporter:
	say "You can't see from down here."
	
Disallowed-all is a truth state that varies.  Disallowed-all is false.

Rule for deciding whether all includes an out of reach thing:
	now disallowed-all is true;
	it does not.
	
Rule for printing a parser error when the latest parser error is the nothing to do error and the player is not on a supporter:
	if disallowed-all is true:
		say "Whatever might be up there, you can't see or reach from down here.";
	otherwise:
		make no decision.
			
A first action-processing rule:
	now disallowed-all is false.

Instead of putting something on a raised supporter when the player is not on a supporter:
	say "You can't reach from down here."
	
Instead of searching or examining a raised supporter when the player is not on a supporter:
	say "You can't see from down here."


Part II - Nowheresville


Chapter 1 - Whatever


Section Regions

[STREETS]
Streets is a region.
Main Street South is in Streets.
First Avenue West is a room in Streets.
Second & Main is in Streets.
First & Main is in Streets.
Main Street North is in Streets.
Second Avenue East is a room in Streets.
Second Avenue West is in Streets.
Second & Union is in Streets.
Union Street North is in Streets.
Union Street South is a room in Streets.
First Avenue East is in Streets.
Third & Main is in Streets.
Second & Commerce is in Streets.
First & Union is in Streets.
Third & Union is in Streets.
Third Avenue East is a room in Streets.
Third & Commerce is in Streets.
Commerce Street North is in Streets.
Commerce Street South is a room in Streets.
First & Commerce is in Streets.
Third Avenue West is in Streets.

The roads are a backdrop in the Streets.  Understand "road" or "street" or "streets" or "intersection" or "ground" as the roads.
The description of the roads is "The streets are suspiciously clean, as if they have just been paved."

The blue skies are a backdrop in the Streets.  Understand "sky" or "skies" or "blue sky" or "clear skies" or "clear sky" as the blue skies.
The description of the blue skies is "The skies are clear and blue."

[INDOORS]
Indoors is a region.
Diner is in Indoors.
School is in Indoors.
Library is in Indoors.
Apartment Building is in Indoors.
Abandoned Apartments is in Indoors.
Grocery is a room in Indoors.
Doctors Office is in Indoors.
Clean Apartment is in Indoors.
Dressmaker is in Indoors.
Sheriff's Office is in Indoors.
Restaurant is a room in Indoors.
Clothing Store is in Indoors.
Bar is a room in Indoors.
Garage is a room in Indoors.
Candy Shop is in Indoors.
Office Block is in Indoors.
Bank is in Indoors.
Nice House is in Indoors.
Mysterious House is in Indoors.
Eerie Basement is in Indoors.
Butcher is in Indoors.
Pharmacy is a room in Indoors.
Toy Store is in Indoors.


[OUTDOORS]
Outdoors is a region.
Farm is in Outdoors.
Park is in Outdoors.
Junkyard is a room in Outdoors.


The clear skies are a backdrop in the Outdoors.  Understand "sky" or "skies" or "blue sky" or "clear sky" or "blue skies" as the clear skies.
The description of the clear skies is "The skies are clear and blue."


[UNKNOWN]
Unknown is a region.
Blue Desert, Alpha, Beta, Gamma, and Delta are in Unknown.


The dark skies are a backdrop in the Outdoors.  Understand "sky" or "skies" or "blue sky" or "dark sky" or "blue skies" as the dark skies.
The description of the dark skies is "The skies are clear and blue."


Section Diner

There is a room called Diner. "This diner is the very picture of the [']50s. The pale green walls and tiled floors look as pristine as a movie set, and all the tables and chairs look brand new. A light grey [counter], lined with chrome, separates the dining area from the kitchen. Assorted taps and pumps can be seen (no doubt used for various sodas and malts).[paragraph break]An exit opens to the east.[if Waitress is in the Diner][paragraph break]A [waitress] leans against the counter.[end if]"

The pale green walls are scenery in the Diner.  Understand "walls" or "wall" as the pale green walls.
The description of the pale green walls is "The pristine walls are painted a tasteful mint color."

The tiled floors are scenery in the Diner.  Understand "tile" or "floor" or "ground" as the tiled floors.
The description of the tiled floors is "Black and white checkerboard tile...  spotless."

The tables are scenery in the Diner.  Understand "table" as the tables.
The description of the tables is "The tables are squeaky clean, but of little interest otherwise."



The taps are scenery in the Diner.  Understand "tap" or "pump" or "pumps" or "device" or "devices" as the taps.
The description of the taps is "Behind the counter are all manner of devices used for mixing and dispensing beverages."

Instead of pulling the taps:
	say "When you pull the tap, the soda runs into a drain.[paragraph break][if the waitress is in the Diner]The waitress switches off the tap with a sigh.[otherwise]The drain looks like it's about to overflow, but it never quite does.[end if]"
	
Instead of pushing the taps:
	try pulling the taps.
	
The dining area is scenery in the Diner.  Understand "dining room" or "diner" as the dining area.
The description of the dining area is "Perhaps the cleanest diner you've ever seen."

The kitchen is scenery in the Diner.
The description of the kitchen is "You can hardly get a good look at the kitchen from here."

The counter is a fixed in place supporter in the Diner.  
The description of the counter is "The light grey counter is lined with chrome and separates the dining area from the kitchen."

The chrome is part of the counter.
The description of the chrome is "Shiny."

East of Diner is Main Street South.

[THE CHAIRS]
The chairs are a supporter in the Diner.  Understand "chair" as the chairs.
The chairs is scenery.
The chairs is enterable.
The printed name of the chairs is "chair".
The description of the chairs is "The chairs look brand spanking new."

After entering the chairs:
	say "The waitress doesn't so much budge toward you as glare at you from across the room.";
	now the chairedness of Max is chaired.
	
After getting off the chairs:
	say "The waitress rolls her eyes.";
	now the chairedness of Max is unchaired.


[MAX - THE PLAYER]
Max is a man in the Diner.  The player is Max.  Understand "me" or "myself" or "self" as Max.
The hittability of the Max is hittable.
Description of Max is "Your overall appearance is the epitome of 'neat.'  Your hair is parted to one side.  You sport [a list of things worn by the player]."

Instead of shooting Max with the toy gun:
	say "BANG![paragraph break]You are lying on the floor, quivering. Your face is wet.  You cannot move.";
	end the story.

Carry out hitting Max with the clawhammer:
	say "THWACK![paragraph break]You hoist up the hammer and bring it down onto the other hand as hard as you can.[paragraph break]You think you might have broken something.";
	now the injuredness of Max is injured.


[PARTS OF MAX]
Max's hair is part of Max.  
The printed name of Max's hair is "your hair".
Understand "hair" or "my hair" or "your hair" as Max's hair.
Description of Max's hair is "Your medium brown hair is parted neatly to one side."


[MAX'S CLOTHES]

Max wears pants.  Understand "khaki" or "khaki pants" or "trousers" or "khaki trousers" as the pants.
The description of the pants is "Khaki pants with sharp, even creases."

Instead of taking off the pants:
	say "That wouldn't be polite."
	
Instead of taking off the white shirt:
	say "That wouldn't be polite."

Max wears a white shirt.  Understand "button-down" or "button down" or "white shirt" or "white button-down" or "white button down" or "white button down shirt" as the shirt.
The description of the shirt is "A white button-down shirt, starched."


Max wears a cardigan.  Understand "blue cardigan" or "sweater" or "blue sweater" or "jacket" or "blue jacket" as the cardigan.
The description of the cardigan is "A blue knitted sweater with an open front."


[THE WAITRESS]
The waitress is a woman in the Diner.  
Understand "woman" or "mysterious woman" or "her" as Waitress.
The hittability of the Waitress is hittable.
Description of Waitress is "A mysterious woman with black hair and pale skin. She wears a shirt and above-knee skirt that are mint with red highlights, and a white apron. She looks at you expectantly."


The black hair is a part of Waitress.  Understand "hair" as the black hair.
The description of black hair is "The waitress has black hair, parted down the middle."

The pale skin is part of Waitress.  Understand "skin" or "complexion" as the pale skin.
The description of pale skin is "The waitress has a milky complexion."

Waitress wears the diner uniform.  Understand "shirt" or "skirt" or "uniform" or "highlights" or "red highlights" as the diner uniform.
The description of the diner uniform is "The waitress wears a shirt and skirt that are mint with red highlights, and a white apron."

Waitress wears the white apron.  Understand "apron" as the white apron.
The description of the white apron is "A white apron."

Instead of shooting the waitress with the toy gun:
	say "BANG![paragraph break]The waitress dissolves into a cloud of crackling blue light and then is gone.";
	now the savedness of the waitress is unsaved;
	now the waitress is nowhere.

Carry out hitting the waitress with the clawhammer:
	say "CRACK![paragraph break]You've really done it now.[paragraph break]She lies there with blood trailing down her face, but her eyes are open wide, staring straight into your own.[paragraph break]'Not again...' she sighs.";
	end the story.

Instead of attacking the waitress:
	say "You lunge at the waitress, but she reflexively knees you in the groin so hard you double over. Before you can recover, she brings a fork down into your neck. As soon as you see the blood gushing, it's lights out.[paragraph break]You wake up sometime later to find yourself chained, hand and foot, to a boiler in the junkyard. Your cardigan is stuffed in your mouth and tied around your face. [if the guard dog is in the junkyard] The guard dog is staring at you.[end if]";
	end the story.


[TALKING TO WAITRESS]

After asking Waitress about "the/-- diner/work/job":
	say "'I had to work to get this place. I don't know why or how.'"
	
After asking the unsaved Waitress about "hell":
		say "'Hell is where God's light isn't. Tell me when you find the church...'"

After asking Waitress about "the/-- church":
		say "'Exactly. What church? A place designed like this without a church?'"

After asking Waitress about "the/-- food/menu":
	say "'Nothing but grease and cholesterol.'".

After asking Waitress about "the/-- toy/toys/toystore/toyshop":
	say "'The old man in the toy store says he loves giving toys to children. I've never seen any children here.'".

Instead of asking Waitress about "the/-- toy store":
	try asking Waitress about "toy".
	
Instead of asking Waitress about "the/-- toy shop":
	try asking Waitress about "toy".

After asking Waitress about "the/-- child/kid/children/kids":
	say "'I can't remember the last time I saw a kid anywhere.'"
	
After asking the unsaved Waitress about "the/-- old man":
	say "''He seems friendly enough. Just like everyone else.'".
	
Instead of asking Waitress about "the/-- kindly old man":
	try asking Waitress about "old man".
	
Instead of asking Waitress about "the/-- kind old man":
	try asking Waitress about "old man".
	
After asking Waitress about "the/-- apartment":
		say "'I don't think I've ever seen anyone exit or enter. Even the windows seem foggy. Makes me wonder if someone else is trapped there, for all eternity.'".

Instead of asking Waitress about "the/-- apartment building":
	try asking Waitress about "apartment".
	
After asking the unsaved Waitress about "the/-- herself/woman/waitress/her":
	say "'I hardly know you. Not enough to tell you about my past.' She tries to give you a coy smile that just seems creepy.".

After asking the unsaved Waitress about "the/-- school": 
	say "'I tried brute-forcing my way through all the lockers. It didn't go very well.'"
	
After asking the unsaved Waitress about "the/-- park":
	say "'You can walk through there forever and never really get anyway. Imagine making a racetrack out of this place.'".
	
After asking the unsaved Waitress about "the/-- grocer/grocery":
	say "'It's weird seeing the same exact same food in a grocery store. I drew on one of the bananas and it was still there years later.'".
	
Instead of asking the Waitress about "the/-- grocery store":
	try asking Waitress about "grocer".
	
After asking the unsaved Waitress about "the/-- doctor":
	say "'I knocked out the nurse once and there wasn't a doctor in sight.'".
	
Instead of asking the Waitress about "the/-- doctors office":
	try asking Waitress about "doctor".
	
After asking the unsaved Waitress about "the/-- nurse":
	say "'She was a rude lady even before I hit her in the back of the head. Good thing we don't really need medical attention anymore.'"

After asking the unsaved Waitress about "the/-- butcher": 
	say "'As strange as his character is, he's kinder than most.'"

Instead of asking Waitress about "the/-- meat man":
	try asking Waitress about "butcher".

After asking the unsaved Waitress about "the/-- gun":
	if the player carries the toy gun:
		say "'Don't you have better things to do than playing with toys?' she sighs.";
	otherwise:
		say "'What are you talking about?'"
		
Instead of asking Waitress about "the/-- toy gun":
	try asking Waitress about "gun".
	
After asking the unsaved Waitress about "the/-- my hair":
	say "'Do you have lice or something?'"
		
Instead of showing Max's hair to the unsaved Waitress:
	say "'Do you have lice or something?'"

After asking the unsaved Waitress about "the/-- your hair":
	say "'I don't mind never washing it. Feels nice. Always wanted it this way. Guess hell has a minor perk.'"

Instead of showing the black hair to the unsaved Waitress:
	say "'I don't mind never washing it. Feels nice. Always wanted it this way. Guess hell has a minor perk.'"

After asking the unsaved Waitress about "the/-- pants":
	say "'They're a little long for you.'"

Instead of showing the pants to the unsaved Waitress:
	say "'They're a little long for you.'"

After asking the unsaved Waitress about "the/-- white shirt":
	say "'I...uh...it looks fine.'"

Instead of showing the white shirt to the unsaved Waitress:
	say "'I...uh...it looks fine.'"

After asking the unsaved Waitress about "the/-- cardigan":
	say "'You look very comfortable.'"

Instead of showing the cardigan to the unsaved Waitress:
	say "'You look very comfortable.'"

After asking the unsaved Waitress about "the/-- bullet":
	if the player carries the bullet:
		say "'A single bullet, huh?' She makes a finger gun motion. 'If you want, we could stick our heads together and fire, but that wouldn't be very fun.'";
	otherwise:
		say "'I don't like Steve McQueen.'"

Instead of showing the bullet to the unsaved Waitress:
	say "'A single bullet, huh?' She makes a finger gun motion. 'If you want, we could stick our heads together and fire, but that wouldn't be very fun.'".

After asking the unsaved Waitress about "the/-- card":
	if the player carries the card:
		say "She takes the card and reads it. 'It looks like numbers to me. Try the school.' She hands it back to you.";
	otherwise:
		say "'Card? What? Do you think if I had alcohol here I would give a shit if you were technically underage?'".

Instead of showing the card to the unsaved Waitress:
	say "She takes the card and reads it. 'It looks like numbers to me. Try the school.' She hands it back to you.".

After asking the unsaved Waitress about "the/-- pamphlet":
	if the player carries the pamphlet:
		say "'Purgatory is a thing? Does this mean everyone eventually enters purgatory? Interesting. I've definitely put some thought into why I was sent here. I'm going to trust your judgement...seems prudent. You're smarter in general than I am.'";
	otherwise:
		say "'What pamphlet?'".
	

Instead of showing the pamphlet to the unsaved Waitress:
	say "'Purgatory is a thing? Does this mean everyone eventually enters purgatory? Interesting. I've definitely put some thought into why I was sent here. I'm going to trust your judgement...seems prudent. You're smarter in general than I am.'".
	
After asking the unsaved Waitress about "the/-- tome":
	if the player carries the dusty tome:
		say "'The writing looks like calligraphy, but I can't read it.'";
	otherwise:
		say "'What are you talking about? Some sort of book?'".

Instead of showing the dusty tome to the unsaved Waitress:
	say "'The writing looks like calligraphy, but I can't read it.'".

After asking the unsaved Waitress about "the/-- pin":
	if the player carries the pin:
		say "'They use these pins for clothing don't they? Sewing things together. You gotta be careful not to poke yourself with it. That'll hurt.'";
	otherwise:
		say "'I don't have any. Like I'm going to do anything to my hair now.'"

Instead of showing the pin to the unsaved Waitress:
	say "'They use these pins for clothing don't they? Sewing things together. You gotta be careful not to poke yourself with it. That'll hurt.'".

After asking the unsaved Waitress about "the/-- oily rag":
	if the player carries the oily rag:
		say "'Are you just showing me random junk now?'";
	otherwise:
		say "'What oily rag?'"
		
Instead of showing the oily rag to the unsaved Waitress:
	say "'Are you just showing me random junk now?'".

After asking the unsaved Waitress about "the/-- clean rag":
	if the player carries the clean rag:
		say "'It's a rag. You wipe things up with it. Why are you asking me about this?'";
	otherwise:
		say "'What rag?'"

Instead of showing the clean rag to the unsaved Waitress:
	say "'It's a rag. You wipe things up with it. Why are you asking me about this?'".

After asking the unsaved Waitress about "the/-- rag":
	if the player carries the oily rag:
		say "'Are you just showing me random junk now?'";
	if the player carries the clean rag:
		say "'It's a rag. You wipe things up with it. Why are you asking me about this?'";
	otherwise:
		say "'What rag?'"

After asking the unsaved Waitress about "the/-- paper":
	if the player carries the paper:
		say "'This is an unused piece of paper. There is no hidden writing or anything on it. I don't understand why you're showing me this.'";
	otherwise:
		say "'I haven't seen them delivering any.'"

Instead of showing the paper to the unsaved Waitress:
	say "'This is an unused piece of paper. There is no hidden writing or anything on it. I don't understand why you're showing me this.'"

After asking the unsaved Waitress about "the/-- brass key":
	if the player carries the brass key:
		say "'It's a key. I don't know why you're bringing it to me, you're the one screwing with the doors of buildings.'";
	otherwise:
		say "'I haven't seen any.'"

Instead of showing the brass key to the unsaved Waitress:
	say "'It's a key. I don't know why you're bringing it to me, you're the one screwing with the doors of buildings.'"

After asking the unsaved Waitress about "the/-- ornate key":
	if the player carries the ornate key:
		say "'It's a key. I don't know why you're bringing it to me, you're the one screwing with the doors of buildings.'";
	otherwise:
		say "'I haven't seen any.'"

Instead of showing the ornate key to the unsaved Waitress:
	say "'It's a key. I don't know why you're bringing it to me, you're the one screwing with the doors of buildings.'"

After asking the unsaved Waitress about "the/-- figurine of yourself":
	if the player carries the figurine of yourself:
		say "'Okay...wow, that's not something I was expecting to see in hell.'";
	otherwise:
		say "'Someone made a figurine of you?'"

Instead of showing the figurine of yourself to the unsaved Waitress:
	say "'Okay...wow, that's not something I was expecting to see in hell.'"

After asking the unsaved Waitress about "the/-- medicine bottle":
	if the player carries the medicine bottle:
		say "'Unpleasant stuff, but if you've been hurt badly, it's helpful for the pain. And you probably won't die if you administer it to yourself, unlike fentanyl. You could probably knock someone out really well with this stuff if you used enough of it though.'";
	otherwise:
		say "'Try the pharmacy?'"
		
Instead of asking Waitress about "the/-- medicine/bottle/morphine":
	try asking Waitress about "medicine bottle".

Instead of showing the medicine bottle to the unsaved Waitress:
	say "'Unpleasant stuff, but if you've been hurt badly, it's helpful for the pain. And you probably won't die if you administer it to yourself, unlike fentanyl. You could probably knock someone out really well with this stuff if you used enough of it though.'"

After asking the unsaved Waitress about "the/-- drugged beef":
	if the player carries the drugged beef:
		say "'Honey, when women say they want to see your meat, this isn't what they're talking about...wait, you've been carrying that in your pocket? Yeugh!'";
	otherwise:
		say "'I think the burgers are supposed to be real beef.'"
		
Instead of showing the drugged beef to the unsaved Waitress:
	say "'Honey, when women say they want to see your meat, this isn't what they're talking about...wait, you've been carrying that in your pocket? Yeugh!'".

After asking the unsaved Waitress about "the/-- raw beef":
	if the player carries the raw beef:
		say "'Honey, when women say they want to see your meat, this isn't what they're talking about...wait, you've been carrying that in your pocket? Yeugh!'";
	otherwise:
		say "'I think the burgers are supposed to be real beef.'"

Instead of showing the raw beef to the unsaved Waitress:
	say "'Honey, when women say they want to see your meat, this isn't what they're talking about...wait, you've been carrying that in your pocket? Yeugh!'".

After asking the unsaved Waitress about "the/-- beef/meat":
	if the player carries the drugged beef:
		say "'Honey, when women say they want to see your meat, this isn't what they're talking about...wait, you've been carrying that in your pocket? Yeugh!'";
	if the player carries the raw beef:
		say "'Honey, when women say they want to see your meat, this isn't what they're talking about...wait, you've been carrying that in your pocket? Yeugh!'";
	otherwise:
		say "'I think the burgers are supposed to be real beef.'"

After asking the unsaved Waitress about "the/-- coathanger":
	if the player carries the coathanger:
		say "'It's a coathanger. You put it in your closet to hang clothes. You do know what those things are right?'";
	otherwise:
		say "'You use them to hang clothes.'"

Instead of showing the coathanger to the unsaved Waitress:
	say "'It's a coathanger. You put it in your closet to hang clothes. You do know what those things are right?'".


After asking the unsaved Waitress about "the/-- straightened hanger":
	if the player carries the straightened hanger:
		say "'If you had something to apply force to the inside of a lock you could probably pick it. You could probably poke someone from a good distance away with this thing.'";
	otherwise:
		say "'Isn't that just a long wire?'"

Instead of showing the straightened hanger to the unsaved Waitress:
	say "'If you had something to apply force to the inside of a lock you could probably pick it. You could probably poke someone from a good distance away with this thing.'".

After asking the unsaved Waitress about "the/-- hammer/clawhammer":
	if the player carries the clawhammer:
		say "'It looks like you could hit something with it, or maybe pry something with the other side.'";
	otherwise:
		say "'They're pretty simple machines, what's to understand?'"

Instead of showing the clawhammer to the unsaved Waitress:
	say "'It looks like you could hit something with it, or maybe pry something with the other side.'".

After asking the unsaved Waitress about "the/-- envelope":
	if the player carries the envelope:
		say "'It's an envelope. You put pieces of paper with writing inside and send it to people. They open it and discover what shocking things you've said.'";
	otherwise:
		say "'You know, there isn't a post office around here. Been so long that I've forgotten you even could mail a letter.'"

Instead of showing the envelope to the unsaved Waitress:
	say "'It's an envelope. You put pieces of paper with writing inside and send it to people. They open it and discover what shocking things you've said.'"

After asking the unsaved Waitress about "the/-- max/me/self/myself/player":
	say "'I don't know anything about you, do I?'"

After asking the unsaved Waitress about "the/-- candy":
	say "'DO YOU LIKE CANDY AND NUTS!? If I could still sleep, he would occupy my nightmares.'"
	
Instead of asking the Waitress about "the/-- candy man":
	try asking Waitress about "candy".

After asking the unsaved Waitress about "the/-- dressmaker/lady":
	say "'I could do with a nice dress, but that attitude is how I got here.'"
	
Instead of asking Waitress about "the/-- dress maker":
	try asking Waitress about "dressmaker".
	
Instead of asking Waitress about "the/-- fancy lady":
	try asking Waitress about "dressmaker".

After asking the unsaved Waitress about "the/-- clothing/clerk":
	say "'There's something off about that guy.'".
	
Instead of asking the Waitress about "the/-- clothing clerk":
	try asking Waitress about "clothing".
	
After asking Waitress about "the/-- library":
	say "'It's amazing what you can read if you have the time. Geheel ander talen. It's almost a boon...almost.'".

After asking the unsaved Waitress about "the/-- librarian":
	say "'She's a very nice lady.'".

After asking the unsaved Waitress about "the/-- pharmacist":
	say "'He keeps talking about how everyone in town is on medication, but I never see anyone entering or leaving.'".

After asking the unsaved Waitress about "the/-- teller":
	say "'For a gossip, she sure doesn't hear much of it.'".

After asking the unsaved Waitress about "the/-- secretary":
	say "'She's not much more intelligent when she is lucid, but at least right now she's pleasant to talk to.'".
	
After asking Waitress about "the/-- name":
	say "'Some other time.'".
	
After asking Waitress about "the/-- town/city/here/location/whereabouts":
	say "'Who knows where and what this place is supposed to be. It is Hell.'".

After asking Waitress about "the/-- escape/breakout/again":
	say "'The last time you were awake, you were pretty manic. You were carrying around all sorts of random junk, staring at walls and chairs, asking a lot of weird questions, saying it was just like one of your text adventures.'"
	
After asking Waitress about "the/-- game/adventure":
	say "'I don't know, man. You say some out-there stuff.'"

Instead of asking Waitress about "the/-- text adventure":
	try asking waitress about "game".

Instead of asking Waitress about "the/-- text adventures":
	try asking waitress about "game".

Instead of asking Waitress about "the/-- break out":
	try asking waitress about "escape".
	
Instead of asking Waitress about "the/-- breaking out":
	try asking waitress about "escape".
	
After telling the unsaved waitress about "the/-- void/basement":
	if the blue void is in Eerie Basement:
		say "The waitress looks startled, 'Really? I've got to see this. I'll meet you there.'[paragraph break]The woman dashes out of the diner in a rush.";
		now the waitress is in Eerie Basement;
		now the savedness of the waitress is saved;
	otherwise:
		say "'What are you trying to say?'".

Instead of telling Waitress about "the/-- blue void":
	try telling Waitress about "void".

Instead of asking the unsaved waitress about "the/-- void/basement":
	try telling Waitress about "void".
	
Instead of asking the unsaved waitress about "the/-- blue void":
	try telling Waitress about "void".

Instead of showing the toy gun to the unsaved Waitress:
	say "'Don't you have better things to do than playing with toys?' she sighs."

Check talking to the Waitress:
	if the kindly old man is injured:
		say "The waitress says, 'I can't believe you'd torture that poor old man! That's it, I'm done talking to you.'";
		now the waitress is unsaved;	
		stop the action;
	otherwise:
		continue the action.

Check asking the Waitress about something:
	if the kindly old man is injured:
		say "The waitress says, 'I can't believe you'd torture that poor old man! That's it, I'm done talking to you.'";
		now the waitress is unsaved;
		stop the action;
	otherwise:
		continue the action.
		
Check telling the Waitress about something:
	if the kindly old man is injured:
		say "The waitress says, 'I can't believe you'd torture that poor old man! That's it, I'm done talking to you.'";
		now the waitress is unsaved;
		stop the action;
	otherwise:
		continue the action.

Carry out talking to the unsaved Waitress:
	say "She looks offended, 'Cut the inane chatter.  If you have something important to ask me, ask me.'"

Report telling Waitress about something:
	say "[one of]'I simply don't know what you mean.'[or]'Is that so?'[cycling]".

Report asking Waitress about something:
	say "[one of]'That's simply not important now.'[or]'That seems irrelevant.'[cycling]".

The block asking rule does nothing when asking the Waitress about something.
The block telling rule does nothing when telling the Waitress about something.


	
[TALKING TO WAITRESS (SAVED)]

Carry out talking to the saved Waitress:
	say "'You've helped me out.  I guess I owe you some sort of explanation.'"

After asking the saved Waitress about "hell":
	say "'This is Hell.  [i]My[/i] Hell.'"
	
After asking the saved Waitress about "the/-- old man":
	say "''I think I killed him. I think I killed them all...'"
	
After asking the saved Waitress about "the/-- candy man":
	say "''I think I killed him. I think I killed them all...'"
	
After asking the saved Waitress about "the/-- herself/woman/waitress/her":
	say "'I was a terrorist, I forget what it was we were fighting for. I wasn't the one who deployed the resulting bomb, but I developed the agent we used. I remember the FBI were raiding our base...and I activated some explosives we had.'[paragraph break]She sighs. 'Funny, you're too smart to be in the FBI. You must have been someone nearby who got caught in the blast, there were a lot more from the biological agent we unleashed. Sorry. You didn't deserve to get dragged into this.'".

After asking the saved Waitress about "the/-- gun":
	say "'I guess it came in handy after all, huh?'"
	
After asking the saved Waitress about "the/-- max/me/self/myself/player":
	say "'Sorry...'"

After asking the saved Waitress about "the/-- candy":
	say "'If he's a cop, I think I did the world a small favor. Not that it matters much...'"

After asking the saved Waitress about "the/-- dressmaker/lady":
	say "'I think I killed her. I think I killed them all...'"
	
After asking the saved Waitress about "the/-- librarian/nurse/secretary/teller":
	say "'I think I killed her. I think I killed them all...'"
	
After asking the saved Waitress about "the/-- clerk/butcher/grocer/deputy/waiter/bartender/pharmacist":
	say "'I think I killed him. I think I killed them all...'"
	
After asking the saved Waitress about "the/-- others":
	say "'I wouldn't try waking them. Even if they are nice enough they haven't learned the same lessons we have.'"
	
Instead of showing the toy gun to the saved Waitress:
	say "'I guess it came in handy after all, huh?'"

After telling the saved waitress about "the/-- void/basement":
	say "'Somehow I think that blue void is our ticket out of here.'"

Instead of telling the saved waitress about "the/-- blue void":
	try telling the Waitress about "void".

Instead of asking the saved waitress about "the/-- void/basement":
	try telling Waitress about "void".


Section School

There is a room called School.
The description of School is "Your footsteps echo throughout the empty school. Empty lockers line the halls, having never seen children. It all looks immaculate. Even the classrooms remain the picture of cleanliness, without a clue as to what might have been taught in them.[paragraph break]The doors out lead to the north."

North of School is First Avenue West.

The halls are scenery in School.  Understand "hall" as the halls.
The description of the halls is "Empty halls lined with empty lockers."

The classrooms are scenery in School.  Understand "classroom" or "class" or "class room" or "class rooms" as the classrooms.
The description of the classrooms is "The classrooms remain the picture of cleanliness, without a clue as to what might have been taught in them."

[THE LOCKERS]
The lockers are scenery in School.  Understand "locker" as the lockers.
The description of the lockers is "Searching through all these is going to be so fun. There must be thousands."
Before opening the lockers:
	say "You don't even know where the begin";
	stop the action.


[LOCKER 2323]
Locker 2323 is scenery in School.  Understand "locker" or "2323" as Locker 2323.
The description of Locker 2323 is "A metal locker numbered '2323'."

Instead of opening Locker 2323:
	say "It's jammed shut."

[LOCKER 5151]
Locker 5151 is a fixed in place container in School.
Locker 5151 is openable and closed.
Locker 5151 is scenery.
Understand "locker" or "5151" or "dial" or "lock" as Locker 5151.
The description of Locker 5151 is "A metal locker numbered '5151'.  The locker has a dial that can be spun to various numbers."

Before opening Locker 5151:
	say "It's locked.  You need the combination to open it.";
	stop the action.

After spinning the closed Locker 5151 to 666: 
	increase the score by 1;
	now Locker 5151 is open; 
	say "Click!  The locker swings open, revealing [a list of things in Locker 5151]."

Instead of closing the open Locker 5151:
	say "For some reason, the locker will not stay latched and swings open again."
	

[BULLET]
A bullet is a thing in Locker 5151.
The description of the bullet is "A copper projectile made to be fired from a gun.  What was it doing in a school?"

Instead of shooting a thing with the bullet:
	if the bullet is in the toy gun:
		instead try shooting the noun with the toy gun;
	otherwise:
		say "A bullet doesn't fire itself."
		

[LOCKER 9999]
Locker 9999 is scenery in School.  Understand "locker" or "9999" as Locker 9999.
The description of Locker 9999 is "A metal locker numbered '9999'."

Instead of opening Locker 9999:
	say "It's jammed shut."


Section Toy Store

There is a room called Toy Store.
The description of Toy Store is "The toy shop feels like an odd mixture of high end and low end. The [shelves] contain seemingly random toys, all unique. Each toy looks surprisingly shabby, as if they were made by someone who didn't quite know what they were doing.[paragraph break]The door back out opens to the west.[if the kindly old man is in Toy Store][paragraph break]A [kindly old man] is behind the counter.[end if]".

The shelves are a fixed in place supporter in Toy Store.  Understand "shelf" or "toys" as the shelves.
The description of the shelves is "The shelves contain seemingly random toys, all unique. Each toy looks surprisingly shabby, as if they were made by someone who didn't quite know what they were doing."

West of Toy Store is Main Street South.

The toy counter is scenery in Toy Store.  Understand "counter" or "case" or "display case" as the toy counter.
The description of toy counter is "The checkout counter is a glass display case with assorted toys in it.[if the kindly old man is in the toy store] A [kindly old man] is behind the counter.[end if]".


[TOY GUN]
The toy gun is a container. The toy gun is on the shelves.
The description of the toy gun is "An eerily accurate-looking toy gun."

Instead of inserting a thing into the toy gun:
	if the noun is the bullet:
		continue the action;
	otherwise:
		say "That won't fit in the toy gun.";
		stop the action.

Before shooting a thing with the toy gun:
	if the bullet is in the toy gun:
		continue the action;
	otherwise:
		say "Click! Nothing happens. It isn't loaded.";
		stop the action.

Instead of shooting a thing with the toy gun:
        Now the bullet is nowhere;
	say "BANG! You've shot it."
	[Whatever it is we shot]
	

[KINDLY OLD MAN]
The kindly old man is a man. Kindly Old Man is in the Toy Store.
Understand "him" as kindly old man.
The hittability of the Kindly Old Man is hittable.
The description of the Kindly Old Man is "A kindly-looking old man, balding with a scruffy white beard. He's wearing an old button-down shirt and plain black suit pants.[if the injuredness of the kindly old man is injured] He is lying on the ground and looks as though he can't get up.[end if]"

The scruffy white beard is part of Kindly Old Man.  Understand "beard" or "white beard" as the scruffy white beard.
The description of the scruffy white beard is "The old man's beard is scruffy and white."

Kindly Old Man wears the old button-down shirt.  Understand "button-down" or "shirt" or "button-down shirt" as the old button-down shirt.
The description of the old button-down shirt is "The old man's shirt is faded and worn."

Kindly Old Man wears the black suit pants.  Understand "black pants" or "pants" or "suit pants" as the black suit pants.
The description of the black suit pants is "The old man wears plain black suit pants with sharp, even creases."

Instead of shooting the Kindly Old Man with the toy gun:
	say "BANG![paragraph break]The Kindly Old Man dissolves into a cloud of crackling blue light and then is gone.";
	now the Kindly Old Man is nowhere.

Instead of hitting the uninjured Kindly Old Man with the clawhammer:
	say "CRACK![paragraph break]The old man throws up his arms to block your blow, but he moves slowly.  You knock him off balance. He falls to the floor and curls into the fetal position.[paragraph break]'The Candy Man made me do it!' he shrieks.";
	now the injuredness of the Kindly Old Man is injured;
	now the Waitress is unsaved.
	
Instead of hitting the injured Kindly Old Man with the clawhammer:
	say "CRACK![paragraph break]You've really outdone yourself this time.[paragraph break]You leave a trail of gore across the toys. He really should be dead, but instead the old man just lies there wheezing. You get the impression that he is going to be this way for a long while.";
	end the story.

Instead of attacking the uninjured Kindly Old Man:
	say "THUMP![paragraph break]You knock the old man down, and he can't seem to get back up.";
	now the injuredness of the Kindly Old Man is injured;
	now the savedness of the Waitress is unsaved.
	
Instead of attacking the injured Kindly Old Man:
	say "Does it make you feel like a big man?".


[TALKING TO KINDLY OLD MAN]

Instead of talking to uninjured Kindly Old Man:
	say "[one of]'How can I help you?'[or]'Eh?'[cycling]".
	
Instead of talking to injured Kindly Old Man:
	say "[one of]'Please don't hurt me!'[or]'The candy man made me do it!'[cycling]".

After asking Kindly Old Man about "the/-- store/shop/toystore/toyshop/work/job":
	say "'I love my job.'"
	
Instead of asking Kindly Old Man about "the/-- toy store":
	try asking Kindly Old Man about "store".
	
Instead of asking Kindly Old Man about "the/-- toy shop":
	try asking Kindly Old Man about "store".
	
After asking Kindly Old Man about "the/-- child/kid/kids/children":
	say "'I just love children.'"
	
After asking Kindly Old Man about "the/-- toy/toys":
	say "'Toys make children happy!'"

After asking Kindly Old Man about "the/-- himself/man/him":
	say "'I spend most of my time working in this shop.'".

Instead of asking Kindly Old Man about "the/-- old man":
	try asking Kindly Old Man about "himself".
	
Instead of asking Kindly Old Man about "the/-- kindly old man":
	try asking Kindly Old Man about "himself".

After asking Kindly Old Man about "the/-- waitress":
	say "'She serves me lunch at the diner every day.'".

After asking the uninjured Kindly Old Man about "the/-- candy man":
	say "'He loves the children more than I do.'".

After asking the injured Kindly Old Man about "the/-- candy man":
	say "'It was him!'".

After asking Kindly Old Man about "the/-- dressmaker/lady":
	say "'She's a bit out there, but she means well.'".

Instead of asking Kindly Old Man about "the/-- fancy lady":
	try asking Kindly Old Man about "dressmaker".
	
Instead of asking Kindly Old Man about "the/-- dress maker":
	try asking Kindly Old Man about "dressmaker".
	
After asking Kindly Old Man about "the/-- clerk/clothing":
	say "'Oh, I don't need a lot of fancy clothes...'".

Instead of asking Kindly Old Man about "clothing clerk":
	try asking Kindly Old Man about "clerk".

After asking Kindly Old Man about "the/-- gun":
	say "'It's just a children's toy. No one could be fooled.'"
	
Instead of asking Kindly Old Man about "the/-- toy gun":
	try asking Kindly Old Man about "gun".

After asking Kindly Old Man about "the/-- diner":
	say "'I eat lunch there everyday.'"
	
After asking Kindly Old Man about "the/-- max/player/me/myself":
	say "'I've never seen you in my shop before.'"

After asking Kindly Old Man about "the/-- name":
	say "'I don't know.'".
	
After asking Kindly Old Man about "the/-- town/city/here/location/whereabouts":
	say "'We're just off the turnpike.'".
	
After asking Kindly Old Man about "the/-- librarian":
	say "'She's nice.'".
	
After asking Kindly Old Man about "the/-- nurse":
	say "'She's the best nurse our town could ask for.'".
	
After asking Kindly Old Man about "the/-- secretary":
	say "'Who?'".
	
After asking Kindly Old Man about "the/-- teller":
	say "'She seems harder of hearing than I am, always having to be told twice.'".
	
After asking Kindly Old Man about "the/-- deputy":
	say "'He's a nice fella.'".
	
After asking Kindly Old Man about "the/-- grocer":
	say "'He always bags my groceries well.'".
	
After asking Kindly Old Man about "the/-- waiter":
	say "'Who?'".
	
After asking Kindly Old Man about "the/-- bartender":
	say "'Huh?'".
	
After asking Kindly Old Man about "the/-- pharmacist":
	say "'I don't go there often, but he seems nice enough.'".
	
After asking Kindly Old Man about "the/-- meat man":
	say "'He's always been kind to me since he got back..''".
		
Instead of asking Kindly Old Man about "the/-- butcher":
	try asking Kindly Old Man about "meat man".

Instead of showing the toy gun to Kindly Old Man:
	try asking Kindly Old Man about "gun".

Report telling Kindly Old Man about something:
	say "[one of]'I'm sorry, I'm getting hard of hearing these days.'[or]'Oh?'[cycling]".

Report asking Kindly Old Man about something:
	say "[one of]'I really couldn't say.'[or]'I'm sorry, I don't know anything about that.'[cycling]".

The block asking rule does nothing when asking the Kindly Old Man about something.
The block telling rule does nothing when telling the Kindly Old Man about something.

Section Main Street South

There is a room called Main Street South. "The road here is suspiciously clean, as if it has just been paved. The windows of the nearby buildings are all shiny, and you can see clearly inside them as if there wasn't glass there. [paragraph break]The street runs north and south.  To the west lies the diner, and to the east lies a toy shop."

The windows are scenery in Main Street South.
The description of the windows is "The windows are all shiny and clear, almost as if there wasn't glass there."

The dinerfront is scenery in Main Street South.
The printed name of dinerfront is "diner".
Understand "diner" or "building" or "oblong building" or "glass" or "metal" or "paint" or "sign" or "neon sign" or "buildings" as the dinerfront.
The description of dinerfront is "To the west is an oblong building with a design that must have once been considered very 'modern,' but now looks terribly old-fashioned. Anything that isn't glass or metal is painted mint green, and a red neon sign above the entrance reads 'DINER'."

The toyfront is scenery in Main Street South.
The printed name of toyfront is "toy store".
Understand "toy store" or "toystore" or "store" or "toy shop" or "toyshop" or "shop" or "building" or "storefront" or "store front" or "toy" or "toys" or "letter" or "letters" or "lettering" or "yellow letters" or "buildings" as the toyfront.
The description of the toyfront is "East is a storefront painted bright red. Yellow letters above the entrance read 'TOYS'."

North of Main Street South is Second & Main.
South of Main Street South is First & Main.


Section Second & Main

There is a room called Second & Main.
The description of Second & Main is "You find yourself at an intersection. The streets here lead north, east, south, and west."

North of Second & Main is Main Street North.
East of Second & Main is Second Avenue East.
West of Second & Main is Second Avenue West.



Section Second Avenue West

There is a room called Second Avenue West.
The description of Second Avenue West is "The clean streets continue east and west. There's a large building here to the south, with a sign indicating it is an apartment building. Looking at the number of windows, you think it has six floors. On the north side lies a library."
[NOTE: Yes, I'm aware there's a difference between the exterior and interior, we can change it if it doesn't work.]

The apartment sign is scenery in Second Avenue West.  Understand "sign" as the apartment sign.
The description of the apartment sign is "The sign says 'APARTMENTS'."

[The buildings are scenery in Second Avenue West.  Understand "building" as the buildings.
The description of the buildings is "There's a large building here to the south, with a sign indicating it is an apartment building. Looking at the number of windows, you think it has six floors. On the opposite side lies a library."]

The apartmentfront is scenery in Second Avenue West.
The printed name of the apartmentfront is "apartment building".
Understand "apartment" or "apartments" or "apartment building" or "windows" or "window" or "floors" or "floor" or "building" or "buildings" as the apartmentfront.
The description of the apartmentfront is "There's a large building here to the south, with a sign indicating it is an apartment building. Looking at the number of windows, you think it has six floors."

The bookfront is scenery in Second Avenue West.
The printed name of bookfront is "library".
Understand "library" or "brick" or "brick building" or "roof" or "lettering" or "building" or "buildings" as the bookfront.
The description of the bookfront is "To the north is a rectangular brick building with a flat roof. Lettering on the building reads 'LIBRARY'."

North of Second Avenue West is Library.
South of Second Avenue West is Apartment Building.
West of Second Avenue West is Second & Union.


Section Apartment Building

There is a room called Apartment Building.
The description of Apartment Building is "The interior of this building looks how you imagine some run-down buildings looked in their prime. Fluorescent light floods the room, accompanied by a telltale buzzing sound. Looking at the number of mailboxes, this place has sixteen apartments across four floors. Who lives here you don't know, the names have long faded away.[paragraph break]There's no elevator, but the stairs go up. You can't see why you'd go up there. An exit opens to the north."

The apartment doors are scenery in Apartment Building.  Understand "door" or "doors" as the apartment doors.
The description of the apartment doors is "They all look the same."

The stairs are scenery in Apartment Building.  Understand "step" or "stair" or "steps" as the stairs.
The description of the stairs is "You can't see why you'd go up there."

Instead of going up from Apartment Building:
	say "You can't see why you'd go up there."

The mailboxes are scenery in Apartment Building.  Understand "mailbox" as the mailboxes.
The description of the mailboxes is "You are instinctively drawn to the mailboxes on the first row labeled 101, 102, 103, and 104."

Instead of opening the mailboxes:
	say "There are four mailboxes labeled 101, 102, 103, and 104."
	

[MAILBOX 101]

Mailbox 101 is a fixed in place container in Apartment Building.
Mailbox 101 is scenery.
Mailbox 101 is openable and closed.
The pryability of Mailbox 101 is pryable.
Understand "box" or "mail box" as Mailbox 101.
The description of Mailbox 101 is "A mailbox labeled 101."

Instead of opening Mailbox 101:
	say "The mailbox is stuck shut.  You won't be opening it without some kind of tool."
	
Instead of opening the open Mailbox 101:
	say "The mailbox is already open."
	
Instead of closing Mailbox 101:
	say "You've damaged the mailbox such that it will never close again."
	
Instead of prying Mailbox 101:
	say "You need to use some sort of tool if you hope to open the mailbox."
	
Instead of hitting Mailbox 101:
	say "You need to use some sort of tool if you hope to open the mailbox."
	
Instead of hitting Mailbox 101 with the clawhammer:
	try prying Mailbox 101 with the clawhammer instead.
	
Check unlocking Mailbox 101 with the clawhammer:
	try prying Mailbox 101 with the clawhammer instead;
	stop the action.

After prying Mailbox 101 with the clawhammer for the first time:
	say "You tap and pry with the hammer until finally the mailbox opens, revealing [a list of things in Mailbox 101].";
	now Mailbox 101 is open.

Instead of prying the open Mailbox 101 with the clawhammer:
	say "The mailbox is already open."


[MAILBOX 102]

Mailbox 102 is a fixed in place container in Apartment Building.
Mailbox 102 is scenery.
Mailbox 102 is openable and closed.
The pryability of Mailbox 102 is pryable.
Understand "box" or "mail box" as Mailbox 102.
The description of Mailbox 102 is "A mailbox labeled 102."

Instead of opening Mailbox 102:
	say "The mailbox is stuck shut.  You won't be opening it without some kind of tool."
	
Instead of opening the open Mailbox 102:
	say "The mailbox is already open."
	
Instead of closing Mailbox 102:
	say "You've damaged the mailbox such that it will never close again."
	
Instead of prying Mailbox 102:
	say "You need to use some sort of tool if you hope to open the mailbox."
	
Instead of hitting Mailbox 102:
	say "You need to use some sort of tool if you hope to open the mailbox."
	
Instead of hitting Mailbox 102 with the clawhammer:
	try prying Mailbox 102 with the clawhammer instead.

Check unlocking  Mailbox 102 with the clawhammer:
	try prying Mailbox 102 with the clawhammer instead.

After prying Mailbox 102 with the clawhammer for the first time:
	say "You tap and pry with the hammer until finally the mailbox opens, revealing [a list of things in Mailbox 102].";
	now Mailbox 102 is open.

Instead of prying the open Mailbox 102 with the clawhammer:
	say "The mailbox is already open."


[MAILBOX 103]

Mailbox 103 is a fixed in place container in Apartment Building.
Mailbox 103 is scenery.
Mailbox 103 is openable and closed.
The pryability of Mailbox 103 is pryable.
Understand "box" or "mail box" as Mailbox 103.
The description of Mailbox 103 is "A mailbox labeled 103."

Instead of opening Mailbox 103:
	say "The mailbox is stuck shut.  You won't be opening it without some kind of tool."
	
Instead of opening the open Mailbox 103:
	say "The mailbox is already open."
	
Instead of closing Mailbox 103:
	say "You've damaged the mailbox such that it will never close again."
	
Instead of prying Mailbox 103:
	say "You need to use some sort of tool if you hope to open the mailbox."
	
Instead of hitting Mailbox 103:
	say "You need to use some sort of tool if you hope to open the mailbox."
	
Instead of hitting Mailbox 103 with the clawhammer:
	try prying Mailbox 103 with the clawhammer instead.

Check unlocking Mailbox 103 with the clawhammer:
	try prying Mailbox 103 with the clawhammer instead.

After prying Mailbox 103 with the clawhammer for the first time:
	say "You tap and pry with the hammer until finally the mailbox opens, revealing [a list of things in Mailbox 103].";
	now Mailbox 103 is open.

Instead of prying the open Mailbox 103 with the clawhammer:
	say "The mailbox is already open."
	

[MAILBOX 104]

Mailbox 104 is a fixed in place container in Apartment Building.
Mailbox 104 is scenery.
Mailbox 104 is openable and closed.
The pryability of Mailbox 104 is pryable.
Understand "box" or "mail box" as Mailbox 104.
The description of Mailbox 104 is "A mailbox labeled 104."

Instead of opening Mailbox 104:
	say "The mailbox is stuck shut.  You won't be opening it without some kind of tool."
	
Instead of opening the open Mailbox 104:
	say "The mailbox is already open."
	
Instead of closing Mailbox 104:
	say "You've damaged the mailbox such that it will never close again."
	
Instead of prying Mailbox 104:
	say "You need to use some sort of tool if you hope to open the mailbox."
	
Instead of hitting Mailbox 104:
	say "You need to use some sort of tool if you hope to open the mailbox."
	
Instead of hitting Mailbox 104 with the clawhammer:
	try prying Mailbox 104 with the clawhammer instead.

Check unlocking Mailbox 104 with the clawhammer:
	try prying Mailbox 104 with the clawhammer instead.

After prying Mailbox 104 with the clawhammer for the first time:
	increase the score by 1;
	say "You tap and pry with the hammer until finally the mailbox opens, revealing [a list of things in Mailbox 104].";
	now Mailbox 104 is open.

Instead of prying the open Mailbox 104 with the clawhammer:
	say "The mailbox is already open."


[THE ENVELOPE]
The envelope is a portable container in Mailbox 104.
The envelope is openable and closed.
The description of the envelope is "A plain white mailing envelope."


[THE CARD]
The card is a thing in the envelope.
The description of the card is "A simple white card with neat penmanship that reads '5151: 666'."

Instead of reading the card:
	try examining the card.

[ABANDONED APARTMENTS]
The Abandoned Apartments are up from Apartment Building.
The description of Abandoned Apartments is "Why are you here?"


Section Library

There is a room called Library.
The description of Library is "Befitting a small town library, it is not impressive in size. But these shelves contain enough for a broad understanding of any subject. Though it has a non-existent occult section and books on a handful of religions. An exit opens to the south."

The book shelves are scenery in Library.  
Understand "books" or "shelves" or "plumbing" or "car repair" or "fiction" or "history" or "histories" or "philosophy" as the book shelves.
The description of the book shelves is "The shelves contain all sorts of books. From practical matters like plumbing or car repair, to fiction, and to more academic fare like histories of countries and books on philosophy.[paragraph break]There is one especially [high shelf] that is taller than all the rest."

Instead of reading the book shelves:
	say "There are just too many books to choose from and none of the ones you can see are calling out for your attention."


[HIGH SHELF]
The high shelf is a raised supporter in Library.
The high shelf is scenery.
The high shelf is fixed in place.
Understand "shelf" as the high shelf.
Description of the high shelf is "There is one [high shelf] that is taller than all the rest."



[DUSTY TOME]
The dusty tome is a container on the high shelf.  The dusty tome is openable and closed.  "On top of the shelf is a [dusty tome]."
Description of dusty tome is "A heavy book covered in dust."
Understand "book" or "dusty book" or "tome" as the dusty tome.

After taking dusty tome for the first time:
	say "You take the dusty tome down off the shelf.";
	increase the score by 1.

Instead of reading the dusty tome:
	say "It's written in no alphabet you've ever seen."
	

[PAMPHLET]
The pamphlet is a thing in the dusty tome.  
Description of the pamphlet is "The cover says 'WELCOME TO HELL!' with an illustration of a smiling cartoon devil underneath.".

Instead of reading the pamphlet:
	say "'So you've died and gone to hell. By now, I'm sure you have some excuse for your sins, but it would be best to put those thoughts aside. If your time here has taught you anything, it should be that you need to work on yourself to get out of here.[paragraph break]Live a simpler life according to the virtues of the saints. Don't engage in unnecessary violence. Cast away your possessions. Act with foresight and self-restraint. Be patient, hopeful, and above all else, love your fellow man.[paragraph break]Follow those easy steps and you'll be out of here in a few centuries.'"

[Librarian]
The librarian is a woman. Librarian is in the Library.
Understand "woman" as the Librarian.
The hittability of the Librarian is hittable.
The description of the Librarian is "A woman who's physical description charitably matches 'battle-axe'. Her brown hair is tightly wrapped in a bun. Upon noticing you, she brings her finger to her mouth in a shushing motion."

The brown hair is part of Librarian.  Understand "brown bun" or "bun" as the brown hair.
The description of the brown hair is "It's very tightly wound."


Instead of shooting the Librarian with the toy gun:
	say "BANG![paragraph break]The librarian dissolves into a cloud of crackling blue light and then is gone.";
	now the Librarian is nowhere.

Carry out hitting the Librarian with the clawhammer:
	say "BANG![paragraph break]Before you can get to her, the librarian pulls a small revolver from her purse and fires it, hitting you squarely between the eyes.[paragraph break]All you can do now is lie facedown in a pool of your own blood, contemplating your regrets.";
	end the story.
	
Instead of attacking the Librarian:
	say "The librarian pulls out an axe and whacks you on the side of the head before you can stop her. You feel the blade go straight through your ear and skull and into your brain. It hurts. A lot. You fall to the ground.[paragraph break]You feel the blade leave and enter your skull for several moments, before fading into darkness.";
	end the story.


[TALKING TO Librarian]

Instead of talking to Librarian:
	say "With a horrifying screech, the librarian expresses rage at your speech. She pulls an axe from somewhere and starts hacking away at you. The last thing you notice before blacking out is an axe embedding itself in your head.[paragraph break]Some time later you wake up, hanging somewhere. You realize that your body from the waist down is lying across the street. ";
	end the story.

After asking Librarian about "the/-- library/work/job":
	say "'It's a nice place to work when there's peace and quiet.'"

After asking Librarian about "the/-- book/books":
	say "'Oh, we've got plenty of those. Have a look around.'".
	
After asking the Librarian about "the/-- shelf/shelves":
	say "'That tall shelf? I can't even reach it, so surely there are no books up there.'"
	
Instead of asking Librarian about "the/-- high shelf":
	try asking Librarian about "shelf".
	
After asking the Librarian about "the/-- tome":
	if the player carries the dusty tome:
		say "'That dusty old thing? It's unreadable.'";
	otherwise:
		say "'I assure you, none of these [']tomes['] are dusty.'"
	
Instead of showing the dusty tome to the Librarian:
	say "'That dusty old thing? It's unreadable.'"

Instead of asking Librarian about "the/-- dusty tome":
	try asking Librarian about "tome".
	
After asking the Librarian about "the/-- pamphlet":
	if the player carries the pamphlet:
		say "'Is this someone's sick idea of a joke?'";
	otherwise:
		say "'We have books, not pamphlets, here.'"

Instead of showing the pamphlet to the Librarian:
	say "'Is this someone's sick idea of a joke?'".

After asking Librarian about "the/-- child/children/kid/kids":
	say "'Noisy creatures. Their parents never taught them to be silent and listen.'"
	
After asking Librarian about "the/-- toy/toys/toyshop/toystore":
	say "'A waste of time, children should be reading books, not playing with some fire engine!'"
	
Instead of asking Librarian about "the/-- toy store":
	try asking Librarian about "toy".
	
Instead of asking Librarian about "the/-- toy shop":
	try asking Librarian about "toy".

After asking Librarian about "the/-- herself/woman/librarian/her":
	say "'I'm just a lady who's interested in books.'".

After asking Librarian about "the/-- waitress":
	say "'She is beneath my notice.'".

After asking Librarian about "the/-- candy man":
	say "'A disgusting manchild.'".

After asking Librarian about "the/-- dressmaker/lady":
	say "'A woman who does nothing more than clothe the ladies of the evening.'".

Instead of asking Librarian about "the/-- dress maker":
	try asking Librarian about "dressmaker".
	
Instead of asking Librarian about "the/-- fancy lady":
	try asking Librarian about "dressmaker".
	
After asking Librarian about "the/-- clerk":
	say "'A good solid man, worthy of a woman's respect.'".
	
Instead of asking Librarian about "the/-- clothing clerk":
	try asking Librarian about "clerk".

After asking Librarian about "the/-- gun":
	if the player carries the toy gun:
		say "'Must you?' she says in the most condescending manner.";
	otherwise:
		say "'I wouldn't know anything about that.'"

Instead of asking Librarian about "the/-- toy gun":
	try asking Librarian about "gun".

After asking Librarian about "the/-- diner":
	say "'The food they serve contains adequate nutrients.'"
	
After asking Librarian about "the/-- max/player/me/myself":
	say "'You can only apply for a library card if you have three forms of ID and mail from six different official sources. If you take out a library book without that, I will kill you.'"
	
After asking Librarian about "the/-- name":
	say "Horrendous noises come out of her mouth.".
	
After asking Librarian about "the/-- town/city/here/location/whereabouts":
	say "'We're off highway 99.'".
	
After asking Librarian about "the/-- clothing clerk":
	say "'A leering jackass.'".
	
After asking Librarian about "the/-- nurse":
	say "'A very pleasant woman.'".
	
After asking Librarian about "the/-- secretary":
	say "'Who?'".
	
After asking Librarian about "the/-- teller":
	say "'Snickering slut, more concerned about her next dinner date rather than depositing my check.'".
	
After asking Librarian about "the/-- deputy":
	say "'We don't talk much.'".
	
After asking Librarian about "the/-- grocer":
	say "'He can't bag, always putting bags of rice on top of eggs and bread.'".
	
After asking Librarian about "the/-- waiter":
	say "'Eating out is too expensive.'".
	
After asking Librarian about "the/-- bartender":
	say "'I don't drink.'".
	
After asking Librarian about "the/-- pharmacist":
	say "'The pride and joy of our little town.'".
	
After asking Librarian about "the/-- meat man":
	say "'Who?''".
		
Instead of asking Librarian about "the/-- butcher":
	try asking Librarian about "meat man".

Instead of showing the toy gun to Librarian:
	try asking Librarian about "gun".

Report telling Librarian about something:
	say "[one of]'Not so loud.'[or]'Shush.'[cycling]".

Report asking Librarian about something:
	say "[one of]'I don't know.'[or]'I'm sorry, I don't know anything about that.'[cycling]".

The block asking rule does nothing when asking the Librarian about something.
The block telling rule does nothing when telling the Librarian about something.


Section Second & Union

There is a room called Second & Union.
The description of Second & Union is "You find yourself at an intersection. The streets here lead north, east, and south.  A park lies to the west."

North of Second & Union is Union Street North.
South of Second & Union is Union Street South.


The bpark is scenery in Second & Union.  Understand "park" as the bpark.
The description of the bpark is "You can barely make out a park to the west."

Section First & Main

There is a room called First & Main.
The description of First & Main is "You find yourself at an intersection. The streets here run north, east, and west.  A park lies to the south."

South of First & Main is Park.
East of First & Main is First Avenue East.
West of First & Main is First Avenue West.

The apark is scenery in First & Main.  Understand "park" as the apark.
The description of the apark is "You can barely make out a park to the south."


Section Park

There is a room called Park.
The description of Park is "The park is a perfect example of man-designed nature. Perfectly cut hills of green are separated by neatly placed brick paths. Paths lead north, east, south, and west."

The hills of green are scenery in the Park.  Understand "hill" or "green hill" or "hills" or "green hills" or "nature" or "park" as the hills of green.
The description of the hills of green is "The park looks artificially perfect (or perfectly artificial)."

The brick paths are scenery in the Park. Understand "path" or "paths" or "brick" or "bricks" as the brick paths.
The description of the brick paths is "Perfect red bricks laid out into perfect paths between perfects hills of green."

South of Park is Third & Main.
East of Park is Second & Union.
West of Park is Second & Commerce.


Section First Avenue West

There is a room called First Avenue West.
The description of First Avenue West is "The streets here run east and west.  A grocery lies to the north, and a school lies to the south."

The groceryfront is scenery in First Avenue West.
The printed name of groceryfront is "grocery".
Understand "grocery" or "building" or "buildings" or "grocer" or "grocery store" or "letters" or "lettering" or "brick" or "brick building" as the groceryfront.
The description of the groceryfront is "North is a wide brick building with illluminated letters above the entrance reading 'GROCERY'."

The schoolfront is scenery in First Avenue West.
The printed name of schoolfront is "school".
Understand "school" or "building" or "buildings" or "long building" or "window" or "windows" or "sign" as the schoolfront.
The description of schoolfront is "South is an extremely long building with lots of windows. A sign out front reads 'SCHOOL'."


West of First Avenue West is First & Union.


Section Grocery

There is a room called Grocery.
Grocery is north from First Avenue West.
The description of Grocery is "The aisles of the grocery are too clean to have ever been used. Perfect rows of cans and boxed goods line the shelves, and the fruits and vegetables look picture perfect in their wooden boxes.[paragraph break]An exit opens to the south."

The aisles are scenery in Grocery.  Understand "shelves" or "shelf" or "boxes" or "wooden boxes" as the aisles.
The description of the aisles is "Perfect lines of cans and boxed goods line the shelves, and the fruits and vegetables look picture perfect in their wooden boxes."

The canned goods are scenery in Grocery.  Understand "can" or "cans" as the canned goods.
The description of the canned goods is "The canned goods are lined up perfectly on the shelves."

Instead of taking the canned goods:
	say "You don't need the canned goods."

The boxed goods are scenery in Grocery.  Understand "box" or "boxes" as the boxed goods.
The description of the boxed goods is "The boxed goods are lined up perfectly on the shelves."

Instead of taking the boxed goods:
	say "You don't need the boxed goods."

The produce is scenery in Grocery.  Understand "fruit" or "fruits" or "vegetable" or "vegetables" or "fruits and vegetables" as the produce.
The description of the produce is "The fruits and vegetables look picture perfect in their wooden boxes."

Instead of taking the produce:
	say "You don't need the produce."


[Grocer]
The grocer is a man in the Grocery.  Understand "man" as Grocer.
The hittability of the Grocer is hittable.
The description of the Grocer is "A red-headed man with a glazed over look on his eyes. He wears a simple green apron over a whiteish shirt and brown khakis. He seems vaguely aware of your presence but says nothing."

Grocer wears the green apron.  Understand "apron" as the green apron.
The description of the green apron is "A plain green apron."

Grocer wears the whiteish shirt.  Understand "shirt" as the whiteish shirt.
The description of the whiteish shirt is "The shirt is a slightly off-white color. His sleeves are rolled up and there are visible buttons."

The buttons are part of the whiteish shirt.  Understand "button" as the buttons.
The description of the buttons is "The whiteish shirt has buttons on it."

Grocer wears the brown khakis.  Understand "brown pants" or "pants" or "khakis" as the brown khakis.
The description of the brown khakis is "The clerk wears plain brown khaki pants with sharp, even creases."

Instead of shooting the Grocer with the toy gun:
	say "BANG![paragraph break]The grocer dissolves into a cloud of crackling blue light and then is gone.";
	now the Grocer is nowhere.

Carry out hitting the Grocer with the clawhammer:
	say "You swing and the grocer jumps backward. He grabs the hammer out of your hands before shoving it into your eye. The pain causes you to lose controls of your legs.[paragraph break]He jumps over the counter and starts hammering away. Head, ribs... you feel all your body breaking apart as you becoming increasingly stuck in a pile of your own blood and gore. You lose consciousness.";
	end the story.


Instead of attacking the Grocer:
	say "You charge at the grocer, but he dodges. He pulls out a small revolver and fires. All five shots hit, and you lie in a pile of your blood. He breaks out a mop and bucket. Guess you're already old news...";
	end the story.
	

[TALKING TO Grocer]

Instead of talking to Grocer:
	say "[one of]'Did you need help finding something?'[or]'Eh?'[cycling]".

After asking Grocer about "the/-- grocery/store/shop/work/job":
	say "'I hate all the people rushing through here. Always so busy.'"

After asking Grocer about "the/-- child/children/kid/kids":
	say "'Kids around here never stop eating candy.'"
	
After asking Grocer about "the/-- toy/toys":
	say "'I don't know, I'm not a child.'"
	
Instead of asking Grocer about "the/-- toy shop":
	try asking Grocer about "toy".
	
Instead of asking Grocer about "the/-- toy store":
	try asking Grocer about "toy".

After asking Grocer about "the/-- himself/man/him/grocer":
	say "'I feel like I'm in hell.'".

After asking Grocer about "the/-- waitress":
	say "'The one at the diner? I've seen her.'".

After asking Grocer about "the/-- candy man":
	say "'He always give children too much candy.'".

After asking Grocer about "the/-- dressmaker/lady":
	say "'I don't really know about her.'".

Instead of asking Grocer about "the/-- fancy lady":
	try asking Grocer about "dressmaker".
	
Instead of asking Grocer about "the/-- dress maker":
	try asking Grocer about "dressmaker".

After asking Grocer about "the/-- gun":
	if the player carries the toy gun:
		say "'If you're trying to hold the store up, maybe you shouldn't use such an obvious replica.'";
	otherwise:
		say "'What are you talking about?'"
		
Instead of asking Grocer about "the/-- toy gun":
	try asking Grocer about "gun".

After asking Grocer about "the/-- diner":
	say "'I can't afford to eat there at my salary.'".

After asking Grocer about "the/-- max/player/me/myself":
	say "'Are you visiting or are you a permanent resident?'".
	
After asking Grocer about "the/-- name":
	say "'It's on my name tag.'".
	
After asking Grocer about "the/-- town/city/here/location/whereabouts":
	say "'We're south of Las Vegas.'".
	
After asking Grocer about "the/-- clothing clerk":
	say "'I don't want to say anything.'".
	
After asking Grocer about "the/-- librarian":
	say "'She's way too stand-offish.'".
	
After asking Grocer about "the/-- nurse":
	say "'She always sticks me too hard when I go in for a checkup.'".
	
After asking Grocer about "the/-- secretary":
	say "'Who?'".
	
After asking Grocer about "the/-- teller":
	say "'She's always bending over, like she's trying to find something, but she never does.'".
	
After asking Grocer about "the/-- deputy":
	say "'He's nice, but we haven't needed him since the incident.'".
	
After asking Grocer about "the/-- waiter":
	say "'Never been there, too expensive.'".
	
After asking Grocer about "the/-- bartender":
	say "'I don't know him.'".
	
After asking Grocer about "the/-- pharmacist":
	say "'I can never be too sure he isn't pushing reefer.'".
	
After asking Grocer about "the/-- meat man":
	say "'He's good if you want meat, but he doesn't sell anything else.''".
		
Instead of asking Grocer about "the/-- butcher":
	try asking Grocer about "meat man".

Instead of showing the toy gun to Grocer:
	try asking Grocer about "gun".

Report telling Grocer about something:
	say "[one of]'I'd rather not.'[or]'I don't really care.'[cycling]".

Report asking Grocer about something:
	say "[one of]'I think that's in aisle 4.'[or]'That's beyond my level of expertise.'[cycling]".

The block asking rule does nothing when asking the Grocer about something.
The block telling rule does nothing when telling the Grocer about something.


Section First & Union

There is a room called First & Union.
The description of First & Union is "You find yourself at an intersection. The streets here lead north and east. To the west, an apartment building with a very clean sign. To the south, a doctor's office"

The clean sign is scenery in the First & Union.  Understand "sign" as the clean sign.
The description of the clean sign is "It says 'APARTMENTS'."

North of First & Union is Union Street South.
South of First & Union is Doctors Office.
West of First & Union is Clean Apartment.

The cleanfront is scenery in First & Union.
Understand "apartment" or "apartment building" or "building" or "buildings" as the cleanfront.
The printed name of the cleanfront is "apartment building".
The description of the cleanfront is "There is a very clean-looking apartment building to the west."

The doctorfront is scenery in First & Union.
Understand "doctor's office" or "doctors office" or "doctor" or "office" or "doctor office" or "building" or "buildings" or "brick" or "brick building" or "house" or "old house" or "window" or "windows" or "lettering" as the doctorfront.
The printed name of the doctorfront is "doctor's office".
The description of the doctorfront is "To the south is a brick building that almost looks like it could be an old house, except shaped all wrong and with very few windows. Lettering on the front reads 'DOCTOR'."


Section Clean Apartment

There is a room called Clean Apartment.
The description of Clean Apartment is "The smell of cleaning supplies overwhelms your nose as you enter the apartment building. Even for this place the building feels unnaturally clean. There are no stairs up, just an elevator you can't open. An exit opens to the east."

The elevator is scenery in Clean Apartment.
The description of the elevator is "There is no button you could press to open it."


Section Doctors Office

There is a room called Doctors Office. The printed name of it is "Doctor[']s Office".
The description of Doctors Office is "The eerie cleanliness of the doctor's office, in contrast to the rest of the town, seems less odd. Its oddness lies in how unused everything is. The chairs in the waiting room haven't been sat on, and the posters on the wall seem like they were put up yesterday. A counter divides the waiting area and the nurse's station. The door out is to the north."

The dividing counter is scenery in the Doctors Office.  Understand "counter" as the dividing counter.
The description of the dividing counter is "A counter divides the waiting area and the nurse's station. It's nothing too interesting."

The waiting area is scenery in the Doctors Office.  Understand "doctor's office" or "doctors office" or "office" or "waiting room" as the waiting area.
The description of the waiting area is "The doctor's office is eerily clean, as if everything in it is unused."

The posters are scenery in Doctors Office.
The description of the posters is "The usual stuff. 'Eating fresh fruit keeps away scurvy'; 'Be sure to get your smallpox vaccination'; 'Watch out for signs of ricin poisoning'."

The waiting room chair is a supporter in Doctors Office.
The waiting room chair is scenery.
The waiting room chair is enterable.
Understand "chair" or "chairs" as the waiting room chair.
The description of the waiting room chair is "It's like no one has ever sitten in them before."

After entering the waiting room chair:
	say "The nurse doesn't pay you any mind.";
	now the chairedness of Max is chaired.
	
After getting off the waiting room chair:
	say "The nurse doesn't pay you any mind.";
	now the chairedness of Max is unchaired.


[Nurse]
The nurse is a woman in the Doctors Office.  Understand "woman" as Nurse.
The hittability of the Nurse is hittable.
The description of the Nurse is "A cheerful-looking blonde woman wearing a cute hat with a red cross on it and a white overcoat."

Nurse wears the cute hat.  Understand "hat" as the green apron.
The description of the cute hat is "It's a white hat with a red cross on it. Red stripes line the edges"

Nurse wears the white overcoat.  Understand "overcoat" as the white overcoat.
The description of the white overcoat is "The overcoat covers most of the nurse's body."

Instead of shooting the Nurse with the toy gun:
	say "BANG![paragraph break]The nurse dissolves into a cloud of crackling blue light and then is gone.";
	now the Nurse is nowhere.
	
Carry out hitting the Nurse with the clawhammer:
	say "SHCK![paragraph break]As you charge at the nurse, hammer in hand, she grabs a scalpel and stabs it into your neck.[paragraph break]The next thing you know, you're waking up in a freezer. You push against the door, but it's locked from the outside.";
	end the story.
	
Instead of attacking the Nurse:
	say "You flail at the nurse wildly; and in response she lashes out with a scalpel, which lands right in your eye.[paragraph break]Now you [i]really[/i] need to see the doctor...";
	end the story.
	


[TALKING TO Nurse]

Instead of talking to Nurse:
	say "[one of]'I don't think that's a problem.'[or]'I don't think you need to see the doctor about that.'[cycling]".

After asking Nurse about "the/-- doctor/office":
	say "'The doctor keeps himself busy making sure everyone is nice and healthy..'"
	
Instead of asking Nurse about "the/-- doctor's office":
	try asking Nurse about "doctor".
	
Instead of asking Nurse about "the/-- doctors office":
	try asking Nurse about "doctor".
	
After asking Nurse about "the/-- child/children/kid/kids":
	say "'Good children get a lollypop, bad children get told they have cancer.'"
	
After asking Nurse about "the/-- toy/toys":
	say "'You'd be surprised at how much damage a toy firetruck could do.'"

Instead of asking Nurse about "the/-- toy store":
	try asking Nurse about "toy".
	
Instead of asking Nurse about "the/-- toy store":
	try asking Nurse about "toy".

Instead of asking Nurse about "the/-- toy shop":
	try asking Nurse about "toy".
	
After asking Nurse about "the/-- herself/nurse/woman/work/job":
	say "'I just try to keep this office running smoothly.'".

After asking Nurse about "the/-- waitress":
	say "'Her? What a stupid bitch, never getting my orders right.'".

After asking Nurse about "the/-- candy man":
	say "'Such a charming man.'".

After asking Nurse about "the/-- dressmaker/lady":
	say "'Her gowns are divine.'".
	
Instead of asking Nurse about "the/-- fancy lady":
	try asking Nurse about "dressmaker".
	
Instead of asking Nurse about "the/-- dress maker":
	try asking Nurse about "dressmaker".

After asking Nurse about "the/-- gun":
	if the player carries the toy gun:
		say "'I'm sorry, did your toy gun get a boo-boo?'";
	otherwise:
		say "'I don't know.'"

Instead of asking Nurse about "the/-- toy gun":
	try asking Nurse about "gun".

After asking Nurse about "the/-- diner":
	say "'Greasy garbage, barely fit for a dog.'".
	
After asking Nurse about "the/-- max/player/me/myself":
	say "'The doctor needs your medical insurance, six forms of ID, and a throat culture before he'll see you.'".
	
After asking Nurse about "the/-- name":
	say "'Just nurse to you.'".
	
After asking Nurse about "the/-- town/city/here/location/whereabouts":
	say "'We're just off the interstate.'".	
	
After asking Nurse about "the/-- clothing clerk":
	say "'Don't go near him, he's a ticking time bomb.'".
	
After asking Nurse about "the/-- librarian":
	say "'The way we have to test her you'd swear she was walking up and down New York.'".
	
After asking Nurse about "the/-- secretary":
	say "'The great plague-bearer.'".
	
After asking Nurse about "the/-- teller":
	say "'Always talking, never handling my money.'".
	
After asking Nurse about "the/-- deputy":
	say "'He keeps the peace when the sheriff isn't around.'".
	
After asking Nurse about "the/-- grocer":
	say "'He always smashes my eggs.'".
	
After asking Nurse about "the/-- waiter":
	say "'I don't eat there.'".
	
After asking Nurse about "the/-- bartender":
	say "'He's cute.'".
	
After asking Nurse about "the/-- pharmacist":
	say "'He constantly calls the doctor, arguing with him about something or another.'".
	
After asking Nurse about "the/-- meat man":
	say "'He's end up giving himself botulism sooner rather than later.''".
		
Instead of asking Nurse about "the/-- butcher":
	try asking Nurse about "meat man".

Instead of showing the toy gun to Nurse:
	try asking Nurse about "gun".

Report telling Nurse about something:
	say "[one of]'I'd rather not.'[or]'That doesn't sound important enough for the doctor.'[cycling]".

Report asking Nurse about something:
	say "[one of]'Are you sure that's a real medical condition?'[or]'...'[cycling]".

The block asking rule does nothing when asking the Nurse about something.
The block telling rule does nothing when telling the Nurse about something.



Section Union Street South

There is a room called Union Street South.
The description of Union Street South is "You can see a junkyard on one side of the street. Despite having a dirt path onto the road, it looks too clean, too pristine. On the other end, a dressmaker's, with dresses that look just a bit too perfect.[paragraph break]The street here runs north and south.  A dressmaker lies to the east, and a junkyard lies to the west."

East of Union Street South is Dressmaker.

The dirt path is scenery in Union Street South. Understand "path" or "dirt road" or "dirt" as the dirt path.
The description of the dirt path is "A tidy dirt path leads west towards the junkyard."

The junkfront is scenery in Union Street South.  Understand "junkyard" or "fence" or "junk yard" as the junkfront.
The description of the junkfront is "A dirt path leads through an opening in a chain-link fence, towards what appears to be a junkyard."

The dressfront is scenery in Union Street South. 
Understand "dressmaker" or "dressmaker's" or "dress maker" or "store" or "storefront" or "dress store" or "sign" or "building" or "buildings" or "dress" or "dresses" as the dressfront.
The description of the dressfront is "Here is a cozy-looking little storefront with a sign that reads 'DRESSMAKER'. You can see colorful dresses through the window."

Section Junkyard

There is a room called Junkyard.  Junkyard is west from Union Street South.
The description of Junkyard is "What a load of junk! Between the bits of assorted junk, you can see a discarded boiler and an old fridge. Is that an toilet? Wow.[paragraph break]You can see the path back to the street in the east."

The junk is scenery in the junkyard.  Understand "garbage" as the junk.
The description of the junk is "You can see all manner of assorted garbage here.  Among it are a discarded boiler, an old fridge, and a toilet."

The dusty path is scenery in Junkyard.
The printed name of the dusty path is "path".
Understand "path" or "road" or "street" or "dirt road" as the dusty path.
The description of the dusty path is "A tidy dirt path leads east to the main road."

The boiler is scenery in Junkyard.  Understand "discarded boiler" as the boiler.
The description of the boiler is "You've never understood what a boiler is, but you think this round large metal thing is one."

The toilet is scenery in Junkyard.
The description of the toilet is "It looks like it came straight off a factory assembly line. Why someone threw it out is anyone's guess."

[OLD FRIDGE]
The old fridge is a fixed in place container in Junkyard.  Understand "fridge" or "refrigerator" or "latch" or "rusty latch" as the old fridge.
The old fridge is scenery.
The old fridge is locked, openable and closed.
The description of the old fridge is "It's weird, apparently the old refrigerator has a latch to keep it closed. That sounds like a safety hazard. It seems to be rusted shut, you'll have to find some other way to get it open."

Instead of doing something with the old fridge:
	if the guard dog is in the Junkyard:
		if the guard dog is undrugged:
			say "The guard dog growls menacingly. You back away from the old fridge.";
			stop the action;
		otherwise:
			continue the action;
	otherwise:
		continue the action.

Check opening the locked fridge:
	say "It appears the latch is rusted shut, you'll have to find some other way to get it open.";
	stop the action.

Carry out wiping the old fridge with the oily rag:
	say "You rub the rusty latch with the oily rag. After a while, you get enough of the rust off that you can open it. Satisfied, you throw the oily rag away.";
	now the old fridge is unlocked;
	increase the score by 1;
	rule succeeds.

After wiping the old fridge with the oily rag:
	now the oily rag is nowhere.

Before cleaning the old fridge with the oily rag:
	try wiping the old fridge with the oily rag.
	
Before rubbing the oily rag on the old fridge:
	try wiping the old fridge with the oily rag.
	
Before lubricating the old fridge with the oily rag:
	try wiping the old fridge with the oily rag.


[GUARD DOG]
The guard dog is an animal in the Junkyard.  Understand "dog" or "bulldog" as the guard dog.
The guard dog is undrugged.
The guard dog is hittable.
The feedability of the guard dog is feedable.
The description of the guard dog is "A very muscular bulldog is chained up here.[if the druggedness of the guard dog is undrugged] It looks angry or hungry or both.[otherwise] It is curled up, fast asleep.[end if]"

After giving the raw beef to the guard dog:
	say "The guard dog looks happy for the moment it takes to gobble down the raw beef, then it goes back to looking surly again.";
	now the raw beef is in Butcher.
	
Instead of feeding the raw beef to the guard dog:
	try giving the raw beef to the guard dog.

After giving the drugged beef to the guard dog:
	say "The guard dog gobbles down the drugged beef, then curls up for a nap.";
	increase the score by 1;
	now the druggedness of the guard dog is drugged;
	now the drugged beef is nowhere.

Instead of feeding the drugged beef to the guard dog:
	try giving the drugged beef to the guard dog.

The block giving rule does nothing when giving the raw beef to the guard dog.
The block giving rule does nothing when giving the drugged beef to the guard dog.

Instead of shooting the guard dog with the toy gun:
	say "BANG![paragraph break]The guard dog dissolves into a cloud of crackling blue light and then is gone.";
	now the guard dog is nowhere.

Instead of hitting the guard dog with the clawhammer:
	say "Let sleeping dogs lie."

Instead of attacking the undrugged guard dog:
	say "There's no way you're winning this fight."
	
Instead of attacking the drugged guard dog:
	say "Let sleeping dogs lie."
	

[TALKING TO GUARD DOG]
Instead of talking to the undrugged guard dog:
	say "'RUFF!'"

Report telling undrugged guard dog about something:
	say "[one of]'BARK!'[or]'AWOO!'[cycling]".

Report asking undrugged guard dog about something:
	say "[one of]'ARF?'[or]'*whine*'[cycling]".
	
Instead of talking to the drugged guard dog:
	say "'ZZZ...'"

Report telling drugged guard dog about something:
	say "'ZZZ...'"
	
Report asking drugged guard dog about something:
	say "'ZZZ...'"

The block asking rule does nothing when asking the guard dog about something.
The block telling rule does nothing when telling the guard dog about something.


[CLAWHAMMER]
The clawhammer is a thing in the old fridge.
Understand "hammer" or "claw" as the clawhammer.
The description of the clawhammer is "The hammer has a blunt end for striking and a claw end for prying."


[STEP LADDER]
The step ladder is an enterable supporter in Junkyard.  The ladder is not fixed in place.  "A 2-foot aluminum step ladder leans against the wall here."  
Description of the step ladder is "A 2-foot aluminum step ladder."  Understand "ladder" or "step" or "stepladder" as the step ladder.
Instead of climbing the ladder, try entering the noun.

Instead of doing something with the step ladder:
	if the guard dog is in the Junkyard:
		if the guard dog is undrugged:
			say "The guard dog growls menacingly. You back away from the step ladder.";
			stop the action;
		otherwise:
			continue the action;
	otherwise:
		continue the action.


Section Dressmaker

There is a room called Dressmaker.
The description of Dressmaker is "There are only a handful of dresses here, but the materials necessary cover the room. Mannequins, some clothed and some not, dot the room. An exit opens to the west."

The mannequins are scenery in Dressmaker. Understand "mannequin" or "dummy" or "dummies" as mannequins.
The description of the mannequins is "The mannequins seem to be designed with a variety of physiques, perhaps to imitate the forms of those who might wear the dresses."

The dresses are scenery in Dressmaker.
The description of the dresses is "You don't know much about women's clothing, but you think some of them look nice."

The pin is a thing in Dressmaker.
Understand "needle" as the pin.
The description of the pin is "A thin metal object with a sharp point at one end and a small handle at the other."

[Fancy Lady]
The fancy lady is a woman. Fancy Lady is in the Dressmaker.
Understand "woman" as the Fancy Lady.
The fancy lady is hittable.
The description of the Fancy Lady is "A woman, in her 20s, who you swear looks like some kind of bygone Hollywood actress. Her blonde hair is done in a very puffy style and her blue eyes look at you kindly. She wears a very shimmery green dress."

The puffy hair is part of Fancy Lady.  Understand "hair" or "blonde hair" as the puffy hair.
The description of the puffy hair is "It's a short style, and you swear you've seen something like it before."

The blue eyes are part of Fancy Lady.  Understand "eyes" as the blue eyes.
The description of the blue eyes is "The lady has a kind look in her blue eyes."

Fancy Lady wears the green dress.  Understand "dress" as the green dress.
The description of the green dress is "Her green dress definitely shows off her intended skillset. It flatters her form without showing any skin, and it shines in the light."

Instead of shooting the Fancy Lady with the toy gun:
	say "BANG![paragraph break]The fancy lady dissolves into a cloud of crackling blue light and then is gone.";
	now the Fancy Lady is nowhere.

Carry out hitting the Fancy Lady with the clawhammer:
	say "THUD![paragraph break]You lunge at the fancy lady with your hammer. She steps back, you slip and fall on your face. By the time you manage to get back on your feet, she has already fled the building.[paragraph break]You pursue her into the street and are promptly mowed down by a speeding taxi. Funny, you don't remember ever seeing any cars in town...";
	end the story.
	
Instead of attacking the Fancy Lady:
	say "Just as you're launching your assault on the fancy lady, the sheriff's deputy saunters into the shop.[paragraph break]The deputy isn't exactly a champion marksman, but he's got six bullets and they all hit you [i]somewhere[/i]. He drags you back to the station and tosses you in a cell.[paragraph break]You are still bleeding profusely, and it never stops. Forever.";
	end the story.


[TALKING TO Fancy Lady]

Instead of talking to Fancy Lady:
	say "[one of]'Oh, you men and your sports.'[or]'Surely, your wife told you what she wanted in a dress?'[cycling]".

After asking Fancy Lady about "the/-- dressmaker/work/job/shop":
	say "'A little bit of big city chic in our small town.'"
	
Instead of asking Fancy Lady about "the/-- dress maker":
	try asking Fancy Lady about "dressmaker".

After asking Fancy Lady about "the/-- junkyard":
	say "'The perfect excuse for the husbands of the town to slip away while I measure their wives.'"

After asking Fancy Lady about "the/-- child/children/kid/kids":
	say "'I always enjoy it when a child receives her first dress. The look on her face is something to be treasured.'"
	
After asking Fancy Lady about "the/-- dress/dresses/gown/gowns":
	say "'I have most common styles here, and those I don't I can easily make.'"

After asking Fancy Lady about "the/-- old man":
	say "'Oh, he loves the children so.'"
	
Instead of asking Fancy Lady about "the/-- kindly old man":
	try asking Fancy Lady about "old man".
	
After asking Fancy Lady about "the/-- pin/needle":
	   say "'If you want one you can take it. I've got hundreds.'"

After asking Fancy Lady about "the/-- candy man":
	say "'A vulgar man, content with nothing but getting chocolate specks on my delightful dresses.'"
	
After asking Fancy Lady about "the/-- clerk":
	say "'Can we change the subject?'"
	
Instead of asking Fancy Lady about "the/-- clothing clerk":
	try asking Fancy Lady about "clerk".
	
After asking Fancy Lady about "the/-- herself/her/woman/lady":
	say "'I used to work in the big city, but I decided that being a big fish in a small pond was more my speed.'".
	
Instead of asking Fancy Lady about "the/-- Fancy Lady":
	try asking Fancy Lady about "herself".

After asking Fancy Lady about "the/-- waitress":
	say "'A nice lady, bit of a tomboy though. Never seems to come in here. I think she'd look great in a nice bouffant gown.'".
	
After asking Fancy Lady about "the/-- gun":
	if the player carries the toy gun:
		say "'Must you play with that in my shop?'";
	otherwise:
		say "'What makes you think I would know about that?'"
	
After asking Fancy Lady about "the/-- pin":
	if the player carries the pin:
		say "'Oh, sure, take it, I have hundreds.'";
	otherwise:
		say "'I use them to stitch together fabric.'"
		
Instead of asking Fancy Lady about "the/-- toy gun":
	try asking Fancy Lady about "gun".

After asking Fancy Lady about "the/-- toy/toys":
	say "'Aren't we a little too old to be playing with toys?'"

After asking Fancy Lady about "the/-- diner":
	say "'A perfectly edible experience.'"
	
After asking Fancy Lady about "the/-- max/player/me/myself":
	say "'I know you must be from out of town.'"
	
After asking Fancy Lady about "the/-- name":
	say "'You must not watch the pictures.'".
	
After asking Fancy Lady about "the/-- town/city/here/location/whereabouts":
	say "'We're just out of Saskatchewan.'".
	
After asking Fancy Lady about "the/-- librarian":
	say "'You can't fix what God made ugly.'".
	
After asking Fancy Lady about "the/-- nurse":
	say "'She enjoys poking people too much.'".
	
After asking Fancy Lady about "the/-- secretary":
	say "'I'd like to fit her for a dress.'".
	
After asking Fancy Lady about "the/-- teller":
	say "'Great figure, shame she can't stop gossiping.'".
	
After asking Fancy Lady about "the/-- deputy":
	say "'I think it's a real shame he never found a wife.'".
	
After asking Fancy Lady about "the/-- grocer":
	say "'He does a good job.'".
	
After asking Fancy Lady about "the/-- waiter":
	say "'He makes the experience worth every bit of money.'".
	
After asking Fancy Lady about "the/-- bartender":
	say "'I don't know him.'".
	
After asking Fancy Lady about "the/-- pharmacist":
	say "'The way he carries on sometimes, you'd think he was the mayor.'".
	
After asking Fancy Lady about "the/-- meat man":
	say "'I'm afraid I've never been there.''".
		
Instead of asking Fancy Lady about "the/-- butcher":
	try asking Fancy Lady about "meat man".
	
Instead of showing the toy gun to Fancy Lady:
	try asking Fancy Lady about "gun".
	
Instead of showing the pin to Fancy Lady:
	try asking Fancy Lady about "pin".

Report telling Fancy Lady about something:
	say "[one of]'Hoho, I'm afraid that's beyond me.'[or]'How delightful.'[cycling]".

Report asking Fancy Lady about something:
	say "[one of]'I'm afraid I haven't heard of that style.'[or]'I'm not European and free-spirited enough to know.'[cycling]".

The block asking rule does nothing when asking the Fancy Lady about something.
The block telling rule does nothing when telling the Fancy Lady about something.


Section Union Street North

There is a room called Union Street North.
The description of Union Street North is "The street here runs north and south.  A restaurant lies to the east, and the sheriff's office lies to the west."

North of Union Street North is Third & Union.
West of Union Street North is Sheriff's Office.

The restaurantfront is scenery in Union Street North.  
The printed name of restaurantfront is "restaurant".
Understand "restaurant" or "awning" or "building" or "buildings" or "stone" as the restaurantfront.
The description of the restaurantfront is "A narrow stone building with an awning that reads 'RESTAURANT'. Aside from the generic name, it looks like a pretty swanky place."

The jailfront is scenery in Union Street North.  
The printed name of the jailfront is "sheriff's office".
Understand "sheriff's office" or "sheriffs office" or "sheriff office" or "sheriff" or "office" or "building" or "buildings" or "cube" as the jailfront.
The description of the jailfront is "A bland gray cube of a building with the work 'SHERIFF' emblazoned on it."


Section Sheriff's Office

There is a room called Sheriff's Office.
The description of Sheriff's Office is "A very plainly made room. The floor is concrete and the walls match its color. A small divider separates what you think is a lobby side from the side with all the desks. The divider is so small that it presents no reasonable challenge in climbing over. Further back are [file cabinets], and a pathway that leads to jail cells.[paragraph break]An exit opens to the east."

The concrete floor is scenery in the Sheriff's Office.  Understand "floor" or "ground" as the concrete floor.
The description of the concrete floor is "The floor of the sheriff's office is made of concrete."

The gray walls are scenery in the Sheriff's Office.  Understand "wall" or "walls" as the gray walls.
The description of the gray walls is "The walls of the sheriff's office are gray."

The small divider is scenery in the Sheriff's Office.  Understand "divider" or "fence" as the small divider.
The description of the small divider is "A small wooden divider, or in-door fence. It functions slowly to divide the room without providing real barriers to entry."

The lobbyy side is scenery in the Sheriff's Office.  Understand "lobby" or "lobby side" as the lobbyy side.
The printed name of the lobbyy side is "lobby side".
The description of the lobbyy side is "A very plainly made room. The floor is concrete and the walls match its color. A small divider separates what you think is a lobby side from the side with all the desks. The divider is so small that it presents no reasonable challenge in climbing over."

The office side is scenery in the Sheriff's Office.  Understand "office" or "desk side" as the office side.
The description of the office side is "A small divider separates what you think is a lobby side from the side with all the desks. The divider is so small that it presents no reasonable challenge in climbing over. Further back are file cabinets, and a pathway that leads to jail cells."

The police desks are scenery in the Sheriff's Office.  Understand "desk" or "desks" as the police desks.
The description of the police desks is "There are several desks in the back of the sheriff's office."

The file cabinets are a container in the Sheriff's Office. 
The file cabinets are openable and closed. 
Understand "filing cabinets" or "cabinets" or "cabinet" or "file cabinet" or "file" or "files" as the file cabinets.
The description of the file cabinets is "In the very back of the sheriff's office is a row of file cabinets."

Check opening the file cabinets:
	if the Deputy is in the Sheriff's Office:
		say "The deputy won't let you anywhere near those file cabinets.";
		stop the action;
	otherwise:
		continue the action.
		
The police records are a thing in the file cabinets.
The indefinite article of the police records is "some".
Understand "record" or "records" as the police records.
The description of the police records is "It seems there are a lot of violent crimes in this town. You wouldn't expect it with these people, but everyone in town has an extensive record."

Carry out reading the police records:
	say "The lists of crimes go on and on and on. Some of the crimes are strange... gluttony? sloth?"

The pathway is scenery in the Sheriff's Office.  Understand "path" as the pathway.
The description of the pathway is "In the back of the sheriff's office, a pathway leads to the jail cells."

The jail cells are scenery in the Sheriff's Office.  Understand "jail" or "cell" or "cells" as the jail cells.
The description of the jail cells is "You can hardly see the jail cells from here."


[Deputy]
The deputy is a man.  Understand "man" as the Deputy.
The Deputy is hittable.
Deputy is in the Sheriff's Office.
The description of the Deputy is "You don't like accusing people of being fat, but this guy is fat. He's clearly never seen a donut he's disliked. He also seems like the type to look down the barrel of a loaded gun to see why it didn't fire."

Instead of shooting the Deputy with the toy gun:
	say "BANG![paragraph break]The deputy dissolves into a cloud of crackling blue light and then is gone.";
	now the Deputy is nowhere.

Carry out hitting the Deputy with the clawhammer:
	say "POW![paragraph break]Before you can raise your hammer, the deputy has shot you in the knee.  You are on the ground in agony.[paragraph break]'Oh, goody,' the deputy chuckles,'now it's playtime.'";
	end the story.
	

Instead of attacking the Deputy:
	say "SNAP![paragraph break]The deputy breaks your nose. Then some ribs. Then a leg. Then an arm.[paragraph break]He cuffs you and tosses you in a cell.[paragraph break]'Maybe I'll come back and smack you around once a year if I feel like it,' the deputy laughs.";
	end the story.


[TALKING TO Deputy]

Instead of talking to Deputy:
	say "[one of]'Yup.'[or]'Nah.'[cycling]".

After asking Deputy about "the/-- sheriff/work/job":
	say "'Oh, you know how it is, lockin['] up the town drunk every other day.'"
	
After asking Deputy about "the/-- Sheriff's Office":
	try asking Deputy about "sheriff".

After asking Deputy about "the/-- child/children/kid/kids":
	say "'The good kids are all in school, the bad ones are slinging dope and snorting reefer.'"
	
After asking Deputy about "the/-- candy/candies/chocolate/chocolates":
	say "'I'm not a kid, I prefer healthy things.'"

After asking Deputy about "the/-- nut/nuts":
	say "'Don't curse.'"

After asking Deputy about "the/-- old man":
	say "'Can't say I've had much cause to meet him.'"
	
Instead of asking Deputy about "the/-- kindly old man":
	try asking Deputy about "old man".
	
After asking Deputy about "the/-- himself/man/him/Deputy":
	say "'I'm the good old sheriff's loyal deputy.'".

After asking Deputy about "the/-- waitress":
	say "'She always scoffs when she brings me those donuts.'".
	
After asking Deputy about "the/-- gun":
	if the player carries the toy gun:
		say "'If you are going to act like a child, I suggest you leave.'";
	otherwise:
		say "'I'm afraid that's not something I know about.'"
		[In case I forget, do you want something to happen here? I'll change it if we don't.]
				
Instead of asking Deputy about "the/-- toy gun":
	try asking Deputy about "gun".

After asking Deputy about "the/-- toy/toys":
	say "'What, like a fire engine? Don't you think this conversation is a little immature?'"

After asking Deputy about "the/-- diner":
	say "'They sell donuts. Donuts!'"
	
After asking Deputy about "the/-- donuts":
		say "'Policin['] is hard work.'"
	
After asking Deputy about "the/-- max/player/me/myself":
	say "'I'd appreciate if you didn't cause any trouble while you were here in our little town.'"

After asking Deputy about "the/-- dressmaker/lady":
	say "'I shouldn't tell you this, but she's been known to be disruptive and drunk. Don't tell her I said that.'"
	
Instead of asking Deputy about "the/-- fancy lady":
	try asking Deputy about "dressmaker".
	
Instead of asking Deputy about "the/-- dress maker":
	try asking Deputy about "dressmaker".

After asking Deputy about "the/-- name":
	say "'The sheriff hasn't been pleased with me lately, so my name is mud.'".
	
After asking Deputy about "the/-- town/city/here/location/whereabouts":
	say "'A bit away from Cave City.'".
		
After asking Deputy about "the/-- clothing clerk":
	say "'He's nothing but trouble.'".
	
After asking Deputy about "the/-- librarian":
	say "'I'm glad she hasn't done much since the incident.'".
	
After asking Deputy about "the/-- nurse":
	say "'I worry about her.'".
	
After asking Deputy about "the/-- secretary":
	say "'We don't travel in the same circles.'".
	
After asking Deputy about "the/-- teller":
	say "'She has too much of a tongue for gossip.'".
	
After asking Deputy about "the/-- grocer":
	say "'We haven't had much time to talk.'".
	
After asking Deputy about "the/-- waiter":
	say "'Fella keeps thinking I'm there as some kind of quality control. I just care that they're not burning the place down.'".
	
After asking Deputy about "the/-- bartender":
	say "'He does the best he can.'".
	
After asking Deputy about "the/-- pharmacist":
	say "'Sometimes I think we would be better off without him.'".
	
After asking Deputy about "the/-- meat man":
	say "'He always makes me nervous. Former air force pilots do that.''".
		
Instead of asking Deputy about "the/-- butcher":
	try asking Deputy about "meat man".
	
After asking Deputy about "the/-- candy man":
	say "'He hasn't done anything again, has he?''".

Instead of showing the toy gun to Deputy:
	try asking Deputy about "gun".

Report telling Deputy about something:
	say "[one of]'I should file a report about that.'[or]'They might allow that in the city, but we don't.'[cycling]".

Report asking Deputy about something:
	say "[one of]'I don't know.'[or]'I'm afraid that's not somethin['] I've heard of.'[cycling]".

The block asking rule does nothing when asking the Deputy about something.
The block telling rule does nothing when telling the Deputy about something.


Section Restaurant

There is a room called Restaurant.
Restaurant is east from Union Street North.
The description of Restaurant is "The restaurant has the aura of being a very rich place. Soft chandelier light coats the room in a warm glow. Its tables and chairs seem to be replicas of antique European furniture, and are covered in nice silk tablecloths. An exit opens to the west."

The chandelier is scenery in the restaurant.
The description of the chandelier is "Thousands of little glass pieces fill the chandelier, each undoubtedly more expensive than a month's pay."

The antique furniture is scenery in the restaurant.  Understand "furniture" as the antique furniture.
The description of the antique furniture is "The tables and chairs seem to be replicas of antique European furniture."

The antique tables are scenery in the restaurant. Understand "tables" or "tablecloth" or "tablecloths" or "table" as the antique tables.
The description of the antique tables is "You can see engraved table legs sticking out from beneath fine silk tablecloths."

[THE ANTIQUE CHAIRS]
The antique chairs are a supporter in the restaurant. 
Understand "chairs" or "chair" or "wood" or "red wood" or "cloth" or "yellow cloth" as the antique chairs.
The printed name of the antique chairs is "antique chair".
The antique chairs is enterable.
The antique chairs is scenery.
The description of the antique chairs is "Strange patterns are carved into the antique chair's deep red wood, and the padded parts of it are made with a yellow cloth."

After entering the antique chairs:
	say "The waiter hastily zips to your side and looms.";
	now the chairedness of Max is chaired.
	
After getting off the antique chairs:
	say "The waiter goes back to whatever he was doing (or not doing) before.";
	now the chairedness of Max is unchaired.


[Waiter]
The waiter is a man.  Understand "man" as the Waiter.
Waiter is in the Restaurant.
Waiter is hittable.
The description of the Waiter is "This guy looks like every stereotype of a snooty waiter you've ever seen. He wears a suit with a waistcoat, but no jacket. His black hair is slicked back, and he has a pencil-thin moustache. The look on his face says he's about to call you a pleb."

The slick hair is part of the Waiter.  Understand "black hair" or "hair" as the slick hair.
The description of the slick hair is "Whatever hair product the waiter has applied, he has applied it thoroughly."

The pencil-thin moustache is part of Waiter.  
Understand "moustache" or "pencil moustache" or "mustache" or "pencil mustache" or "pencil-thin mustache" or "pencil thin mustache" or "pencil-thin moustache" as the pencil-thin moustache.
The description of the pencil-thin moustache is "Undoubtedly the result of years of grooming."

Waiter wears the waistcoat suit. Understand "suit" or "waistcoat" or "shirt" or "suit pants" or "pants" as the waistcoat suit.
The description of the waistcoat suit is "The Waiter wears a white suit shirt with a black waistcoat and suit pants. He does not wear a tie of any kind."

Instead of shooting the Waiter with the toy gun:
	say "BANG![paragraph break]The waiter dissolves into a cloud of crackling blue light and then is gone.";
	now the Waiter is nowhere.

Carry out hitting the Waiter with the clawhammer:
	say "ZING![paragraph break]As you advance against the waiter, you feel a sharp pain in your chest. You look down and see the waiter has buried a kitchen knife in your heart.[paragraph break]Moments later you are dragged into the kitchen...";
	end the story.

Instead of attacking the Waiter:
	say "ZING![paragraph break]As you advance against the waiter, you feel a sharp pain in your chest. You look down and see the waiter has buried a kitchen knife in your heart.[paragraph break]Moments later you are dragged into the kitchen...";
	end the story.
	

[TALKING TO Waiter]

Instead of talking to Waiter:
	say "[one of]'Did monsieur want something?'[or]'Comment?'[cycling]".

After asking Waiter about "the/-- restaurant/work/job":
	say "'La Petit Chiasse is not someplace you just ASK about!'"

After asking Waiter about "the/-- child/children/kid/kids":
	say "'We don't allow them here.'"
	
After asking Waiter about "the/-- candy/candies/chocolate/chocolates":
	say "'How positive gauche, monsieur.'"

After asking Waiter about "the/-- nut/nuts":
	say "'This is not some vulgar beer joint, monsieur.'"

After asking Waiter about "the/-- old man":
	say "'I have never seen him.'"
	
Instead of asking Waiter about "the/-- kindly old man":
	try asking Waiter about "old man".
	
After asking Waiter about "the/-- himself/man/him/waiter":
	say "'I am but a humble servant.'".

After asking Waiter about "the/-- waitress":
	say "'I assume the food she serves suffices for those who choose to dine in such a shabby establishment.'".
	
After asking Waiter about "the/-- gun":
	if the player carries the toy gun:
		say "'If you are going to act like a child, I suggest you leave.'";
	otherwise:
		say "'I'm afraid that's not something I know about.'"
				
Instead of asking Waiter about "the/-- toy gun":
	try asking Waiter about "gun".

After asking Waiter about "the/-- food/menu":
	say "'The chef isn't in yet, come back later.'"

After asking Waiter about "the/-- toy/toys":
	say "'I don't know monsieur, I'm not five.'"

After asking Waiter about "the/-- diner":
	say "'Vulgar food for vulgar people.'"
	
After asking Waiter about "the/-- max/player/me/myself":
	say "'I don't know, but you don't seem like the kind of cliente we appreciate here.'"

After asking Waiter about "the/-- dressmaker/lady":
	say "'She provides the dresses to our very special cliente and sometimes enjoys our establishment.'"
	
Instead of asking Waiter about "the/-- fancy lady":
	try asking Waiter about "dressmaker".
	
Instead of asking Waiter about "the/-- dress maker":
	try asking Waiter about "dressmaker".

After asking Waiter about "the/-- name":
	say "'That is not important.'".
	
After asking Waiter about "the/-- town/city/here/location/whereabouts":
	say "'We are just off of Pariee.'".
		
After asking Waiter about "the/-- clothing clerk":
	say "'Who?'".
	
After asking Waiter about "the/-- librarian":
	say "'I have seen her, but I doubt a public servant could afford to eat here.'".
	
After asking Waiter about "the/-- nurse":
	say "'She's always sticking people with needles.'".
	
After asking Waiter about "the/-- secretary":
	say "'Yes, she's always here with a new man every other day.'".
	
After asking Waiter about "the/-- teller":
	say "'Yes, she's always here with a new man every day.'".
	
After asking Waiter about "the/-- deputy":
	say "'I appreciate him dealing with the riff-raff.'".
	
After asking Waiter about "the/-- grocer":
	say "'Who?'".
	
After asking Waiter about "the/-- bartender":
	say "'He doesn't have a very good dress sense.'".
	
After asking Waiter about "the/-- pharmacist":
	say "'He doesn't come in often, and he doesn't leave a very good tip.'".
	
After asking Waiter about "the/-- meat man":
	say "'Who?''".
		
Instead of asking Waiter about "the/-- butcher":
	try asking Waiter about "meat man".
	
After asking Waiter about "the/-- candy man":
	say "'Who?''".

Instead of showing the toy gun to Waiter:
	try asking Waiter about "gun".

Report telling Waiter about something:
	say "[one of]'Did monsieur want something?'[or]'Comment?'[cycling]".

Report asking Waiter about something:
	say "[one of]'It's simply unimportant.'[or]'Go away.'[cycling]".

The block asking rule does nothing when asking the Waiter about something.
The block telling rule does nothing when telling the Waiter about something.


Section Third & Union

There is a room called Third & Union.
The description of Third & Union is "You find yourself at an intersection. The streets here lead east and south."

East of Third & Union is Third Avenue West.

Section Third Avenue West

There is a room called Third Avenue West.
The description of Third Avenue West is "The streets continue west and east. A bar is to the south and a clothing store to the north."
East of Third Avenue West is Third & Main.
North of Third Avenue West is Clothing Store.


The barfront is scenery in Third Avenue West.  
The printed name of barfront is "bar".
Understand "bar" or "window" or "dive" or "building" or "buildings" as the barfront.
The description of the barfront is "You know it's a bar because the word 'BAR' is painted on the window. It looks like it [i]could[/i] be a dive, except it also looks like it was built yesterday."
	
The clothesfront is scenery in Third Avenue West.  
The printed name of clothesfront is "clothing store".
Understand "clothing store" or "store" or "clothes store" or "storefront" or "suit" or "suits" or "sign" or "menswear" or "building" or "clothing" or "buildings" as the clothesfront.
The description of the clothesfront is "The sign on the storefront reads 'CLOTHING STORE'. Judging by all the suits you see in the window, you get the impression they specialize in menswear."


Section Bar

There is a room called Bar.
Bar is south from Third Avenue West.
The description of Bar is "The bar has a deliberately artificial design to it. Green floral wallpaper coats the walls and the floor is made of garish tiles. Various booths and tables line the place, but only the [bar counter] is inhabited, a single bartender behind it, and all the [stool]s unused. An exit opens to the north."

The floral wallpaper is scenery in the Bar.  Understand "wall" or "walls" or "wall paper" or "wallpaper" as the floral wallpaper.
The description of floral wallpaper is "The walls of the bar are covered with green floral wallpaper."

The garish tiles are scenery in the Bar.  Understand "tiles" or "tile" or "floor" or "ground" as the garish tiles.
The description of the garish tiles is "The floor is made of garish tiles, the color of which might be best described as 'electric puce.'"

The booths are scenery in the bar. Understand "booth" or "booths" or "table" or "tables" as the booths and tables.
The description of the booths is "The booths and tables don't look particularly unusual."

The bar counter is a fixed in place supporter in the Bar.  
The printed name of bar counter is "bar".
Understand "bar" as the bar counter.
The description of the bar counter is "You'd be surprised if any beer has ever been spilled on the bar's wooden surface."

The drinking glasses are scenery in the Bar.  Understand "glass" or "glasses" as the drinking glasses.
The description of the drinking glasses is "There are drinking glasses stacked everywhere."

The booze is scenery in the bar. Understand "Whisky" or "whiskey" or "Gin" or "Vodka" or "tequila" or "liquor" or "beer" or "wine" or "rum" as booze.
The description of the booze is "It's your standard selection of booze. A bit lacking in the foreign produced category, nothing from Eastern Europe or Asia."

[THE STOOL]
The stool is a supporter in the Bar.  Understand "bar stool" or "barstool" or "stools" as the stool.
The stool is enterable.
The description of the stool is "An empty wooden wooden bar stool."

After entering the stool:
	say "The bartender says 'What can I get you?'";
	now the chairedness of Max is chaired.
	
After getting off the stool:
	say "The bartender resumes his busywork.";
	now the chairedness of Max is unchaired.


[Bartender]
The bartender is a man.  Understand "man" as the Bartender.
Bartender is in the Bar.
Bartender is hittable.
The description of the Bartender is "The bartender has a real friendly face (or [i]did[/i], once, before someone hit it with a brick). Wild, untamed hair covers his head, and his clothes look somewhere between business casual and hobo. He robotically wipes the glasses around him with a cloth."

The friendly face is part of the Bartender.  Understand "face" as the friendly face.
The description of the friendly face is "The bartender smiles at you, but his ugly mug gives you the chills."

The wild untamed hair is part of Bartender.  Understand "hair" or "wild hair" as the wild untamed hair.
The description of the wild untamed hair is "It's clean, it just looks like it hasn't seen a hairbrush in a thousand years."

Bartender carries the cloth.
The description of the cloth is "A suspiciously clean and dry white cloth."

Instead of shooting the Bartender with the toy gun:
	say "BANG![paragraph break]The bartender dissolves into a cloud of crackling blue light and then is gone.";
	now the Bartender is nowhere.

Carry out hitting the Bartender with the clawhammer:
	say "CRASH![paragraph break]The bartender smashes a bottle and cuts your hand, causing you to drop your hammer. You fumble to grab it again; but in the meantime, the bartender has retrieved a baseball bat from behind the bar and has proceded to rearrange your face with it.[paragraph break]You're getting really dizzy...";
	end the story.

Instead of attacking the Bartender:
	say "THUMP![paragraph break]The bartender grabs a baseball bat and starts swinging at your limbs. Soon you fall to the ground and have nowhere else to go.[paragraph break]The bartender shakes his head.";
	end the story.


[TALKING TO Bartender]

Instead of talking to Bartender:
	say "[one of]'Yeah.'[or]'Hm-hm.'[cycling]".

After asking Bartender about "the/-- Bar/work/job":
	say "'It's just a nice little corner bar.'"

After asking Bartender about "the/-- child/children/kid/kids":
	say "'I love kids, but I don't seem them much in here.'"
	
After asking Bartender about "the/-- candy/candies/chocolate/chocolates":
	say "'Don't see many of those.'"

After asking Bartender about "the/-- nut/nuts":
	say "'Yeah, they're free here.'"

After asking Bartender about "the/-- old man":
	say "'The guy who runs the toy shop? Don't know him.'"
	
Instead of asking Bartender about "the/-- kindly old man":
	try asking Bartender about "old man".
	
After asking Bartender about "the/-- himself/man/him/Bartender":
	say "'I'm just a bartender.'".

After asking Bartender about "the/-- waitress":
	say "'The waitress at the diner? I don't know her.'".
	
After asking Bartender about "the/-- gun":
	if the player carries the toy gun:
		say "'I think you've had too many if you think that's an effective threat.'";
	otherwise:
		say "'Oh, yeah, my nephew has one of those.'"
		
Instead of asking Bartender about "the/-- toy gun":
	try asking Bartender about "gun".

After asking Bartender about "the/-- food":
	say "'Try the diner.'"

After asking Bartender about "the/-- toy/toys":
	say "'I haven't given them much thought since I was five.'"

After asking Bartender about "the/-- diner":
	say "'They sell good food.'"
	
After asking Bartender about "the/-- max/player/me/myself":
	say "'What will you have?'"

After asking Bartender about "the/-- dressmaker/lady":
	say "'Never seen her in here. I think she's a bit snooty for this place.'"
	
Instead of asking Bartender about "the/-- fancy lady":
	try asking Bartender about "dressmaker".
	
Instead of asking Bartender about "the/-- dress maker":
	try asking Bartender about "dressmaker".
	
After asking Bartender about "the/-- name":
	say "'Uh, Jack Daniels.'".
	
After asking Bartender about "the/-- town/city/here/location/whereabouts":
	say "'I think you've had a little too much to drink.'".
	
After asking Bartender about "the/-- clothing clerk":
	say "'Don't ask him about his glasses.'".
	
After asking Bartender about "the/-- librarian":
	say "'She's too much of a prude to come in here.'".
	
After asking Bartender about "the/-- nurse":
	say "'The way she acts I'd be very worried about getting sick.'".
	
After asking Bartender about "the/-- secretary":
	say "'She's only interested in finding a husband.'".
	
After asking Bartender about "the/-- teller":
	say "'She's only interested in finding a husband.'".
	
After asking Bartender about "the/-- deputy":
	say "'He deals with the town drunks effectively and without incident.'".
	
After asking Bartender about "the/-- grocer":
	say "'I don't see him much in here.'".
	
After asking Bartender about "the/-- waiter":
	say "'He doesn't come in here much.'".
	
After asking Bartender about "the/-- pharmacist":
	say "'I wish he would stop coming in here.'".
	
After asking Bartender about "the/-- meat man":
	say "'He was in the army.''".
		
Instead of asking Bartender about "the/-- butcher":
	try asking Bartender about "meat man".
	
After asking Bartender about "the/-- candy man":
	say "'Who?''".

After asking Bartender about "the/-- drink/whisky/whiskey/tequila/beer/rum/wine/gin/vodka/liquor":
	say "'Sure.'[paragraph break]The bartender fills up the glass he had in his hand with an unknown substance, before flinging the glass down the counter, to where you aren't. It falls off and shatters on the floor. When you walk over to it, the glass is gone and a new one is in the bartender's hand."

Instead of showing the toy gun to Bartender:
	try asking Bartender about "gun".

Report telling Bartender about something:
	say "[one of]'Yeah.'[or]'Hm-hm.'[cycling]".

Report asking Bartender about something:
	say "[one of]'If that's a drink, I've never heard of it.'[or]'I don't know what that is.'[cycling]".

The block asking rule does nothing when asking the Bartender about something.
The block telling rule does nothing when telling the Bartender about something.


Section Third & Main

There is a room called Third & Main.
The description of Third & Main is "You find yourself at an intersection. The streets here lead east, south, and west.  A park lies to the north."

South of Third & Main is Main Street North.
East of Third & Main is Third Avenue East.

The dpark is scenery in Third & Main.  Understand "park" as the dpark.
The description of the dpark is "You can barely make out a park to the north."


Section Main Street North

There is a room called Main Street North.
The description of Main Street North is "This curiously empty street runs north and south."

[THE BALLOON]
The balloon is a portable container in Main Street North.  "There's a blue balloon floating around."
The description of the balloon is "A plain blue balloon floating around. Something seems to be inside."

Instead of taking the balloon: say "It's floating just out of your reach."

Instead of throwing the pin at the balloon:
	say "You throw the pin at the balloon. With a pop and a black explosion, the balloon bursts. Black liquid falls from the balloon. It's oil!";
	now the balloon is nowhere;
	now the oil is in Main Street North;
	now the pin is nowhere;
	increase the score by 1;
	rule succeeds.
	
Before inserting the pin into the balloon:
	say "You can't quite reach the balloon with the pin. There's got to be a way...";
	stop the action.


Instead of attacking the balloon:
	say "You can't reach it."
	
Instead of puncturing the balloon with the pin:
	try inserting the pin into the balloon.


[OIL]
The oil is a thing in the balloon.  The indefinite article is "some".
The description of the oil is "A slick black substance. Why it was in the balloon is anyone's guess."

Instead of taking the oil: say "All that would accomplish is making your hands oily."

Instead of putting the clean rag on the oil:
	say "You wipe up the oil with the rag. Now it's a very oily rag.";
	now the clean rag is nowhere;
	now the oil is nowhere;
	now Max has the oily rag;
	increase the score by 1;
	rule succeeds.
	
Instead of putting oil on the clean rag:
	if the oil is in the balloon:
		say "The oil is in a balloon floating just out of your reach.";
	otherwise:
		try putting the clean rag on the oil.
		
Instead of wiping the oil with the clean rag:
	if the oil is in the balloon:
		say "The oil is in a balloon floating just out of your reach.";
	otherwise:
		try putting the clean rag on the oil.
		
Instead of cleaning the oil with the clean rag:
	if the oil is in the balloon:
		say "The oil is in a balloon floating just out of your reach.";
	otherwise:
		try putting the clean rag on the oil.

Instead of rubbing the clean rag on the oil:
	if the oil is in the balloon:
		say "The oil is in a balloon floating just out of your reach.";
	otherwise:
		try putting the clean rag on the oil.


[OILY RAG]
The oily rag is a thing that is nowhere.  Understand "oil" or "rag" as the oily rag.
The description of the oily rag is "A small piece of cloth, completely soaked in oil."


Section Third Avenue East

There is a room called Third Avenue East.
The description of Third Avenue East is "The street here runs east and west.  A garage lies to the north."

East of Third Avenue East is Third & Commerce.

The garagefront is scenery in Third Avenue East.  
Understand "garage" or "concrete" or "metal" or "sign" or "metal sign" or "building" or "buildings" as the garagefront.
The description of the garagefront is "The garage is a large boxy building of concrete with a metal sign that reads 'GARAGE'."


Section Garage

There is a room called Garage.
Garage is north from Third Avenue East.
The description of Garage is "This place has all the tools you could ever need to fix a car. Shame it seems like there's no car around here. The exit opens to the south."

The tools are scenery in the Garage.
The description of the tools is "A variety of tools you have no idea what to do with."

The clean rag is a thing in the Garage.
The description of the clean rag is "A small piece of cloth, this one is clean."


Section Third & Commerce

There is a room called Third & Commerce.
The description of Third & Commerce is "You find yourself at an intersection. The streets here lead south and west."

South of Third & Commerce is Commerce Street North.


Section Commerce Street North

There is a room called Commerce Street North.
The description of Commerce Street North is "The street here leads north and south.  A candy shop lies to the east, and an office block lies to the west."

The candyfront is scenery in Commerce Street North.
The printed name of candyfront is "candy shop".
Understand "candy shop" or "shop" or "candy store" or "store" or "storefront" or "building" or "buildings" or "stripes" or "letters" or "window" or "candy" as the candyfront.
The description of the candyfront is "The storefront to the east is painted with red and white stripes. Red letters on the front window read 'CANDY'."

The officefront is scenery in Commerce Street North.
The printed name of officefront is "office block".
Understand "office" or "office block" or "office building" or "building" or "buildings" or "windows" or "sign" or "rectangle" or "stone" as the officefront.
The description of the officefront is "West is a towering stone rectangle with numerous windows. A sign out front reads 'OFFICES'."

South of Commerce Street North is Second & Commerce.
East of Commerce Street North is Candy Shop.
West of Commerce Street North is Office Block.


Section Office Block

There is a room called Office Block.
The description of Office Block is "The office building's lobby is incredibly boring. Brown chairs and brown tables are on one side, while a [desk] with a [typewriter] is on the other. An exit opens to the east."

The lobby is scenery in the Office Block.
The description of the lobby is "The office building's lobby is incredibly boring.".

The desk is a fixed in place supporter in the Office Block.
The description of the desk is "A brown desk, with a very high wood-grain. Various sheets of [paperwork] are on the desk, talking about such generic subjects as 'the merger', 'the product' and 'overseas marketing' in such a way that leaves many questions as to what this place is selling."

The paperwork is a thing on the desk.
Understand "sheets" as the paperwork.
The paperwork is fixed in place.
The paperwork is scenery.
The description of the paperwork is "The paperwork is utterly baffling."

Instead of taking the paperwork:
	say "The paperwork is too boring to consider.";
	stop the action.

The typewriter is a container on the desk.  Understand "ribbon" or "ink ribbon" or "type writer" as the typewriter.
The typewriter is fixed in place.
The description of the typewriter is "A Bede & Aquinas Always Clear Typewriter with a full ink ribbon."

Instead of taking the typewriter:
	say "It's too heavy to carry around.";
	stop the action.

The paper is a thing in the typewriter.
Understand "sheet" as the paper.
The description of the paper is "A blank sheet of typing paper."
The paper is unkeyed.


[THE BROWN CHAIRS]
The brown chairs are scenery in the Office Block. 
The brown chairs are a supporter.
The brown chairs are enterable.
The printed name of the brown chairs is "brown chair".
Understand "brown tables" or "chairs" or "tables"  or "table" or "chair" as the brown chairs.
The description of the brown chairs is "They're brown and ugly."

After entering the brown chairs:
	say "The secretary gives you a nervous side-eye.";
	now the chairedness of Max is chaired.
	
After getting off the brown chairs:
	say "The secretary continues with her work.";
	now the chairedness of Max is unchaired.



[Secretary]
The secretary is a woman. Secretary is in the Office Block.
Understand "woman" as the Secretary.
The Secretary is hittable.
The description of the Secretary is "The secretary behind the desk somehow manages to maintain a feeling of being both attractive and plain. Her hair is loose, and falls behind her shoulders. She wears a plain gray sweater and a pencil skirt."

Secretary wears the pencil skirt. Understand "skirt" as the pencil skirt.
The description of the pencil skirt is "It hugs her quite closely, and you can see a thick outline of her thighs through the fabric."
	
Secretary wears the gray sweater. Understand "gray" as the gray sweater.
The description of the gray sweater is "It's a bit tight, and you suspect you could somewhat accurately measure certain aspects of her form."

Instead of shooting the Secretary with the toy gun:
	say "BANG![paragraph break]The secretary dissolves into a cloud of crackling blue light and then is gone.";
	now the Secretary is nowhere.
	
Carry out hitting the Secretary with the clawhammer:
	say "PSST![paragraph break]The secretary pulls out a can of pepper spray and gets you right in the eyes.[paragraph break]It burns like crazy. Your watery swollen eyes will barely open to be assaulted by the overhead lights.[paragraph break]When the world begins to come into focus, you are lying in the floor, handcuffed, and the sheriff's deputy is staring down at you. He is fidgeting with his gun...";
	end the story.
	
Instead of attacking the Secretary:
	say "PSST![paragraph break]The secretary pulls out a can of pepper spray and gets you right in the eyes.[paragraph break]It burns like crazy. Your watery swollen eyes will barely open to be assaulted by the overhead lights.[paragraph break]When the world begins to come into focus, you are lying in the floor, handcuffed, and the sheriff's deputy is staring down at you. He is fidgeting with his gun...";
	end the story.
	

[TALKING TO Secretary]

Instead of talking to Secretary:
	say "[one of]'I know.'[or]'She went, wearing that?'[cycling]".

After asking Secretary about "the/-- office/work/job/shop":
	say "'Oh, it's just enough to pass the time trying to find a husband.'"
	
Instead of asking Secretary about "the/-- office block":
	try asking Secretary about "office".

After asking Secretary about "the/-- junkyard":
	say "'I'm not much for that sort of thing.'"
	
After asking Secretary about "the/-- paper":
	if the player carries the paper:
		say "'I don't think anyone will miss one sheet of paper.'";
	otherwise:
		say "'We have reams of the stuff.'"

After asking Secretary about "the/-- child/children/kid/kids":
	say "'I hope to have some some day. Taking them to school, dressing them, changing them, burping them.'"
	
After asking Secretary about "the/-- dress/dresses/gown/gowns":
	say "'Oh, I love dresses!' She proceeds to regale you with all sorts of talk of dresses for a considerable length of time."

After asking Secretary about "the/-- old man":
	say "'Such a kindly old man.'"
	
Instead of asking Secretary about "the/-- kindly old man":
	try asking Secretary about "old man".

After asking Secretary about "the/-- candy man":
	say "'I've never met him, but apparently he doesn't actually like nuts!'"
	
After asking Secretary about "the/-- clerk":
	say "'He doesn't like it when you tease him about his glasses.'"
	
Instead of asking Secretary about "the/-- clothing clerk":
	try asking Secretary about "clerk".
	
After asking Secretary about "the/-- herself/her/woman/secretary":
	say "'Oh, I keep myself mostly occupied with my work here.'".

After asking Secretary about "the/-- dressmaker/lady":
	say "'She used to be an actress herself, before the incident.'".
	
Instead of asking Secretary about "the/-- dress maker":
	try asking Secretary about "dressmaker".
	
Instead of asking Secretary about "the/-- fancy lady":
	try asking Secretary about "dressmaker".

After asking Secretary about "the/-- waitress":
	say "'She's so standoffish. Like she thinks she's too good for the rest of us.'".
	
After asking Secretary about "the/-- gun":
	if the player carries the toy gun:
		say "'I think I need to write this down.'";
	otherwise:
		say "'I don't know.'"
		
Instead of asking Secretary about "the/-- toy gun":
	try asking Secretary about "gun".

After asking Secretary about "the/-- toy/toys":
	say "'I'm an adult, I don't play with toys.'"

After asking Secretary about "the/-- diner":
	say "'A bit too bland.'"
	
After asking Secretary about "the/-- max/player/me/myself":
	say "'A hot new player on the scene.'"
	
After asking Secretary about "the/-- name":
	say "'I don't know you.'".
	
After asking Secretary about "the/-- town/city/here/location/whereabouts":
	say "'I dunno, West Dakota?'".
	
After asking Secretary about "the/-- clothing clerk":
	say "'He scares me.'".
	
After asking Secretary about "the/-- librarian":
	say "'Who?.'".
	
After asking Secretary about "the/-- nurse":
	say "'She always draws blood from me, even when the doctor says I don't need to give any.'".
	
After asking Secretary about "the/-- teller":
	say "'She's always very nasty whenever I walk in there.'".
	
After asking Secretary about "the/-- deputy":
	say "'He's very nice, always taking off his cap when he talks to me.'".
	
After asking Secretary about "the/-- grocer":
	say "'He's always helping me with my groceries.'".
	
After asking Secretary about "the/-- waiter":
	say "'I don't know that guy.'".
	
After asking Secretary about "the/-- bartender":
	say "'He's not very nice, always kicking me out early.'".
	
After asking Secretary about "the/-- pharmacist":
	say "'He's the guy who gives everyone drugs.'".
	
After asking Secretary about "the/-- meat man":
	say "'I think he's in the butcher.'".
		
Instead of asking Secretary about "the/-- butcher":
	try asking Secretary about "meat man".

Instead of showing the toy gun to Secretary:
	try asking Secretary about "gun".

Report telling Secretary about something:
	say "[one of]'I know.'[or]'She went, wearing that?'[cycling]".

Report asking Secretary about something:
	say "[one of]'I've never heard anyone say anything about that.'[or]'I didn't hear about that.'[cycling]".

The block asking rule does nothing when asking the Secretary about something.
The block telling rule does nothing when telling the Secretary about something.


Section Second Avenue East

There is a room called Second Avenue East.
The description of Second Avenue East is "The street here runs east and west.  A bank lies to the north."

East of Second Avenue East is Second & Commerce.

The bankfront is scenery in Second Avenue East.
Understand "bank" or "building" or "buildings" or "brick" or "facade" or "brick facade" or "lettering" or "windows" or "window" as the bankfront.
The description of the bankfront is "North is a brick facade with lettering that reads 'BANK' above the windows."


Section Bank

There is a room called Bank.
Bank is north from Second Avenue East.
The description of Bank is "The bank is of a modest size. Two somewhat secluded rooms are off to the side, and two more without any barriers. Each contains a desk with two chairs in front of it. In the center of the room is a series of windows, with bars up top, and a giant desk below. One of the windows is open. An exit opens to the south."

The side rooms are scenery in the Bank. Understand "room" as the side rooms.
The description of the side rooms is "There are two somewhat secluded rooms off to the side, and two more without any barriers.  Each contains a desk with two chairs in front of it."

The bank desks are scenery in the Bank.  Understand "desks" as the bank desks.
The description of the bank desks is "Each room has a smaller wooden desk in it."

The giant desk is a supporter in the Bank.  Understand "desk" as the giant desk.
The giant desk is scenery.  "In the center of the bank is a giant desk with a series of windows above it."

The bank chairs are scenery in the Bank.  Understand "chair" or "chairs" as the bank chairs.
The description of the bank chairs is "Each desk has a pair of chairs in front of it."

The bank windows are scenery in the Bank.  Understand "window" or "windows" or "bar" or "bars" as the bank windows.
The description of the bank windows is "In the center of the room is a series of windows, with bars up top, and a giant desk below. One of the windows is open[if Teller is in Bank]; a teller waits at the window[end if]."


[Teller]
The teller is a woman. Teller is in the Bank.
The teller is hittable.
Understand "woman" as the Teller.
The description of the Teller is "The teller is a modestly attractive woman with untamed blonde hair. She wears a gray shirt that loosely drapes over her torso. She is filing her nails, sometimes stopping to look at the end result."

Instead of shooting the Teller with the toy gun:
	say "BANG![paragraph break]The teller dissolves into a cloud of crackling blue light and then is gone.";
	now the Teller is nowhere.
	
Teller wears the loose gray shirt. Understand "gray shirt" or "shirt" as the loose gray shirt.
The description of the loose gray shirt is "It seems to be made of some high-end fabric, and looks very professional."

The blonde hair is part of the Teller.  Understand "hair" or "untamed hair" or "blonde hair" as the blonde hair.
The description of the blonde hair is "While the teller looks quite professional otherwise, her blonde hair is wild and unkempt."

The torso is part of the Teller.  
The description of the torso is "Stop that, it isn't polite."

The fingernails are part of the Teller.  Understand "nails" or "nail" as the fingernails.
The description of the fingernails is "The bank teller seems preoccupied filing her nails with an [emery board]."

The teller carries the emery board.  Understand "file" or "nail file" as the emery board.
The description of the emery board is "An oblong stick with a sandpaper-like surface, used for filing nails."

Instead of hitting the Teller with the clawhammer:
	say "SCREE![paragraph break]The teller sees you coming, sounds an alarm, and dashes into a back room of the bank.[paragraph break]The sheriff's deputy walks in, gun drawn, and pumps you full of lead without flinching.[paragraph break]As you are bleeding out, struggling to hold onto consciousness, he smirks, 'You have the right to remain silent.'";
	end the story.

Instead of attacking the Teller:
	say "SCREE![paragraph break]The teller sees you coming, sounds an alarm, and dashes into a back room of the bank.[paragraph break]The sheriff's deputy walks in, gun drawn, and pumps you full of lead without flinching.[paragraph break]As you are bleeding out, struggling to hold onto consciousness, he smirks, 'You have the right to remain silent.'";
	end the story.
	

[TALKING TO Teller]

Instead of talking to Teller:
	say "[one of]'Hmm.'[or]'Uh-huh.'[cycling]".

After asking Teller about "the/-- bank/work/job/shop":
	say "'It pays the bills.'"

After asking Teller about "the/-- junkyard":
	say "'I've never been there.'"

After asking Teller about "the/-- child/children/kid/kids":
	say "'Good kids get a lollypop.'"

After asking Teller about "the/-- old man":
	say "'Who?'"
	
Instead of asking Teller about "the/-- kindly old man":
	try asking Teller about "old man".

After asking Teller about "the/-- candy man":
	say "'Who?'"
	
After asking Teller about "the/-- clerk":
	say "'That dopey guy at the clothing store? What a loser.'"
	
After asking Teller about "the/-- bank account":
	say "'I'll need some form of state ID, proof of residence, and a positive test for Roussy–Levy syndrome.'"
	
Instead of asking Teller about "the/-- clothing clerk":
	try asking Teller about "clerk".
	
After asking Teller about "the/-- herself/her/woman/Teller":
	say "'Doesn't everyone?'".

After asking Teller about "the/-- dressmaker/lady":
	say "'I wish I could afford to shop there.'".
	
Instead of asking Teller about "the/-- dress maker":
	try asking Teller about "dressmaker".
	
Instead of asking Teller about "the/-- fancy lady":
	try asking Teller about "dressmaker".

After asking Teller about "the/-- waitress":
	say "'Ugh, her hairstyle is so last season. Wearing the same style as that tart who blew up that apartment building is so passe.'".
	
After asking Teller about "the/-- gun":
	if the player carries the toy gun:
		say "'Am I on Candid Camera?'";
	otherwise:
		say "'I don't know.'"
		
Instead of asking Teller about "the/-- toy gun":
	try asking Teller about "gun".

After asking Teller about "the/-- toy/toys":
	say "'Yeah, you'll fit in this town.'"

After asking Teller about "the/-- diner":
	say "'A bit too bland.'"
	
After asking Teller about "the/-- max/player/me/myself":
	say "'I don't know anything about you. I don't care.'"
	
After asking Teller about "the/-- name":
	say "'How can I help you sir?'".
	
After asking Teller about "the/-- town/city/here/location/whereabouts":
	say "'We have branches in 83 other locations.'".
	
Instead of asking Teller about "the/-- clothing clerk":
	try asking Teller about "clerk".
	
After asking Teller about "the/-- librarian":
	say "'That old maid who works at the library? Who cares?'".
	
After asking Teller about "the/-- nurse":
	say "'What a bitch. She thinks she's better than everyone else because she can stick needles in people.'".
	
After asking Teller about "the/-- secretary":
	say "'She thinks she's so good because she's the only woman in a building full of men.'".
	
After asking Teller about "the/-- deputy":
	say "'That dopey guy couldn't protect a paperclip.'".
	
After asking Teller about "the/-- grocer":
	say "'Groceries are about the only thing he can bag.'".
	
After asking Teller about "the/-- waiter":
	say "'Bastard thinks he's too good for this place..'".
	
After asking Teller about "the/-- bartender":
	say "'It's nice that they let the homeless work there.'".
	
After asking Teller about "the/-- pharmacist":
	say "'He's way too chatty, like he has a shot.'".
	
After asking Teller about "the/-- meat man":
	say "'He's more interested in meat than in ladies.'".
		
Instead of asking Teller about "the/-- butcher":
	try asking Teller about "meat man".

Instead of showing the toy gun to Teller:
	try asking Teller about "gun".

Report telling Teller about something:
	say "[one of]'That's not something important.'[or]'I don't care.'[cycling]".

Report asking Teller about something:
	say "[one of]'What is that?'[or]'You just made that up.'[cycling]".

The block asking rule does nothing when asking the Teller about something.
The block telling rule does nothing when telling the Teller about something.


Section Second & Commerce

There is a room called Second & Commerce.
The description of Second & Commerce is "You find yourself at an intersection. The streets here lead north, south, and west.  A park lies to the east."

South of Second & Commerce is Commerce Street South.

The cpark is scenery in Second & Commerce.  Understand "park" as the cpark.
The description of the cpark is "You can barely make out a park to the east."

Section First & Commerce

There is a room called First & Commerce.
The description of First & Commerce is "You find yourself at an intersection. The streets here lead north and west.  A farm lies to the east."

The farmfront is scenery in First & Commerce.
Understand "farm" as the farmfront.
The description of the farmfront is "You can just make out a farm to the east."

North of First & Commerce is Commerce Street South.
East of First & Commerce is Farm.
West of First & Commerce is First Avenue East.


Section First Avenue East

There is a room called First Avenue East.
The description of First Avenue East is "The street here runs east and west.  The [blue door] of a nice house lies to the north, and the [weathered door] of a mysterious house lies to the south."

The nicefront is scenery in First Avenue East.
The printed name of nicefront is "nice house".
Understand "house" or "building" or "buildings" or "nice house" or "blue house" or "trim" as the nicefront.
The description of the nicefront is "North is a Victorian style house painted pale blue with white trim. The front door is painted a darker shade of blue."

The mysteryfront is scenery in First Avenue East.
The printed name of mysteryfront is "mysterious house".
Understand "house" or "building" or "buildings" or "mysterious house" or "old house" or "paint" as the mysteryfront.
The description of the mysteryfront is "South is a Victorian style house which, unlike everything else in town, appears old and dilapidated. The paint is so faded and worn that it's hard to tell what color the house is supposed to be. Gray? Brown? Gray and brown? The front door looks especially weathered."


Section Nice House

[THE BRASS KEY]
The brass key is a thing.
The brass key is in the Nice House.
Understand "key" as the brass key.
The brass key is unpoked.
The brass key unlocks the blue door.
The description of brass key is "An ordinary key made of brass."


[BLUE DOOR]
The blue door is a locked door.
The blue door is north from First Avenue East and south from Nice House.
The description of the blue door is "The wooden door of the nice house is painted blue. It has a large keyhole and a noticeable gap at the bottom where the door doesn't seal."

The large keyhole is part of the blue door.  
The large keyhole is a container.
Understand "keyhole" or "hole" or "key hole" as the large keyhole.
The description of the large keyhole is "[if the pokedness of the brass key is poked]You see light through the keyhole.[otherwise]You see no light through the keyhole, almost as if an object is blocking the hole.[end if]".

Check inserting something into the large keyhole:
	if the blue door is locked:
		if the noun is the straightened hanger:
			say "You push the straightened hanger into the keyhole...";
			continue the action;
		if the noun is the coathanger:
			say "The hanger in its present shape will not fit into the keyhole.";
			stop the action;
		if the noun is the pin:
			say "You insert the tip of the pin barely into the keyhole, but nothing is accomplished.";
			stop the action;
		otherwise:
			say "You can't quite manage to fit the [noun] into the keyhole.";
			stop the action;
	otherwise:
		say "The blue door is already unlocked.";
		stop the action.

After inserting something into the large keyhole:
	if the noun is the straightened hanger:
		if the brass key is unpoked:
			if the paper is gapped:
				say "You hear a *CLINK* sound on the other side of the door.";
				now the brass key is poked;
				now the paper is keyed;
			otherwise:
				say "You hear a *CLINK* sound on the other side of the door.";
				now the brass key is poked;
		otherwise:
			say "You insert the straightened hanger into the keyhole, but nothing happens."

The noticeable gap is part of the blue door.  
The noticeable gap is a container.
Understand "gap" or "crack" as the noticeable gap.
The description of the noticeable gap is "The blue door doesn't seal tightly. There is a noticeable gap under it, between the bottom of the door and the ground."

Check inserting something into the noticeable gap:
	if the blue door is closed:
		if the noun is the paper:
			say "You push the sheet of paper through the noticeable gap under the door, leaving just enough of the page outside that you can easily retrieve it.";
			now the paper is gapped;
			now the paper is in the noticeable gap;
			stop the action;
		if the noun is the pin:
			say "You push the pin under the door; but nothing happens, so you fish it back out again.";
			stop the action;
		if the noun is the coathanger:
			say "The hanger in its present shape will not fit under the door.";
			stop the action;
		if the noun is the straightened hanger:
			if the brass key is in the Nice House:
				if the brass key is poked:
					say "You fish around under the door with the straightened hanger until eventually you manage to retrieve the brass key.";
					now the player carries the brass key;
					stop the action;
				otherwise:
					say "You fish around under the door with the straightened hanger, but nothing is accomplished.";
					stop the action;
			otherwise:
				say "You fish around under the door with the straightened hanger, but nothing is accomplished.";
				stop the action;
		otherwise:
			say "The [noun] won't fit under the door.";
			stop the action;
	otherwise:
		say "The blue door is already open.";
		stop the action.

Carry out taking the paper:
	if the paper is in the noticeable gap:
		if brass key is in the Nice House:
			if the paper is keyed:
				say "You retrieve the paper and, along with it, a brass key.";
				now the player carries the brass key;
				now the paper is ungapped;
				now the paper is unkeyed;
				continue the action;
			otherwise:
				say "You retrieve the paper from the gap under the door.";
				now the paper is ungapped;
				now the player carries the paper;
				stop the action;
		otherwise:
			say "You retrieve the paper from the gap under the door.";
			now the paper is ungapped;
			now the player carries the paper;
			stop the action;
	otherwise:
		continue the action.
		
Instead of putting something under the blue door:
	try inserting the noun into the noticeable gap.

[NICE HOUSE]
There is a room called Nice House.
The description of Nice House is "The house is the epitome of [']50s class and taste. Pale blue wallpapered walls with white stripes. End tables with brocaded tablecloths and fancy flower vases. Various wooden display cases, contain things like plates and figurines. In the center of the room is a [large sofa] with an embroidered cloth draped over it, with two [armchair]s and a [coffee table]. An [blue door] opens to the south."

The blue walls are scenery in the Nice House.  Understand "wall" or "walls" or "wallpaper" or "wall paper" or "stripes" or "white stripes" as the blue walls.
The description of the blue walls is "The walls are covered in pale blue wallpaper with white stripes."

The end tables are scenery in the Nice House.  Understand "table" or "tables" as the end tables. 
The description of the end tables is "There are a couple of expensive-looking wooden end tables with brocaded tablecloths and fancy flower vases on them."

The brocaded tablecloths are scenery in the Nice House. Understand "tablecloth" or "tablecloths" or "gold" or "fabric" or "brocade" or "brocade tablecloth" or "table cloth" as the brocaded tablecloths.
The description of tablecloths is "Fancy white tablecloths with gold weaved into the fabric."

The fancy flower vases are scenery in the Nice House. Understand "flower vases" or "flower vase" or "vases" or "vase" as the fancy flower vases.
The description of the fancy flower vases is "The vases here are such works of art it seems like a shame to put flowers in them."

The white lillies are scenery in the Nice House.  Understand "flower" or "flowers" or "lily" or "lilies" as the white lillies.
The description of the white lillies is "The white lilies are pretty, if a bit funereal."

The large sofa is a supporter in the Nice House. Understand "sofa" or "cushion" or "cushions" or "couch" as the large sofa.
The large sofa is enterable.
The description of the large sofa is "A navy blue sofa with oversized cushions. It looks quite comfortable."

The embroidered cloth is scenery in the Nice House.  Understand "cloth" as the embroidered cloth.
The description of the embroidered cloth is "Draped over the sofa is a tasefully embroidered cloth that couldn't quite pass as a blanket."

The armchair is a supporter in Nice House.  Understand "chair" or "chairs" or "armchairs" as the armchair.
The armchair is enterable.
The description of the armchair is "In the center of the room, near the sofa and coffee table, are a pair of matching blue armchairs."

The coffee table is scenery in Nice House.  Understand "table" as the coffee table.
The description of the coffee table is "An oval-shaped cherry coffee table."

The display cases are scenery in the Nice House.  Understand "case" or "plate" or "plates" as the display cases.
The description of the display cases is "There are various wooden display cases around the walls, containing things like plates and figurines. One particular [figurine cabinet] catches your eye."

The figurines are scenery in the Nice House.
The description of the figurines is "All of the figurines resemble someone from this town. [if figurine of yourself is in the figurine cabinet] One of them looks like you.[end if]"

[Figurine Cabinet]
The figurine cabinet is a fixed in place container in Nice House.
Figurine Cabinet is openable and closed.
Figurine Cabinet is transparent.
Figurine Cabinet is scenery.
The description of Figurine cabinet is "A fine-grain wooden cabinet with glass doors. Many well-made figurines are contained within. Oddly, a few are decked out in military equipment. All resemble someone from the town."

Before opening Figurine Cabinet:
	say "It's locked.";
	stop the action.

The block attacking rule does nothing when attacking the figurine cabinet.

Carry out attacking the closed Figurine cabinet: 
	increase the score by 1;
	now Figurine cabinet is open; 
	say "KRUNCH! The glass doors shatter into a thousand shards of glass. Now you can take anything inside.  The cabinet contains [a list of things in Figurine cabinet]."
	[In case I forgot to mention this, we should consider maybe adding another item to this particular chain.]

Check attacking the open figurine cabinet:
	say "There's no more point in that.";
	stop the action.

Instead of closing the open Figurine Cabinet:
	say "You can't close it, its door is smashed open."

Instead of hitting the figurine cabinet with the clawhammer:
	try attacking the figurine cabinet.
	
Instead of hitting the glass doors with the clawhammer:
	try attacking the figurine cabinet.

The glass doors are part of the Figurine Cabinet.  Understand "doors" or "door" or "glass" as the glass doors.
The description of the glass doors is "The figurine cabinet has doors made of glass."

Instead of attacking the glass doors:
	try attacking the figurine cabinet.	
	

[Figurine of Yourself]
The figurine of yourself is a thing in Figurine Cabinet.
Understand "figurine of me" or "figurine of myself" or "figurine of max" as the figurine of yourself.
The description of the Figurine of Yourself is "A painted figurine made of porcelain, wearing shabby clothes.[if the player carries the figurine of yourself] It feels heavier than it should.[end if]"
[Do we want this to contain a key or not?]

The block attacking rule does nothing when attacking the figurine of yourself.

Carry out attacking the Figurine of yourself: 
	increase the score by 1;
	say "You smash the figurine to pieces, revealing an ornate key.";
	now the figurine of yourself is nowhere;
	now the player carries the ornate key.

Instead of hitting the figurine of yourself with the clawhammer:
	try attacking the figurine of yourself.


[THE ORNATE KEY]
The ornate key is a thing.
The ornate key is nowhere.
Understand "key" as the ornate key.
The ornate key unlocks the weathered door.
The description of ornate key is "A key covered in golden filigree."


Section Mysterious House

The weathered door is a locked door.
The weathered door is south from First Avenue East and north from Mysterious House.
The description of the weathered door is "The worn wooden door of the mysterious house is the first thing you've seen here that isn't pristine. Why?"


There is a room called Mysterious House.
The description of Mysterious House is "The house is empty. Dust covers the floor to the point you can see your footsteps. Cobwebs coat the ceiling and cracks form at the corners.[paragraph break]A [weathered door] opens to the north.  Some [creaky stairs] lead down to the basement."

The dust is scenery in Mysterious House.
Understand "floor" or "floors" or "ground" as the dust.
The description of dust is "Dust covers the floor to the point you can see your footsteps."

The cobwebs are scenery in Mysterious House.  Understand "cobweb" or "cob web" or "spider web" or "spiderweb" as the cobwebs.
The description of cobwebs is "Cobwebs coat the ceiling.  There must be spiders about."

The corners are scenery in Mysterious House.  Understand "crack" or "cracks" or "corner" as the corners.
The description of the corners is "Cracks form at the corners of the ceiling."

The creaky stairs are a staircase.  The creaky stairs are down from Mysterious House and up from Eerie Basement.
Description of the creaky stairs is "The wooden staircase has shallow steps that require special attention when climbing."
Instead of climbing the staircase:
	try entering the noun.
	

Section Eerie Basement

Eerie Basement is down from creaky stairs.
The description of Eerie Basement is "[if Blue Desert is adjacent to Eerie Basement]Where the northern wall once stood, there is now only a glowing [blue void].[otherwise]Long [cracks] emanate outward from a [small round hole] in the center of the northern wall.[end if][paragraph break]A set of [creaky stairs] leads up to the mysterious house."

The northern wall is scenery in Eerie Basement.  Understand "wall" or "walls" as the northern wall.
The description of the northern wall is "There are long cracks spiraling outward from a small round hole in the center of the northern wall."

The cracks are scenery in Eerie Basement.  Understand "crack" as the cracks.
The description of the cracks is "There are long cracks spiraling outward from a small round hole in the center of the northern wall."

Instead of shooting the cracks with the toy gun:
	say "BANG! The cracks flicker momentarily with blue light, then nothing."

The small round hole is scenery in the Eerie Basement.  Understand "hole" or "round hole" or "small hole" as the small round hole.
The description of the small round hole is "It almost looks like a bullet hole."

Instead of shooting the small round hole with the toy gun:
	say "BANG! The hole flickers with blue light. Then the entire wall crumbles, revealing a glowing blue void to the north.";
	increase the score by 1;
	change the north exit of Eerie Basement to Blue Desert;
	now the blue void is in Eerie Basement;
	now the cracks are nowhere;
	now the small round hole is nowhere.
	
The blue void is a thing.  Understand "void" as the blue void.
The blue void is scenery.
The description of blue void is "Like nothing at all, but blue and glowing."

Before going north from Eerie Basement:
	if Blue Desert is adjacent to Eerie Basement:
		if the waitress is in Eerie Basement:
			say "The waitress follows you into the void...";
			now the waitress is in Blue Desert;
			continue the action;
		otherwise:
			continue the action;
	otherwise:
		continue the action.
		

Section Commerce Street South

There is a room called Commerce Street South.
The description of Commerce Street South is "The street here runs north and south.  A butcher lies to the east, and a pharmacy lies to the west."

The drugfront is scenery in Commerce Street South.
The printed name of drugfront is "pharmacy".
Understand "pharmacy" or "drugstore" or "drug store" or "building" or "narrow building" or "sign" or "neon sign" or "mortar" or "pestle" or "mortar and pestle" or "buildings" as the drugfront.
The description of the drugfront is "West is a narrow building with a neon sign shaped like a mortar and pestle, which reads 'PHARMACY'."

The meatfront is scenery in Commerce Street South.
The printed name of meatfront is "butcher".
Understand "butcher" or "butcher shop" or "building" or "brown building" or "lettering" or "glass" or "meat" or "meats" or "buildings" as the meatfront.
The description of the meatfront is "East is brown building with lettering above the door that reads 'BUTCHER'. Through the glass, you can see every imagineable meat."

East of Commerce Street South is Butcher.


Section Pharmacy

There is a room called Pharmacy.
Pharmacy is west from Commerce Street South.
The description of Pharmacy is "As you enter the building you are flanked by a pair of potted plants. A series of small aisles divide the room. Various items dot the shelves, from toiletries to medicines. At the far end is a [drug counter], behind which seems to be more medicine. An exit opens to the east."

The potted plants are scenery in the Pharmacy. Understand "plants" as the potted plants.
The description of the potted plants is "They're those wide leaf things you think come from some South American jungle."

The drug aisles are scenery in the Pharmacy.  Understand "aisle" or "shelf" or "shelves" or "toiletries" or "medicines" or "items" as the drug aisles.
The description of the drug aisles is "A series of small aisles divide the room. Various items dot the shelves, from toiletries to medicines."

The drug counter is a fixed in place supporter in the Pharmacy.  
The printed name of the drug counter is "counter".
Understand "counter" as the drug counter.
The description of the drug counter is "At the far end of the pharmacy is a counter, behind which seems to be more medicine."

[MEDICINE BOTTLE]
The medicine bottle is a thing on the drug counter. 
Understand "bottle" or "medicine" or "morphine" or "solution" or "morphine solution" or "drug" or "drugs" as the medicine bottle.
The description of medicine bottle is "It's a bottle of Dr. Christine's Morphine Solution, guaranteed to take away all your ills. Side-effects include sleepiness, constipation, and nausea."

After drinking the medicine bottle:
	say "GLUG![paragraph break]You quaff down the whole bottle. You're starting to feel a little woozy.[paragraph break]You lie down for a long nap...";
	end the story.

Instead of eating the medicine bottle:
	try drinking the medicine bottle.

The block drinking rule does nothing when drinking the medicine bottle.


[PHARMACIST]
The pharmacist is a man. Pharmacist is in the Pharmacy.  Understand "man" or "druggist" as the pharmacist.
The Pharmacist is hittable.
The description of the Pharmacist is "A man, in his 60s with balding gray hair. His smile is kindly, but his eyes are not. He wears a plain white lab coat."

The creepy eyes are part of Pharmacist.  Understand "eyes" as the creepy eyes.
The description of the creepy eyes is "They're the sort of eyes that look like they have not only seen death and war, but actively enjoyed it."

The balding gray hair is part of the Pharmacist.  Understand "hair" or "gray hair" or "balding hair" or "head" as the balding gray hair.
The description of the balding gray hair is "The pharmacist's hair is gray and very thin."

The kind smile is part of the Pharmacist.  Understand "smile" or "kindly smile" as the kind smile.
The description of the kind smile is "The pharmacist smiles at you kindly, though his eyes send a different message."

Pharmacist wears the plain white lab coat.  Understand "white coat" or "plain coat" or "lab coat" as the plain white lab coat.
The description of the plain white lab coat is "A very unremarkable plain white lab coat. The pharmacist's hands are in the pockets."

Instead of shooting the Pharmacist with the toy gun:
	say "BANG![paragraph break]The pharmacist dissolves into a cloud of crackling blue light and then is gone.";
	now the Pharmacist is nowhere.

Carry out hitting the Pharmacist with the clawhammer:
	say "CRACK![paragraph break]You cave in the pharmacist's face for no particular reason.[paragraph break]Is this what you've become?";
	end the story.
	

Instead of attacking the Pharmacist:
	say "CRACK![paragraph break]You cave in the pharmacist's face for no particular reason.[paragraph break]Is this what you've become?";
	end the story.
	

[TALKING TO PHARMACIST]

Instead of talking to Pharmacist:
	say "[one of]'Did you need a perscription?'[or]'You look like you could use some morphine.'[cycling]".

After asking Pharmacist about "the/-- pharmacy/store/shop/work/job":
	say "'A place to cure whatever ails you, providing you have a perscription for it.'"

After asking Pharmacist about "the/-- child/children/kid/kids":
	say "'Children are rarely well-behaved these days.'"
	
After asking Pharmacist about "the/-- candy/candies/chocolate/chocolates":
	say "'A treat for well-behaved children.'"

After asking Pharmacist about "the/-- old man":
	say "'He doesn't come in here as much as he needs to.'"
	
Instead of asking Pharmacist about "the/-- kindly old man":
	try asking Pharmacist about "old man".
	
After asking Pharmacist about "the/-- himself/man/him/pharmacist/druggist":
	say "'I make sure everyone in town is healthy enough to function.'".

After asking Pharmacist about "the/-- waitress":
	say "'She seems like she should be on something.'".
	
After asking Pharmacist about "the/-- gun":
	if the player carries the toy gun:
		say "'You're a little bit too old to be playing cops and robbers.'";
	otherwise:
		say "'Couldn't tell you.'"
		
Instead of asking Pharmacist about "the/-- toy gun":
	try asking Pharmacist about "gun".

After asking Pharmacist about "the/-- toy/toys":
	say "'Something to ensure children stay behaved.'"

After asking Pharmacist about "the/-- diner":
	say "'The cause of most visits to this place.'"
	
After asking Pharmacist about "the/-- max/player/me/myself":
	say "'If you have something to pick up, I'll need a valid ID and three doctor's notes.'"
	
After asking Pharmacist about "the/-- name":
	say "'I don't think you could pronounce it even if I told you.'".
	
After asking Pharmacist about "the/-- town/city/here/location/whereabouts":
	say "'Southeast of Detroit.'".

After asking Pharmacist about "the/-- dressmaker/lady":
	say "'A pleasant enough woman. You'd never consider her to be as strange as she is...'"
	
Instead of asking Pharmacist about "the/-- fancy lady":
	try asking Pharmacist about "dressmaker".
	
Instead of asking Pharmacist about "the/-- dress maker":
	try asking Pharmacist about "dressmaker".
	
After asking Pharmacist about "the/-- clothing clerk":
	say "'If you see him, let him know he has something to pick up, and the sheriff wouldn't appreciate him missing it again.'".
	
After asking Pharmacist about "the/-- clerk":
	say "'If you see him, let him know he has something to pick up, and the sheriff wouldn't appreciate him missing it again.'".

After asking Pharmacist about "the/-- librarian":
	say "'I'm surprised she can still function these days.'".
	
After asking Pharmacist about "the/-- nurse/doctor":
	say "'The doctor's office sure goes through a lot more drugs than they should be.'".
	
After asking Pharmacist about "the/-- secretary":
	say "'She's in often for toiletries, not much else.'".
	
After asking Pharmacist about "the/-- teller":
	say "'I don't think she would like you to know what she gets here.'".
	
After asking Pharmacist about "the/-- deputy":
	say "'I appreciate our town's defenders.'".
	
After asking Pharmacist about "the/-- grocer":
	say "'He seems pleasant enough.'".
	
After asking Pharmacist about "the/-- waiter":
	say "'A very friendly fellow, he always manages to squeeze me in.'".
	
After asking Pharmacist about "the/-- bartender":
	say "'He has a good head on his shoulders. You work there and you have to have one.'".
	
After asking Pharmacist about "the/-- meat man":
	say "'He might be unpleasant but you won't find better meat anywhere else.''".
		
Instead of asking Pharmacist about "the/-- butcher":
	try asking Pharmacist about "meat man".
	
After asking Pharmacist about "the/-- candy man":
	say "'Much better since the hearing.''".

Instead of showing the toy gun to Pharmacist:
	try asking Pharmacist about "gun".

Report telling Pharmacist about something:
	say "[one of]'Interesting.'[or]'I'm sure you're happy about it.'[cycling]".

Report asking Pharmacist about something:
	say "[one of]'No, I don't know.'[or]'Couldn't tell you.'[cycling]".

The block asking rule does nothing when asking the Pharmacist about something.
The block telling rule does nothing when telling the Pharmacist about something.


Section Butcher

There is a room called Butcher.
The description of Butcher is "The smell of meat fills your nostrils as you enter the building. The room is unassuming, except for a counter filled with all sorts of meats. An exit opens to the west."

The meat counter is scenery in the Butcher.  
Understand "counter" or "meats" or "pork" or "wild boar" or "boar" or "chicken" or "duck" or "rabbit" or "venison" as meat counter.
The description of the meat counter is "The counter contains various cuts and animals, including (but not limited to): beef, pork, wild boar, chicken, duck, rabbit, and vension."

[RAW BEEF]
The raw beef is a thing in Butcher.  
The druggability of the raw beef is druggable.
The indefinite article of the raw beef is "some".
Understand "meat" or "raw meat" or "beef" as the raw beef.
The description of the raw beef is "A pound of raw beef."

The drugged beef is a thing.  
The indefinite article of the drugged beef is "some".
Understand "meat" or "drugged meat" or "raw meat" or "beef" or "raw beef" as the drugged beef.
The description of the drugged beef is "A pound of raw beef with morphine in it."
The drugged beef is nowhere.

After drugging the raw beef with the medicine bottle:
	say "You pour the morphine all over the raw beef.";
	now the medicine bottle is nowhere;
	now the raw beef is nowhere;
	now the player carries the drugged beef.

Instead of putting the medicine bottle on the raw beef:
	try drugging the raw beef with the medicine bottle.
	
Instead of inserting the medicine bottle into the raw beef:
	try drugging the raw beef with the medicine bottle.
	
[Meat Man]
The meat man is a man. Meat Man is in the Butcher.
Understand "butcher" as the Meat Man.
The Meat Man is hittable.
The description of the Meat Man is "A gruff looking man with a noticeable scar on his right cheek. His hair is done in a military-style flattop. He wears an unassuming short-sleeved shirt with an apron, which is stained with meat juice."

The noticeable scar is part of the Meat Man.
The description of the noticeable scar is "The meat man has a noticeable scar on his right cheek. An old war wound, perhaps?".

The flattop is part of the Meat Man.
Understand "hair" or "man's hair" or "meat man's hair" or "butcher's hair" or "butchers hair" or "meat mans hair" or "head" or "back" or "sides" as the flattop.
The description of the flattop is "The meat man's head is shaved on the back and sides. The short hair left on top is standing upright."

Meat Man wears the meat apron.  Understand "apron" as the meat apron.
Understand "apron" or "unassuming short-sleeved shirt with an apron" or "short sleeved shirt" or "short-sleeved shirt" or "short sleeve shirt" or "shirt" as the meat apron.
The description of the meat apron is "At least you hope that's meat juice."


Instead of shooting the Meat Man with the toy gun:
	say "BANG![paragraph break]The meat man dissolves into a cloud of crackling blue light and then is gone.";
	now the Meat Man is nowhere.

Carry out hitting the Meat Man with the clawhammer:
	say "CRRK![paragraph break]You embed the hammer into his chest. He laughs, raises his arm and cuts off the offending arm with his cleaver. 'MEAT!' he cries out before jumping over the counter and hacking away.[paragraph break]You awaken, sometime later, just a severed head, hanging upside down with a meat hook through your jaw. Looks like you're going to be here awhile...";
	end the story.

Instead of attacking the Meat Man:
	say "SHNG![paragraph break]You lash out at the meat man, but he is fast with a cleaver and buries it deep in your skull.[paragraph break]You suddenly can't stop twitching.[paragraph break]The butcher sighs, 'I just sharpened that, too...'";
	end the story.


[TALKING TO Meat Man]

Instead of talking to Meat Man:
	say "[one of]'Yeah, sure.'[or]'They wouldn't let that happen in the army.'[cycling]".

After asking Meat Man about "the/-- Butcher/store/shop/work/job":
	say "'If we don't have it, you can't eat it.'"
	
After asking Meat Man about "the/-- meat":
		say "'Take as much as you need, little man.'"

After asking Meat Man about "the/-- child/children/kid/kids":
	say "'Growing children need lots of meat.'"
	
After asking Meat Man about "the/-- candy/candies/chocolate/chocolates":
	say "'Digusting slop children eat instead of meat.'"

After asking Meat Man about "the/-- nut/nuts":
	say "'The tree's pathetic attempt to grow something as tasty as meat.'"

After asking Meat Man about "the/-- old man":
	say "'Never see him in here, he must not like meat.'"
	
Instead of asking Meat Man about "the/-- kindly old man":
	try asking Meat Man about "old man".
	
After asking Meat Man about "the/-- himself/man/him":
	say "'I like meat, and I like giving people meat.'".

Instead of asking Meat Man about "the/-- Meat Man":
	try asking Meat Man about "himself".

After asking Meat Man about "the/-- waitress":
	say "'At the diner? Don't know her.'".
	
After asking Meat Man about "the/-- gun":
	if the player carries the toy gun:
		say "'That toy gun looks about as believable as you do.'";
	otherwise:
		say "'They're for little kids.'".
		
Instead of asking Meat Man about "the/-- toy gun":
	try asking Meat Man about "gun".

After asking Meat Man about "the/-- toy/toys":
	say "'They're for little kids.'".

After asking Meat Man about "the/-- diner":
	say "'I don't know where they get their meat.'"
	
After asking Meat Man about "the/-- max/player/me/myself":
	say "'You look like you could use some more meat. Help yourself.'"

After asking Meat Man about "the/-- name":
	say "'Beef, mutton, venison, pork.'".
	
After asking Meat Man about "the/-- town/city/here/location/whereabouts":
	say "'We're just off the military base.'".

After asking Meat Man about "the/-- dressmaker/lady":
	say "'I hardly know her.'"
	
Instead of asking Meat Man about "the/-- fancy lady":
	try asking Meat Man about "dressmaker".
	
Instead of asking Meat Man about "the/-- dress maker":
	try asking Meat Man about "dressmaker".
	
After asking Meat Man about "the/-- clothing clerk":
	say "'The man needs some meat, he looks like he's about to faint from hunger.'".
	
After asking Meat Man about "the/-- clerk":
	say "'The man needs some meat, he looks like he's about to faint from hunger.'".

After asking Meat Man about "the/-- librarian":
	say "'A pompous blowhard more concerned about some dead Italians than eating.'".
	
After asking Meat Man about "the/-- nurse":
	say "'I'd like to get some hands-on treatment.'".
	
After asking Meat Man about "the/-- secretary":
	say "'Don't know her.'".
	
After asking Meat Man about "the/-- teller":
	say "'I'd like to make a deposit.'".
	
After asking Meat Man about "the/-- deputy":
	say "'Bit of a loose cannon, you can tell he never went to war.'".
	
After asking Meat Man about "the/-- grocer":
	say "'Don't know him.'".
	
After asking Meat Man about "the/-- waiter":
	say "'That pompous twit?'".
	
After asking Meat Man about "the/-- bartender":
	say "'He keeps a tight ship, ordering there is a nice experience.'".
	
After asking Meat Man about "the/-- pharmacist":
	say "'Drugs are for the weak.'".
	
After asking Meat Man about "the/-- candy man":
	say "'He's about one week away from losing all his teeth.'".

Instead of showing the toy gun to Meat Man:
	try asking Meat Man about "gun".

Report telling Meat Man about something:
	say "[one of]'During the war people like that would be the first to die.'[or]'I hope you've gotten better.'[cycling]".

Report asking Meat Man about something:
	say "[one of]'I'm sure it's fine.'[or]'Stop worrying about it.'[cycling]".

The block asking rule does nothing when asking the Meat Man about something.
The block telling rule does nothing when telling the Meat Man about something.


Section Farm

There is a room called Farm.
The description of Farm is "The farm here is a curious sight. A fully equipped house, along with a couple of fields and a barn with a pasture connected to it. A path leads west."

The farm house is scenery in the Farm.  Understand "house" as the farm house.
The description of the farm house is "There's a farm house on the far side of the fields."

The fields are scenery in the Farm. Understand "field" or "plant" or "plants" as the fields.
The description of the fields is "A typical field. Lines of plants next to little dirt paths. The funny thing is... you can't recognize what the plants are."

The barn is scenery in the farm.
The description of the barn is "A red barn with white trim and a black roof. It contains some hay."

The hay is scenery in the Farm.
The description of the hay is "The barn contains some hay. It's not that interesting."

Instead of taking the hay:
	say "You don't need the hay."
	

[HORSE]
The horse is an animal in the farm.
The horse is hittable.
The description of the horse is "A gray-colored, boxy-looking horse, just below you in height."


Instead of talking to the horse:
	say "The horse neighs.".

Report telling horse about something:
	say "The horse makes a snorting sound.".

Report asking horse about something:
	say "The horse whinnies.".

The block asking rule does nothing when asking the horse about something.
The block telling rule does nothing when telling the horse about something.

Instead of shooting the horse with the toy gun:
	say "BANG![paragraph break]The horse dissolves into a cloud of crackling blue light and then is gone.";
	now the horse is nowhere.

Carry out hitting the horse with the clawhammer:
	say "CRACK![paragraph break]You hit the horse as hard as you can with the hammer, but the horse is tougher than it looks. It lets out a grunt and bolts away across the fields.";
	now the horse is  nowhere.

Instead of attacking the horse:
	say "The horse runs away before you can assault it.";
	now the horse is nowhere.
	

Section Candy Shop

There is a room called Candy Shop.
The description of Candy Shop is "When you first walked in, it felt like you walked onto the set of Willy Wonka and the Chocolate Factory. Wall-to-wall [candies], nuts, and chocolates. If there's a candy in the world that isn't here, it isn't worth eating. An exit opens to the west."


[CANDIES]
The candies are a thing in Candy Shop.  Understand "candy" or "nut" or "nuts" or "chocolate" or "chocolates" as the candies.
The candies are edible.
The description of the candies is "[if the player carries the candies]Delicious-looking candies![otherwise]Wall-to-wall candy, nuts and chocolates. If there's a candy in the world that isn't here, it isn't worth eating.[end if]".

Does the player mean examining the candies: it is very likely.
Does the player mean taking the candies: it is very likely.

Check taking the candies:
	if Candy Man is in Candy Shop:
		say "The [Candy Man] is watching you.";
		stop the action;
	otherwise:
		continue the action.
		
Carry out eating the candies:
	say "CHOMP! You munch down the colorful candies.[paragraph break]Suddenly you don't feel so good... Your face feels hot, and your forehead beads with sweat. The room starts to spin. You lose balance and fall to the ground. Your stomach turns. This is bad. Very bad.[paragraph break]Suddenly your insides convulse, and you unleash a jet of vomit that burns on the way up. Then another. Then another. It seems to never stop, even as you slide out of consciousness...";
	end the story.
	

[CANDY MAN]
The candy man is a man. Candy Man is in the Candy shop.
The Candy Man is hittable.
The description of the Candy Man is "A man, in his 40s, with a thick head of brown hair. He's looking at you like he's on meth. His pearly white teeth are in a smile so wide you swear his cheeks will pop off. He wears a plain white polo shirt and cream pants."

The pearly white teeth is part of Candy Man.  Understand "teeth" or "smile" as the pearly white teeth.
The description of the pearly white teeth is "I don't want to look at it."

Candy Man wears the white polo shirt.  Understand "white polo" or "white shirt" or "shirt" or "polo shirt" as the white polo shirt.
The description of the white polo shirt is "The candy man very plain and unremarkable white polo shirt."

Candy Man wears the cream pants.  Understand "pants" as the cream pants.
The description of the cream pants is "The candy man wears cream pants with sharp, even creases."

Instead of shooting the Candy Man with the toy gun:
	say "BANG![paragraph break]The candy man dissolves into a cloud of crackling blue light and then is gone.";
	now the Candy Man is nowhere.

Carry out hitting the Candy Man with the clawhammer:
	say "BANG![paragraph break]Before you can move on the candy man, he has retrieved a shotgun from beneath the counter and opened up your torso with it.[paragraph break]As the blood rushes out of you, the candy man smiles, 'I don't know what he told you, but you can forget all about it.'";
	end the story.
	
Instead of attacking the Candy Man:
	say "BANG![paragraph break]Before you can move on the candy man, he has retrieved a shotgun from beneath the counter and opened up your torso with it.[paragraph break]As the blood rushes out of you, the candy man smiles, 'I don't know what he told you, but you can forget all about it.'";
	end the story.
	

[TALKING TO CANDY MAN]

Instead of talking to Candy Man:
	say "[one of]'I sure love candy and nuts.'[or]'Did you want some candy?'[cycling]".

After asking Candy Man about "the/-- store/shop/work/job":
	say "'I have every single candy and nut here.'"

Instead of asking Candy Man about "the/-- candy store":
	try asking Candy man about "store".
	
Instead of asking Candy Man about "the/-- candy shop":
	try asking Candy man about "store".

After asking Candy Man about "the/-- child/children/kid/kids":
	say "'I love giving children candy and nuts.'"
	
After asking Candy Man about "the/-- candy/candies/chocolate/chocolates":
	say "'Candy makes children happy!'"

After asking Candy Man about "the/-- nut/nuts":
	say "'Almost as good as candy!'"

After asking Candy Man about "the/-- old man":
	say "'He likes children almost as much as I do.'"
	
Instead of asking Candy Man about "the/-- kindly old man":
	try asking Candy Man about "old man".
	
After asking Candy Man about "the/-- himself/man/him/candyman":
	say "'I love my job, giving children candy and nuts.'".

Instead of asking Candy Man about "the/-- candy man":
	try asking Candy Man about "himself".

After asking Candy Man about "the/-- waitress":
	say "'She's not very nice. I don't think she likes candy and nuts.'".
	
After asking Candy Man about "the/-- gun":
	if the player carries the toy gun:
		say "'That's a nice toy you have there, but it's not candy and nuts.'";
	otherwise:
		say "'I don't know anything about that.  I mostly know about candy and nuts.'"
		
Instead of asking Candy Man about "the/-- toy gun":
	try asking Candy Man about "gun".

After asking Candy Man about "the/-- toy/toys":
	say "'Toys are fine.  Candy and nuts are better.'"

After asking Candy Man about "the/-- diner":
	say "'They don't have any candy or nuts.'"
	
After asking Candy Man about "the/-- max/player/me/myself":
	say "'I don't know, but I hope you like candy and nuts.'"
	
After asking Candy Man about "the/-- name":
	say "'They have many names.'".
	
After asking Candy Man about "the/-- town/city/here/location/whereabouts":
	say "'CANDYLAND!'".

After asking Candy Man about "the/-- dressmaker/lady":
	say "'She's too much of a snob to like candy and nuts.'"
	
Instead of asking Candy Man about "the/-- fancy lady":
	try asking Candy Man about "dressmaker".
	
Instead of asking Candy Man about "the/-- dress maker":
	try asking Candy Man about "dressmaker".
	
After asking Candy Man about "the/-- clothing clerk":
	say "'He's always so dour, he could use some candy.'".
	
After asking Candy Man about "the/-- librarian":
	say "'She kicked me out of the library once, what a jerk. She could use some candy.'".
	
After asking Candy Man about "the/-- nurse":
	say "'She's so cruel to the kids, giving them only one piece of candy.'".
	
After asking Candy Man about "the/-- secretary":
	say "'She doesn't want me to give all the businessmen candy and nuts.'".
	
After asking Candy Man about "the/-- teller":
	say "'She doesn't want to take my deposits of candy and nuts.'".
	
After asking Candy Man about "the/-- deputy":
	say "'He was really upset when I tried to give him candy and nuts.'".
	
After asking Candy Man about "the/-- grocer":
	say "'What do you need him for? You've got all you need here.'".
	
After asking Candy Man about "the/-- waiter":
	say "'He's so snooty he never comes here.'".
	
After asking Candy Man about "the/-- bartender":
	say "'I've never been there, nothing much sweet there, anyway.'".
	
After asking Candy Man about "the/-- pharmacist":
	say "'He just gives people sugar pills, you're better off with my candy and nuts.'".
	
After asking Candy Man about "the/-- meat man":
	say "'He likes meat a bit too much. Not like me and my candy and nuts.''".
		
Instead of asking Candy Man about "the/-- butcher":
	try asking Candy Man about "meat man".

Instead of showing the toy gun to Candy Man:
	try asking Candy Man about "gun".

Report telling Candy Man about something:
	say "[one of]'I don't really care about anything but candy and nuts.'[or]'I'm sure you're happy about it.'[cycling]".

Report asking Candy Man about something:
	say "[one of]'I haven't heard about that candy.'[or]'Are you sure that's a candy?'[cycling]".

The block asking rule does nothing when asking the Candy Man about something.
The block telling rule does nothing when telling the Candy Man about something.



Section Clothing Store

There is a room called Clothing Store.
The description of Clothing Store is "It looks like any other clothing store you've ever been to. The suits on the racks are a little out of date, and there are more of them, but when you've seen one clothing store you've seen them all.[paragraph break]An exit opens to the south."

The suits are scenery in Clothing Store.  Understand "suit" or "rack" or "racks" as the suits.
The description of the suits is "The store has a large quantity of suits, but they're all out of style."


[COATHANGER]
The coathanger is a thing in the Clothing Store.  
Understand "hanger" or "clothes hanger" or "coat hanger" or "wire hanger" or "hook" or "wire" as the coathanger.
The description of the coathanger is "A length of steel wire bent into the shape of a flattened triange with a hook at the top, used for hanging clothes."

Carry out bending the coathanger:
	say "You uncoil and bend the coathanger until it is a straight piece of wire.";
	now the coathanger is nowhere;
	now the player carries the straightened hanger.

The straightened hanger is a thing.
The straightened hanger is nowhere.
The description of the straightened hanger is "This straight length of steel wire used to be a normal coathanger, until you straightened it out."

[Clothing Clerk]
The clothing clerk is a man in the Clothing Store.
Understand "clerk" or "man" as the Clothing Clerk.
The Clothing Clerk is hittable.
The description of the Clothing Clerk is "A balding middle-aged man with thick glasses. Everything else, from his head down to this shoes are bland and non-descript."

The head is part of the Clothing Clerk.  
The description of the head is "The clerk's face is non-descript."

The Clothing Clerk wears the shoes.
The description of the shoes is "The clerk has bland taste in shoes."

The Clothing Clerk wears the thick glasses.  Understand "glasses" as the thick glasses.
The description of the thick glasses is "They're so thick you can't see his eyes."

Instead of shooting the Clothing Clerk with the toy gun:
	say "BANG![paragraph break]The clothing clerk dissolves into a cloud of crackling blue light and then is gone.";
	now the Clothing Clerk is nowhere.

Carry out hitting the Clothing Clerk with the clawhammer:
	say "CRUSH![paragraph break]The clerk has collapsed your throat with his bare hands.[paragraph break]His expression growing more intense, he says, 'You were gonna break my glasses.'";
	end the story.
	
Instead of attacking the Clothing Clerk:
	say "CRUSH![paragraph break]The clerk has collapsed your throat with his bare hands.[paragraph break]His expression growing more intense, he says, 'You were gonna break my glasses.'";
	end the story.


[TALKING TO Clothing Clerk]

Instead of talking to Clothing Clerk:
	say "[one of]'Perhaps a shirt?'[or]'You'd look more presentable in a suit.'[cycling]".

After asking Clothing Clerk about "the/-- store/shop/job/work":
	say "'Clothing for every reasonable body type.'"

Instead of asking Clothing Clerk about "the/-- clothing store":
	try asking Clothing Clerk about "store".
	
After asking Clothing Clerk about "the/-- child/children/kid/kids":
	say "'Disgusting creatures, always getting candy everywhere.'"
	
After asking Clothing Clerk about "the/-- candy/candies/chocolate/chocolates":
	say "'Always ruins a perfectly good button-down shirt.'"

After asking Clothing Clerk about "the/-- old man":
	say "'He hasn't purchased a new set of clothes since the [']80s.'"
	
Instead of asking Clothing Clerk about "the/-- kindly old man":
	try asking Clothing Clerk about "old man".
	
After asking Clothing Clerk about "the/-- himself/clerk/him/man":
	say "'I'm just a simple clothing store clerk.'".
	
Instead of asking Clothing Clerk about "the/-- clothing clerk":
	try asking Clothing Clerk about "himself".

After asking Clothing Clerk about "the/-- waitress":
	say "'All I ever see her in is that ugly uniform.'".
	
After asking Clothing Clerk about "the/-- gun":
	if the player carries the toy gun:
		say "'If you're going to be a child, leave.'";
	otherwise:
		say "'I don't know anything about that.'"
		
Instead of asking Clothing Clerk about "the/-- toy gun":
	try asking Clothing Clerk about "gun".
		
After asking Clothing Clerk about "the/-- toy/toys":
	say "'Whatever gets children out of my store.'"

After asking Clothing Clerk about "the/-- diner":
	say "'They sell food. It's edible.'"
	
After asking Clothing Clerk about "the/-- waitress":
	say "'All I ever see her in is that ugly uniform.'".
	
After asking Clothing Clerk about "the/-- librarian":
	say "'Such a hideous form, no amount of clothing will ever make it right.'".
	
After asking Clothing Clerk about "the/-- nurse":
	say "'She never comes in here. What a shame, she has such a nice figure.'".
		
After asking Clothing Clerk about "the/-- secretary":
	say "'I'd like to fit her for a skirt.'".
	
After asking Clothing Clerk about "the/-- teller":
	say "'Great figure, shame it belongs to a bitch.'".
	
After asking Clothing Clerk about "the/-- deputy":
	say "'All he ever wears is that uniform. As ugly outside as he is in.'".
	
After asking Clothing Clerk about "the/-- grocer":
	say "'He doesn't care about what he wears, he's an imbecile.'".
	
After asking Clothing Clerk about "the/-- waiter":
	say "'Bastard thinks he's too good for this place..'".
	
After asking Clothing Clerk about "the/-- bartender":
	say "'He doesn't have a very good dress sense.'".
	
After asking Clothing Clerk about "the/-- pharmacist":
	say "'He doesn't care about what he wears, he's an imbecile.'".
	
After asking Clothing Clerk about "the/-- meat man":
	say "'He doesn't care about what he wears, he's an imbecile.'".
		
Instead of asking Clothing Clerk about "the/-- butcher":
	try asking Clothing Clerk about "meat man".
	
After asking Clothing Clerk about "the/-- candy man":
	say "'He doesn't care about what he wears, he's an imbecile.'".
	
After asking Clothing Clerk about "the/-- max/player/me/myself":
	say "'You have a very weak build, small shoulders.'"
	
After asking Clothing Clerk about "the/-- dressmaker/lady/dress/dresses/gown/gowns":
	say "'Pompous, over-priced clothing for pompous, over-priced idiots. Then again, I don't know much about the finer points of women's dresses.'"
	
Instead of asking Clothing Clerk about "the/-- fancy lady":
	try asking Clothing Clerk about "dressmaker".
	
After asking Clothing Clerk about "the/-- glasses":
	say "The [Clothing Clerk] turns red in the face.[paragraph break]'You think you can pick on me, just because I wear [i]glasses[/i]?! I'll tear off your fucking head!'[paragraph break]The last thing you recall before blacking out is the clerk's hands around your throat.[paragraph break]Upon awakening, you spy your own headless body twitching on the other side of the room. There's nothing you can do to reach it.";
	end the story.

After asking Clothing Clerk about "the/-- clothes/clothing/suit/shirt/pant/pants/trousers/tie/ties/menswear":
	say "I've got everything you need, have a look around!".
	
After asking Clothing Clerk about "the/-- name":
	say "'Robertson and Son.'".
	
After asking Clothing Clerk about "the/-- town/city/here/location/whereabouts":
	say "'About twelve miles from Maine.'".

Instead of showing the toy gun to Clothing Clerk:
	try asking Clothing Clerk about "gun".

Report telling Clothing Clerk about something:
	say "[one of]'That doesn't sound like something I care about.'[or]'I'm sure you're happy about it.'[cycling]".

Report asking Clothing Clerk about something:
	say "[one of]'Is that some kind of hat?'[or]'Is there something else I can help you with?'[cycling]".

The block asking rule does nothing when asking the Clothing Clerk about something.
The block telling rule does nothing when telling the Clothing Clerk about something.


Section Blue Desert

There is a room called Blue Desert.
The description of Blue Desert is "It's hard to concentrate through the howling wind. It's cold. Cold in a way you've never felt before. Everything is cold. Everything is blue. Clouds roll across the deep blue sky and before you... before you is a vast, blue desert. Its shifting mounds form an inpenetratable barrier of endless void."

The clouds are scenery in Blue Desert.
The description of the clouds is "Dark clouds roll across the deep blue sky."

The mounds are scenery in Blue Desert.  Understand "dunes" as the mounds.
The description of the mounds is "Blue dunes shift all around you."

Every turn while the Waitress is in the Blue Desert:
	if the player is in the Blue Desert:
		if the waitress is saved:
			say "The waitress walks north, motioning for you to follow her.";
			now the Waitress is nowhere;
		otherwise:
			say "The waitress doesn't even look at you as she trudges off into the desert.";
			now the Waitress is nowhere.
		

North from the Blue Desert is Alpha.
East from the Blue Desert is Beta.
South from the Blue Desert is Gamma.
West from the Blue Desert is Delta.


[ENDINGS]
Instead of going north from Blue Desert:
	if the Waitress is saved:
		say "'HEY! WAIT UP!' you scream at her from the distance she's already made. She turns and stands, waiting for you to catch up. The sand is deep and more like walking through snow.[paragraph break]'Stay close,' she says, and the two of you begin your journey across the desert.[paragraph break]After some time the two of you reach the top of the tallest dune you can see. Everything in the distance, nothing but blue sand. You wonder if you'll ever find something here. You look over to her, and she nods.[paragraph break]'It can't go on forever, can it? We're just going to have to try...'";
		wait for any key;
		say "[paragraph break]Slowly the two of you walk across the desert. Climbing each dune, reaching the top and then, seeing nothing, climbing back down. It feels like you've travelled over a million of these dunes.[paragraph break]Then you see it.[paragraph break]A column of sheer black in the distance.[paragraph break]Hope.";
		end the story finally;
	otherwise:
		say "So you begin your journey across the vast blue desert. The sand is almost like a deep snow. Each step requires a monumental amount of power and force. If you were not already dead, this task would be impossible.[paragraph break]After some time, you manage to reach a tall dune, the tallest within your sight. As far as the eye can see, the blue sands continue, forever. You wonder if you're ever going to find something in this vast nothingness, but you know you have no other choice but to try.";
		end the story finally.
		
Instead of going east from Blue Desert:
	if the Waitress is saved:
		say "You start walking across the desert in a different direction. The sand is almost like a deep snow. Each step requires a monumental amount of power and force. If you were not already dead, this task would be impossible.[paragraph break]Soon you get to the top of a big dune and look around. Nothing within visible sight, save the dunes, and the waitress. She waves, before continuing on her path. After a moment, you go on the path you chose likewise.";
		end the story finally;
	otherwise:
		say "So you begin your journey across the vast blue desert. The sand is almost like a deep snow. Each step requires a monumental amount of power and force. If you were not already dead, this task would be impossible.[paragraph break]After some time, you manage to reach a tall dune, the tallest within your sight. As far as the eye can see, the blue sands continue, forever. You wonder if you're ever going to find something in this vast nothingness, but you know you have no other choice but to try.";
		end the story finally.

Instead of going south from Blue Desert:
	if the Waitress is saved:
		say "You start walking across the desert in a different direction. The sand is almost like a deep snow. Each step requires a monumental amount of power and force. If you were not already dead, this task would be impossible.[paragraph break]Soon you get to the top of a big dune and look around. Nothing within visible sight, save the dunes, and the waitress. She waves, before continuing on her path. After a moment, you go on the path you chose likewise.";
		end the story finally;
	otherwise:
		say "So you begin your journey across the vast blue desert. The sand is almost like a deep snow. Each step requires a monumental amount of power and force. If you were not already dead, this task would be impossible.[paragraph break]After some time, you manage to reach a tall dune, the tallest within your sight. As far as the eye can see, the blue sands continue, forever. You wonder if you're ever going to find something in this vast nothingness, but you know you have no other choice but to try.";
		end the story finally.
		
Instead of going west from Blue Desert:
	if the Waitress is saved:
		say "You start walking across the desert in a different direction. The sand is almost like a deep snow. Each step requires a monumental amount of power and force. If you were not already dead, this task would be impossible.[paragraph break]Soon you get to the top of a big dune and look around. Nothing within visible sight, save the dunes, and the waitress. She waves, before continuing on her path. After a moment, you go on the path you chose likewise.";
		end the story finally;
	otherwise:
		say "So you begin your journey across the vast blue desert. The sand is almost like a deep snow. Each step requires a monumental amount of power and force. If you were not already dead, this task would be impossible.[paragraph break]After some time, you manage to reach a tall dune, the tallest within your sight. As far as the eye can see, the blue sands continue, forever. You wonder if you're ever going to find something in this vast nothingness, but you know you have no other choice but to try.";
		end the story finally.


Section 99 - Mistakes

[MISTAKES]

Understand "hell" as a mistake ("Possibly.").
Understand "ass" or "arse" or "dumbass" or "asshole" or "bastard" or "bitch" or "fucker" or "motherfucker" or "cocksucker" or "cunt" or "dick" or "prick" or "slut" or "whore" or "twat" or "son of a bitch" as a mistake ("I know you are, but what am I?").
Understand "cum" or "jizz" or "orgasm" or "skeet" as a mistake ("Not here.").
Understand "bollocks" or "bullshit" as a mistake ("Probably.").
Understand "damn" or "drat" or "darn" as a mistake ("Phooey!").
Understand "fart" as a mistake ("Hopefully nobody smelled that.").
Understand "sneeze" or "achoo" as a mistake ("Bless you!").
Understand "curse" or "swear" as a mistake ("You'll  have to be more specific than that.").
Understand "fuck" as a mistake ("Nobody is jumping at the opportunity.").
Understand "molest" as a mistake ("No!").
Understand "shit" as a mistake ("Not on these pristine streets you won't!").
Understand "screw" as a mistake ("You don't have a screwdriver.  You're not a Doctor.").
Understand "yes" as a mistake ("No.").
Understand "no" as a mistake ("Yes.").
Understand "xyzzy" or "plugh" or "plover" as a mistake ("Nothing happens.").
Understand "win" as a mistake ("It's not that simple.").
Understand "lose" or "die" as a mistake ("There will be ample opportunity for that.").
Understand "fly" as a mistake ("You flap your arms furiously, but nothing happens.").
Understand "swing" as a mistake ("Crazy, Daddy-O!").
Understand "dance" as a mistake ("For a moment you sway and turn, but you quickly regain awareness of your surroundings.").
Understand "hello" as a mistake ("Hiiiiiii!").
Understand "kneel" or "take a knee" or "take the knee" or "bend the knee" as a mistake ("That doesn't make much sense in this context.").
Understand "roll" or "roll around" as a mistake ("What are you doing?!").
Understand "crouch" or "squat" as a mistake ("You squat down for a moment, but your knees hurt so you stand up again.").
Understand "levitate" as a mistake ("As hard as you try, you never manage to pull this off.").
