This should be a full list of everything said or seen on the Treasure Quest screens, plus everything else I can think of. The screens are in an order such that whenever there is a choice of screens to visit next, the lower-numbered screen is visited first. After each screen is given a navigational instruction to get to the next screen to enable the screens to be followed in the game. If you find any errors, or can add anything, please e-mail me on angus@angus.demon.co.uk
Alt+Q - ALL OF TREASURE QUEST ON ONE PAGE
Key - these should enable you to search for the same thing on each
screen (e.g. by searching for '.a')
.a Audio clues (EP Earthbound Poltergeist, DP Deceased Professor, SG
Spiritual Guide)
.c Curiosities - things that intrigue me
.d Description of screen
.e Errors - unintentional or possibly intentional
.f Sound effects
.h Hotspots
.i Identification - of paintings, quotations etc.
.m Animations, puzzles etc. - anything that moves, varies according
to date or time or that you have to enter
.q Quote derivations ***These have been removed from this version
unless officially published to prevent disqualification***
.r Reached from (screen(s))
.s Song fragments
.u Ultimate references ***These have been removed from this version
to prevent disqualification***
.v Video clues
.w Words on screen, either superimposed on the picture or contained
within the picture
.x Explanations of hints ***These have mostly been removed from
this version to prevent disqualification***
The room numbers correspond to the .WAV filenames on the CD, and the
entries in the Notebook. Commentaries are given in square brackets.
??? signifies something I haven't solved.
OC OPENING CREDITS
oc.1 SYSTEM STATUS SCREEN
oc.1.d Scroll
oc.2 TREASURE QUEST SCREEN
oc.2.d Picture of house and garden, with a letter at top left in the
background
oc.2.w TREASURE QUEST TM Starring Terry Farrell; ...why I've
chosen you.. potential recipients of my fortune.. ..ver: you have
brought me the gre.. in my life. Your quest for knowledge .. ..me
and carried me through times.. ..learning and teach.. ..there to pass
the.. .. you must.. ..In ..s.; Man is a threefold creature having
spir..; puzzle anything that ..ouses curiosity or perplexes the
..ecause it is ..nexplained; 5
oc.2.m The screen slowly comes into view
oc.3 THE HOUSE
oc.3.m before reaching this screen: 9 shots of house, increasing in
size, with sound effect as if photographs being taken; upon reaching
the screen, the lights in two rooms and the verandah come on and off.
oc.3.d a view of the house; what is that on the verandah to the left,
a giraffe?
oc.4 THE GATEWHEEL
oc.4.h chair - DEN Entrance screen; lamp - BEDROOM Entrance
screen; chessboard - GAME ROOM Entrance screen; kettle - KITCHEN
Entrance screen; three books - LIBRARY Entrance screen; padlock -
CELLAR Entrance screen; telephone - LIVING ROOM Entrance screen;
trunk - ATTIC Entrance screen; flower - GARDEN Entrance screen;
mask - DINING ROOM Entrance screen; centre of screen - EXIT
oc.4.w 36 72 108 144 216 252 288 324
oc.4.d the background is a blurred Rand-McNally-type map; there are
concentric large and small circles in the centre, with ten lines
radiating from the centre, each with an even smaller circle on top of
them just outside the larger circle; each of the ten room icons are
shown at the intersections of the lines and the larger circle; in the
centre is a black and white image of the front of the house.
oc.4.i the map is of south-western Minnesota
1 ROOM 1 - THE DEN
Gatewheel symbol: revolving chair
Sound on entry: [deskch01.wav] chair spinning
Icon: stopwatch
Angle: 0
Song: My Little Dancer
Spiritual Guide: ballerina
Alt+tab: Den
Bonus clue: She will not show if you do not serve tea
Quotation: Will you, won't you, will you, won't you, will you
join the dance? - Lewis Carroll
Song Lyrics: I seek a distant hideaway, ever since you went
away. Your life was tragically misunderstood. No-one ever knew the
good in you. My little dancer, I know you well. The stage is where
you loved to dwell. But the life you had to lead would not permit
the dream you wanted, so you left it alone. Twelve years have come
and gone. You cleared a path and carried on. But looking back, how
simple it seemed. You were a child and you had a dream. My little
dancer, I know you well. The stage is where you longed to dwell.
But the life you had to lead would not permit the dream you wanted,
so you left it alone, you left it alone.
1.00 ENTRANCE SCREEN
1.00.r Gatewheel
1.00.h Door - screen 05
1.00.f [When hotspot clicked] [metal01.wav] door banging three times
1.00.s [mylittle.wav] Introduction
1.00.v [l4den4.avi] You know, it's been documented that one out of
three ballerinas prefers to dress like this. Now, look carefully.
What do you think?
1.00.d Paved path and steps leading up to gazebo entrance, with lamp
posts
1.00.i The gazebo is the Nathan Frank Bandstand in St Louis
click on door:
1.05 DEN SCREEN
1.05.r Entrance screen; BEDROOM screen 16
1.05.h Right pillar - screen 02; Table - screen 08; Lamp - screen
12; Horseman - screen 13 [during full moon]
1.05.a [den_05a.wav] EP: Which way will you go?; [den_05c.wav] DP:
Oh why oh why does the horseman ride away?; [den05-t.wav] SG: If you
take away T, you don't get her
1.05.f [desk01.wav] rolltop desk opening or closing; [lamp02.wav]
light switch; [column1.wav] Tapping; [howl01.wav] howling
1.05.v [l4den1.avi] I always loved to come in here. It was smart of
you to do so as well. This room used to be so much fun! The
Professor used to throw lavish tea parties here, and guess what, he
did all the baking himself. Scones, tea-cakes, just thinking about
it is making my mouth water. He is indeed a man who wore many hats.
1.05.m The horseman hotspot is only accessible during a waning moon
(although it may be more complicated than that)
1.05.w 2 1/2; the beginning is two and one-half times
1.05.d in colour: two pillars; chair; table; in black and white:
view of room with chairs, tables, lamps etc.
1.05.c What does 'If you take away T you don't get her' mean? His?
Click on right pillar:
1.02 PILLAR SCREEN
1.02.r screen 05
1.02.a [den_02c.wav] DP: The first colour in the rainbow; [den08-
t.wav] SG: Alice's God may speak to you
1.02.v [l4den3.avi] Have you ever been in a jitterbug contest? No?
Well, you don't know what you're missing until you've heard that
music [looks at pillar and winks]
1.02.f [nogodsb4.wav] 'You shall have no other gods before me';
[harp01.wav] oriental harp sound
1.02.s [denmus05.wav] The stage is where you longed to dwell
1.02.w YOD; you shall have no other gods before me; Exodus 20:3; 16,
5, 29
1.02.i This is the first commandment; yod is the tenth letter of the
Hebrew alphabet
1.02.d Trumpeting angel on a pillar
1.02.c Why are there two clues for 'the' (this and the Will Screen)
back; click on table:
1.08 TABLE SCREEN
1.08.r screen 05
1.08.h Mirror - screen 09; Left painting - screen 14; Telephone -
screen 15; Will - screen 16
1.08.a [den_08a.wav] EP: it's as plain as the writing on the wall;
[den_08c.wav] DP: look closely at the picture behind the desk
1.08.f [phone02.wav] Phone ringing
1.08.s [denmus05.wav] the stage is where you longed to dwell
1.08.v [l4den2.avi] You need a good mirror to study yourself in
ballet. Of course, I was hoping someone else would be watching ...
but the professor always had his nose in some piece of paper or
another. He'd even read all night until sunrise. Men! [Right hand
picture appears to be a window]
1.08.d two chairs; two tables; envelope; telephone; two pillars;
painting of dance steps; unidentified painting; mirror; cabinet;
lamp; carpet
1.08.i ??? Right hand painting
1.08.e Right hand painting is a window during video clue; the picture of
dance steps is different from that on screen 14
click on left painting:
1.14 DANCE SCREEN
1.14.r Screen 08
1.14.a [den_14a.wav] EP: Dance with me?; [den_14c.wav] DP: Won't you
dance with me?
1.14.f [dance01.wav] Violin
1.14.i dance01: theme from Fawlty Towers - British sitcom, but
classical piece, minuet in G by Beethoven; this is based on the 'rumba'
street sculpture in Seattle, with the text added
1.14.s [denmus04.wav] My little dancer, I know you well
1.14.v [denpop.avi] C'mon, step lively
1.14.w Foxtrot, Obeebo, Mambo, Rumba, Cha Cha, Busstop, Waltz,
Tango, (on shoes) numbers 1 to 6, L & R twice
1.14.d Fourteen shoes, including one large man's left shoe numbered
1 with what appear to be coffee beans on base, and one large woman's
right shoe numbered 4, other shoes and arrows show dance steps.
Background is top half brown, bottom half white with brown disc with
black centre at centre.
back; click on mirror:
1.09 MIRROR SCREEN
1.09.r screen 08
1.09.h clock on mantelpiece - screen 04
1.09.s [denmus03.wav] No-one ever knew the good in you
1.09.f [largeclk.wav] Clock ticking; [window1.wav] dull thump -
could be window closing
1.09.a [den_09a.wav] EP: Don't look back; [den_09c.wav] DP: A
spectrum of 26, twisted and tangled
1.09.w 17132115261013 1006 1508121721
1.09.d Fireplace in mirror; two green candlesticks and clock with
two deer on mantelpiece; faint clock on right showing 1:21 (identical
to screen 10); unidentifiable glare in mirror
click on clock on mantelpiece:
1.04 FIREPLACE SCREEN
1.04.r screen 09
1.04.h clock - screen 10; left-hand bookcase - screen 17
1.04.a [den_04a.wav] EP: Need a light?; [den_04c.wav] DP: It's the
third of three
1.04.v [l4den5.avi] Did you think I was just here to chatter away?
Then think again, because my words have a deeper meaning. Come on,
listen carefully.
1.04.s [denmus06.wav] Twelve years have come and gone
1.04.f [largeclk.wav] Clock ticking; [dentist.wav] dentist's drill;
[book01.wav] ??? stones sliding
1.04.w SHEEN; 3 6 9 12
1.04.d fireplace, candlesticks, clock with deer, fire guard,
andiron; large tooth with full set of teeth round it; bookcases,
chair, lamp
1.04.i Sheen (or Shin) is the twenty-first letter of the Hebrew alphabet
click on clock:
1.10 CLOCK SCREEN
1.10.r screen 04
1.10.h clock - screen 06
1.10.a [den_10a.wav] EP: Here's looking at yous, kid; [den_10c.wav]
DP: Forget the 20, after all it's really only one third of an hour;
[den07-t.wav] SG: Five female sheep will aid you in your quest
1.10.x den_10c: i.e. just treat the minute hand as '4', not '20';
den07-t: ewes/yous
1.10.s [denmus04.wav] My little dancer, I know you well
1.10.f [largeclk.wav] Clock ticking; [sheep01.wav] sheep bleating
1.10.w UUUUU; TO KNOW THE USE, ADD THE TOTAL OF THE HANDS WITHOUT
THE MINUTES.; 1 2 3 4 5 6 7 8 9 10 11 12
1.10.d Clock showing 1.21 [1+4=5]
1.10.c Possible reflections in clock face
click on clock:
1.06 ROULETTE SCREEN
1.06.r screen 10
1.06.h sphere - screen 07
1.06.a [den_06a.wav] EP: Will you be able to find the answer that's
inside; [den_06c.wav] DP: Think of it as a document in disguise;
[den01-t.wav] SG: The first one is the verb, not the noun
1.06.s [denmus02.wav] Your life was tragically misunderstood
1.06.f [pendulum.wav] Large clock ticking; [largeclk.wav] clock
ticking
1.06.w what was written on September 28th 1988? (with 'opposition'
symbol through it); 2x; twice; 0 90 180 270; PENDULUM AT 12.30 PM
1.06.d Large roulette wheel with numbers 0 - 41 round it; faint
clock face superimposed (same as in clock screen) - 12 o'clock is
between 9 and 10 on dial; on wheel is roulette ball with gyroscope
reflected, arrow pointing to between 8 and 9 on dial, and object like
printer ribbon?
1.06.i This could be the base of the Foucault pendulum at the Griffith
Observatory, Los Angeles
1.06.c what is the purpose of the pendulum? What is the object near
the top of the roulette wheel? Why 0 - 41, and not 0 - 36 as normal?
click on sphere:
1.07 GYROSCOPE SCREEN
1.07.r screen 10
1.07.h gyroscope - screen 18
1.07.a [den_07a.wav] EP: Uncle Sam wants you; [den_07c.wav] DP: The
God of the sun appears here and in New York
1.07.i den_07a: Apollo is the god of the sun; there is an Apollo Theatre
in New York; quote: this is a slightly amended version of text from the
book Mythic Astrology 'this is why all sun gods symbolize a balance between
the unconscious life-force and the will or purpose which directs it';
Shamash, Ra Atum Khepri and Helios are all sun gods in different cultures
1.07.f [gavel01.wav] Five metallic bangs
1.07.s [denmus07.wav] You cleared a path and carried on
1.07.w They symbolize a balance between the unconscious life-force
and the will which directs it; Shamash - the upholder of truth and
justice; Ra Atum Khepri ... "he who comes into being" ... "he who
completes or perfects" ; Helios, son of Hyperion and brother of
Selene and Eos
1.07.x three Egyptian gods: Ra (sun) Khepri (scarab) Atum (sun), all
represented by the sphinx
1.07.d A gyroscope with a zodiac band around it, and another,
fainter copy. The visible signs are Aries, Taurus, Gemini and (on
the copy) Cancer. There could be a distorted image of something
behind the copy
1.07.c Is there a distorted image behind the copy?
click on gyroscope:
1.18 GAZEBO SCREEN
1.18.r screen 07
1.18.a [den_18a.wav] EP: What you don't see is just as important;
[den_18c.wav] DP: Align the letters and build a sentence
1.18.s [denmus05.wav] The stage is where you longed to dwell
1.18.w ITXGYRLMK; SEHNJOBEX; ACDEUODKC; XAHQCMJWT; MISSINGHC;
NFVBEIGHC; QOCUTIEAY; LRLXAFHLR; ESCEPZTDM
1.18.d Gyroscope on an ornate pedestal; gazebo similar to entrance
screen, but without door, in a garden
1.18.x Word search could be 'The clue is in the missing room' or
similar
back; back; back; click on left bookcase:
1.17 BOOK SCREEN
1.17.r screen 04
1.17.h crystal ball, then magnified text - LIBRARY screen 05
1.17.a [den_04a.wav] EP: Need a light; [den_17c.wav] DP: Oh crystal
ball, where will you take me?; [den03-t.wav] SG: Read the story of
the lovers; [den06-t.wav] SG: Make up your mind and just decide
1.17.w faint writing on book, [possibly 'The Pillars of Wisdom'; on
clicking ball, get text 'sun's tropical sign at Cressida's father's nativity'
1.17.d bookcase, three gourds? on shelf; books, open book, crystal
ball; possibly phone jack behind lit crystal ball
1.17.i Cressida's father in Shakespeare's Troilus and Cressida is Calchas
1.17.m crystal ball lights when cursor is over it, magnifying glass
appears on book when ball clicked
back; back; click on telephone:
1.15 TELEPHONE SCREEN
1.15.r screen 08
1.15.w please dial for emergency 1 2ABC 3DEF 4GHI 5JKL 6MNO 7PRS
8TUV 9WXY 0Zoperator?
1.15.d old fashioned black telephone
1.15.m Telephone works: click on receiver and then on numbers; dial
rotates when telephone operated; numbers which can be dialled: 1
(378) 423 3428: [pharmacy.wav] '[sound of typing and phones ringing
in background] Hello you've reached Garden Pharmacy. If you are a
patient of Dr Gloria your prescription has already been filled. All
other patients please stay on the line and the next available
pharmacist will answer your call in the order received' - Text
version (if sound disabled): 'You have reached the Garden Pharmacy';
1 (759) 562 2537: [starsght.wav] '[piano music in background] Thank
you for calling the Starsight Observatory. The following is a
recorded message for December and January 1995 and 1996. The phases
of the moon will be fairly regular for the next few months, with full
moons occurring on December 7th and January 5th. For astrologers out
there, babies born on December 21st will have a double stellium chart
as the Sun, Moon, Jupiter and Pluto are in Sagittarius, while
Mercury, Mars, Uranus and Neptune, are in Capricorn, with Venus just
entering Aquarius. Please plan to attend our annual New Year's Eve
Ball. Mr Alexander Smith will be the master of ceremonies and
proceeds will benefit our new dining room project. That's all the
news from the skies for now - happy stargazing' - Text version: 'You
have reached the Starsight Observatory'; 1 (843) 329 3675:
[enterext.wav] 'Enter your extension now' - Text version: 'Please
enter your extention' [sic]; 68377: [travel.wav] 'Thank you for
calling Tutto tu Mundo Travel Agency where now we are pleased to
announce bargain basement prices on our trips to Paris, the city of
love. Please call back during our regular business hours to book
your romantic vacation' - Text version: 'You have reached the travel
agency'; 1 (765) 276 3683: [enterext.wav] 'Enter your extension now'
- Text version: 'Please enter your extension.'; 7: [extermin.wav]
'You've reached Bugz B Gone. Now's the time for those nasty little
critters to be crawling around in your basement. Make sure you have
a bug-free home. Have one of our trade specialists visit your home
for a free no obligation critter consultation - and be sure to ask
about our nine-room special' - Text version 'You have reached the
exterminator. If your software has bugs in it call David Whipple and
Christian Huygen - THE EXTERMINATORS'; 779 2442: [c_crysta.wav]
'Hello, you have reached Crysta. I'm seeing the future for another
client right now, but I'll be sure to call you back. Thanks for
calling and have a mystical day' - Text vesion: 'You have reached
your psychic. Your luck is going to change'; 677 8379:
[stone_mr.wav] 'Hello? Who? Cliff or Flora Stone? Who is this?
Cliff and Flora were my grandparents but they both died years ago.
Sorry - you must have gotten an old number' - Text version: 'You have
reached Mr. & Mrs. Stone.'
1.15.x Christian Huygens [sic] was a 17th century Dutch physicist
who improved the telescope
back; click on will:
1.16 WILL SCREEN
1.16.r screen 08
1.16.a [w1.wav] DP: Know all men by these presents that I, Jonathon
William Faulkner of Boston Massachusetts, do declare that this is my
Last Will and Testament, dated this 28th day of September, in the
year of our Lord, Nineteen Hundred and Eighty-Eight. I hereby revoke
all former testamentary dispositions made by me and declare this to
be my last will and testament. I hereby appoint the law firm of
Sulieman, Adams & Jabinsky to be my Executor and direct that all my
just Debts and Funeral and Testamentary expenses be paid as soon as
convenient after my decease. I hereby give and bequeath to you, my
students, my entire fortune in the sum of one million dollars. To
receive this inheritance, however, it is necessary for you to solve
the mystery I've left behind. The quest I lay before you will
challenge you as no other. To solve it you must use all that you
see, all that you hear, all that you are, and all that you will
become. For the treasure you will receive will be much greater than
its monetary value. I have left a letter in the care of my
solicitors with specific instructions on solving the mystery. Upon
my death, you will receive these instructions and may choose to seek
the lessons I leave behind. Education never ends, it's a series of
lessons with the greatest for the last. Good luck; [den_16a.wav] EP:
The clue is itself; [den_16c.wav] DP: The second to the last is
fulfilled within; [den04-t.wav] SG: It's an article, one of three
1.16.w it's an article; one of three; 3x; Writing IN(K); (copy of
will), except that the two lines 'necessary for you ... you see.
All' are repeated twice; Jonathon William Faulkner; the first
paragraph from 'esents' to 'neteen' is shown again in large type in
the background with letters aligned in columns
1.16.m Clicking near the word 'will' causes the will to be read
1.16.d bottle of ink, lid and pen; seal; will
1.16.e why are two lines of the will repeated twice?
Back; click on lamp:
1.12 LAMPS SCREEN
1.12.r screen 05
1.12.h pillar - BEDROOM screen 13
1.12.a [den_12a.wav] EP: Join me for some tea? [in Scandinavian accent?]
1.12.f [column1.wav] Tapping
1.12.d corner of den with two chairs, a table, two lamps, and a
stained-glass window and candle as in the bedroom; a mirror in which
there are strange reflections [possibly letters I and S]; a white
pillar
1.12.c what are images in mirror?
Back; click on horseman [during full moon]:
1.13 MOON SCREEN
1.13.r screen 05 [during full moon], LIBRARY screen 18
1.13.h horseman - screen 11
1.13.a [den_13a.wav] EP: Santa's second; [den_13c.wav] DP: A dead
king and a celestial body will become your friends; SG: C'mon, join
the fun, join us
1.13.x den_13a: could be 'A', 'Claus', Dancer (second reindeer);
Moon Code is similar to Braille in that it is designed to be printed
raised from the paper for the blind
1.13.f [horse02.wav] Horse walking
1.13.w [Moon Code for] opposite of to separate
1.13.d Representation of crescent moon; metal full of holes with
strange man on horse behind; series of pillars going into distance
alternating hollow ones with lights on top and solid ones with
trumpeters on top
1.13.i Horseman is 'Racehorse and Jockey' by Isidore Bonhuer
click on horseman:
1.11 SEA SCREEN
1.11.r screen 13; ATTIC screen 04
1.11.h 'like a wild beast in its den' - screen 03; horseman -
ATTIC screen 13
1.11.a [den_11a.wav] EP: It's like a boat on a desert [camel?]
1.11.f [growl01.wav] Roar; [ocean01.wav] sea; [horse03.wav] horse
snorting
1.11.w "I hate to be near the sea and to hear it roaring and raging
like a wild beast in its den. It puts me in mind of the everlasting
efforts of the human mind struggling to be free, and ending just
where it began."; William Hazlitt (1778-1830), English essayist
"Common Places," no. 60 Literary Examiner (London, 8 Nov. 1823: repr.
in Collected Works, vol. 11, ed. by A.R.Waller and Arnold Glover,
1904).
1.11.s [denmus01.wav] I seek a distant hideaway
1.11.d Probably actual image of Napoleon? on a horse at night, with
distant city lights
1.11.i statue is of George Washington and is on Boston Common, Boston
Click on 'like a wild beast in its den':
1.03 BULL SCREEN
1.03.r screen 11
1.03.a [den_03a.wav] EP: Wanna go a round?; [den_03c.wav] DP: The
alpha and the omega are the beginning and the end
1.03.x den_03a: possibly meaning triangle; wisdom, will, activity
correspond to mutable (Gemini, Virgo, Sagittarius, Pisces), fixed (Taurus,
Leo, Scorpio, Aquarius) and cardinal (Aries, Cancer, Libra, Capricorn)
zodiac signs respectively; aleph is the first letter of the Hebrew alphabet
1.03.f [dentist.wav] dentist's drill; [bull01.wav] bullfight sounds
1.03.s My little dancer, I know you well
1.03.w ALEPH; wisdom will activity [in a triangle]
1.03.d A bull charging, with echoes of the holes in metal behind
2 ROOM 2 - THE LIBRARY
Gatewheel symbol: three books
Sound on entry: [book03.wav] page turning
Icon: magnifying glass
Angle: 144
Song: We Meet Again
Spiritual Guide: librarian
Alt+tab: Library
Bonus clue: If I confuse you, make sure you call me on it
Quotation: ***removed***
Song lyrics: Last night I remember, was a night to remember, if
not forever, then tell me when. I know that some day we'll meet
again. Oh, fortune-teller, tell me what you see... Is he under the
moonlight thinking of me? if this is my destiny, you will get a note
from me. I'll wait forever, and then again. Until the day we meet
again, we meet again, again. You know I'm lonesome without you. You
know I dream of you every night. You know I miss you. I'm not
waiting by the phone. You don't have to walk me home. There's no
forever, there'll be a when. I know that some day we'll meet again.
Oh, fortune-teller, tell me what you see... Is he under the moonlight
thinking of me? if this is my destiny, you will get a note from me.
I'll wait forever, and then again. Until the day we meet again, we
meet again, again. You know I'm lonesome without you. You know I
dream of you every night. You know I miss you.
2.00 ENTRANCE SCREEN
2.00.r Gatewheel
2.00.h Door - screen 07
2.00.f [on click] [doorbel1.wav] door slamming
2.00.s [wemeet.wav] Introduction
2.00.d Carpet leading up to red door - could be bird in fanlight
2.00.v [l5ls1.avi] Not to sound too vain, but I hate the way I look
in glasses - like a big moon-faced old owl! What can I do? I need
them for reading. And believe me, if you spend enough time in there,
you'd read everything you could find.
2.00.c is fanlight significant?
Click on door:
2.07 LIBRARY SCREEN
2.07.r screen 00
2.07.h chess table - screen 13; fireplace - screen 15; piano -
screen 17
2.07.s [libmus04.wav] I'm not waiting by the phone, you don't have
to walk me home
2.07.a [lib_07a.wav] EP: A book is a weapon of knowledge;
[liv_07b.wav] EP: A man's library is sort of a harem [slightly
different from words on screen]
2.07.f [chimes01.wav] Clock chiming half past; [shake03.wav] shake
and throw of dice
2.07.v [l5ls2.avi] Isn't it cozy in here? Sometimes I feel like I
could linger in this room all day
2.07.w "A man's library is a sort of harem." Ralph Waldo Emerson
(1803-1882) U.S. essayist, poet, philosopher, Society and Solitude
"Books" 1870
2.07.d Library in black and white, with chess table in colour in
foreground; scene contains bookshelves, chairs, fireplace, chairs,
lamp, plant in pot on box on table
click on chess table:
2.13 CHESS SCREEN
2.13.r screen 07
2.13.a [lib_13a.wav] EP: Don't get bored with this one;
[lib_13c.wav] DP: One is 'rooms': look for the rest
2.13.s [libmus07.wav] Is he under the moonlight, thinking of me?
2.13.w MEFNTMDCK CNHEWHXSL RBRQPSMHX TIEJMOGVF KAHTOEGSI YDTRAUFOP
LQEHUDEJC VYGNEHKMZ ZBODGMAKE BRTAOWIOJ
2.13.d Chess table with four indentations at the corners for drinks;
four chairs; edges of stools, plant etc.
2.13.x Solution to wordsearch could be something like 'Go to the Den
on the due date and make the rooms tie together'
back; click on fireplace:
2.15 FIREPLACE SCREEN
2.15.r Screen 07
2.15.h Fireguard - screen 16; metal box - screen 18 [during full
moon]
2.15.s [libmus01.wav] Last night I remember - what a night to
remember
2.15.f [fire01.wav] Fire crackling
2.15.a [lib_15a.wav] EP: Why is the fireplace lit up?; [lib_15b.wav]
EP: Fuel for the fire
2.15.d Fireplace in colour, rest in black and white: bookshelf on
left, sofa, plant and two pictures on right; on mantelpiece are two
plants, two candlesticks and a clock, below is fire guard, andiron,
metal box and wicker basket
2.15.m Screen 18 is only accessible during a full moon
2.16 REVERSE SCREEN
2.16.r screen 15
2.16.h chair - screen 09; fire guard - screen 04; clock - screen
01; mantelpiece - screen 02
2.16.a [lib_16a.wav] EP: I used to take a shower; [lib_16c.wav] DP:
Reverse your bathing place and gain a conjunction
2.16.f [bathtub1.wav] Water splashing, [fire01.wav] fire crackling,
[clock01.wav] clock chiming half hour
2.16.w [each word at different angle and in different font, but
joined by red line:] REVERSE YOUR bathing Place AND GAIN A
conjunction
2.16.d Same scene of fireplace but in better focus, in irregularly
shaped picture; leather chair
click on clock:
2.01 CLOCK SCREEN
2.01.r screen 16
2.01.a [lib_01a.wav] EP: With what shall I light it?
2.01.s [libmus02.wav] If not forever, then tell me when.
2.01.f [matches.wav] match lighting
2.01.w Light My Fire
2.01.i Light My Fire is a song by The Doors
2.01.d Carriage clock with four pillars showing about 4:07; one
unlit candle in candlestick, one empty candlestick; wooden planks in
background
back; click on mantelpiece:
2.02 MATCHES SCREEN
2.02.r screen 16
2.02.a [lib_02a.wav] EP: Candles burn for a long time
2.02.f [matches.wav] match lighting
2.02.s [libmus05.wav] There's no forever, there'll be a when
2.02.w REDBIRD strike anywhere matches 250 allumettes qui
s'alloument partout
2.02.d black and white view from right hand end of mantelpiece, with
box of matches on mantelpiece; large colour representation of box
with red bird on it; nine matches scattered below [no system
discernible]
2.02.c 250 is a lot of matches for a box (they usually have about
30), is there any way these matches can be used to light the candles?
Back; click on chair:
2.09 CHAIR SCREEN
2.09.r screen 16
2.09.a [lib_09a.wav] EP: Conjunction junction, what's your function;
[lib_09c.wav] DP: Look at the tub in the mirror; [lib04-t.wav] SG:
Reverse your bathing place and gain a conjunction
2.09.f [bathtub1.wav] Water splashing; [bathtub2.wav] water
splashing and dripping
2.09.s [libmus02.wav] If not forever, then tell me when
2.09.v [l5ls5.avi] [sitting on chair] It gets so messy in here ...
just look at all those papers! Well, I'm not picking them up!
Especially since the Professor used to say ... Oh, what was that
thing he always used to say? Something like, 'The more things stay
the same, the more they change.' Was that it? [no, it's 'the more
things change, the more they stay the same']
2.09.w mirror mirror on the walls, what's the word I need to solve;
RuB a dUb DuB, tHrEe mEn iN a TUB; HEy DiDdLe diDDle, thE CaT aNd thE
fidDLe
2.09.d black and white view from right of fireplace; colour chair on
background with right half green, left half black, some sort of
emblem on base of chair
2.09.c do the upper/lower case combinations give rise to anything,
e.g. Morse code or Bacon code?
Back; click on fireguard:
2.04 HEARTH SCREEN
2.04.r screen 16
2.04.h fireplace - screen 06
2.04.a [lib_04a.wav] EP: Ashes to ashes
2.04.s [libmus02.wav] If not forever, then tell me when.;
[libmus03.wav] I know that some day we'll meet again
2.04.v [l5ls4.avi] [sitting on hearth reading a book] There were so
many times I had questions about my life; things I couldn't burden
the Professor with. So I'd curl up in here with a great work of
literature. The old masters would invariably help me find my way
2.04.w K
2.04.f [fire01.wav] fire crackling
2.04.d Fireplace with remains of fire; wicker basket on right;
wooden panelling behind; could be remains of a letter in the fire
2.04.c is anything legible in the fire?
Click on fireplace:
2.06 CROCODILE SCREEN
2.06.r screen 04
2.06.a [lib_06a.wav] EP: They always smile at you; [lib_06c.wav] DP:
Five, but only two nouns
2.06.v [l5ls3.avi] Shhh! No talking aloud. So be quiet, will you?
Believe me, I found out the hard way when the Professor was still
around, believe me. Well, if he wanted absolute silence in here, why
did he install that [points to her right] telephone? Hmm ... I wish
I had thought to confront him on that one.
2.06.w [case of c, w, o and s not always clear] it is the WisDoM OF
the CroCoDileS thAt SheD teArs when they woulD Devour; 2
2.06.d view from right of fireplace in colour, with 2 on black
rectangle in front - with six line emanating from it of varying
thickness; possibly recognisable book is in wicker basket
2.06.c again, is upper/lower case significant?
back; back; back; click on metal box [during full moon]
2.18 MOON SCREEN
2.18.r Screen 15 [during full moon]
2.18.h Moon - DEN screen 13
2.18.s [libmus07.wav] Is he under the moonlight thinking of me?
2.18.a [lib_18a.wav] EP: The moon will not give its light;
[lib_18b.wav] EP: This will faze you; [lib_18c.wav] DP: The sun will
be darkened and the moon will not give its light; [faint writing at
bottom right:] Matisse or Matthew?
2.18.w The sun will be darkened and the moon will not give its light
[Book of St Matthew 24:29]
2.18.d square area of screen used only: has sun rays (same as on
safe lock), faint moon shape as in den, light as at top of pillar in
den; faint chequered pattern, and blurred cuboid shape made of
coloured blobs
back; back; click on piano:
2.17 VIEWS SCREEN
2.17.r screen 07
2.17.h piano - screen 11; right bookshelf - screen 12; left
bookshelf - screen 03
2.17.a [lib_17a.wav] EP: Shhh! Don't wake the dead
2.17.f [desk01.wav] roll-top desk opening/closing; [piano01.wav]
piano music
2.17.i ??? piano music
2.17.s [libmus03.wav] I know that some day, we'll meet again
2.17.w 1 2 3
2.17.d Black and white view of left of library, contains
bookshelves, piano, table with ornament and newspaper, window; three
sepia close-ups on top, one of desk, one of piano and one of
bookshelf (the three hotspots)
click on left bookshelf:
2.03 DESK SCREEN
2.03.r screen 17
2.03.h books - screen 05
2.03.s [libmus07.wav] Is he under the moonlight thinking of me?
2.03.a [lib_03a.wav] EP: The art of storytelling; [lib_03b.wav] EP:
The end of one is the beginning for another
2.03.f [book03.wav] page turning; [desk01.wav] roll-top desk
opening/closing
2.03.w LIBRARY; the art of storytelling is reaching its end because
the epic side of truth, wisdom, is dying out. - Walter Benjamin; The
Storyteller
2.03.d Black and white image of desk, left half with green filter;
two books on desk, more underneath, drawer slightly open
click on books:
2.05 BOOKS SCREEN
2.05.r screen 03, DEN screen 17
2.05.h letter - screen 10; glasses - screen 14; books - screen 21
2.05.s [libmus06.wav] Oh fortune teller tell me what you see;
[libmus08.wav] you know I miss you
2.05.a [lib_05a.wav] EP: Life is like pages of a book; [lib02-t.wav]
SG: Three men brought gifts to the party
2.05.f [pages03.wav] three pages turning
2.05.w [parts of letter] much closer together ... Andre Breton "what
one hides is ... neither more or less than what one finds. And what
one hides from oneself is worth neither more or less than what one
allows others to find. As you know I believe this. Please ...
evening together ...; [can only make out] READER'S DIGEST Condensed
BOOKS (three times)
2.05.d a letter on the left hand background, three books on the
right; an open book in the foreground with a pair of glasses on it
click on letter:
2.10 LETTER SCREEN
2.10.r screen 05
2.10.h postcard - BEDROOM screen 03
2.10.s [libmus08.wav] You know I miss you
2.10.a [lib_10a.wav] EP: Life is more than what's on the page;
[lib_10c.wav] DP: Take it to the safe
2.10.w [right hand letter is same as previous screen] 3rd May 1949
I will meet you tonight as you wish, but I cannot imagine what you
have to tell me. Your actions thus far have been beyond reproach. I
believe you are actually quite the most wonderful woman I've had the
pleasure of knowing. Nevertheless, I will meet you tonight as
requested. Until then Jonathon; 4th May 1949 Dear?? I understand
how difficult it was for you to confide in me but I believe it will
bring us much closer together. In the words of Andre Breton What
one hides is worth ... more nor less than what one finds. ... what
one hides from oneself is worth ... more nor less than what one
allows others ... find. .know I believe this ... Oxford. I ...; [on
post-it note] call Ash Key and Lock Company about security; PICTORIAL
POST CARD; This space .. the back, may be used for communication;
The Address only to be written here
2.10.d two letters in background; glasses and postcard on right hand
letter, post-it note on left hand letter; pen on top
back; click on glasses:
2.14 GLASSES SCREEN
2.14.r screen 05
2.14.s [libmus02.wav] If not forever, then tell me when;
[libmus06.wav] Oh fortune teller, tell me what you see
2.14.a [lib_14a.wav] EP: It's not something that you're born with;
[lib_14c.wav] DP: What a view!; [lib03-t.wav] SG: The previous trio
possessed this
2.14.w wis om
2.14.d blurred book open about a third of the way through, glasses
covering width of book magnifying one word, although rest of book can
be seen through glasses unmagnified
click on book:
2.B LANGUAGE AS REALITY IN THE THIRD POLICEMAN
2.B.w Since the beginnings of Western Civilization, the process
deemed "logic" has governed the languages of Western cultures. The
authority of logic has reached the point where the reality of the
citizen in the Western world is based on language which must agree
with the prevalent system of logic in order to be considered
"reality." A different system of logic may classify things in
different ways. Michel Foucault illustrates this with an example
from animal taxonomy. "This passage quotes a ‘certain Chinese
encyclopaedia’ in which it is written that ‘animals are divided into
a) belonging to the Emperor, b) embalmed, c) tame, d) sucking pigs,
e) sirens, f) fabulous, g) stray dogs, h) included in the present
classification, i) frenzied, j) innumerable, k) drawn with a fine
candlehair brush, 1) et cetera, m) having just broken the water
pitcher, n) that from a long way away look like flies.’ In the
wonderment of this taxonomy, the thing we apprehend in one great
leap, the thing that, by means of this fable is demonstrated as the
exotic charm of another system of thought, is the limitation of our
own, the stark impossibility of thinking that." (Foucault xv) The
person raised in a Western society would probably take issue with
this system stating that it is "illogical." in some way. The
classification system used by the Western world would most likely be
that of the accepted animal taxonomy: kingdom, phylum, class, order,
family, genus, species. The average Westerner would declare this
system as logical and would discount the Chinese system, as well as
any other system which did not conform to his logic. All of the
logic of the Western world began with Socrates, but his "logic" may
have had some flaws in it that are no longer discernible since they
have become an ingrained element of Western societies, their cultures
and languages. "The move from the major premise (all men are mortal)
to the choice of the datum to serve as the minor (Socrates is a man)
is itself a tropological move, a 'swerve' from the universal to the
particular which logic cannot preside over, since it is logic itself
which is being served by this move." (White, 3) This raises the
question that perhaps "logic" was invented to prove logic. This
seemingly circular argument illustrates the problem den a reader
encounters when she attempts to interpret prose. The problem that
arises is that any text is as the first one is the verb, not the noun
much about language as it is about its subject matter. "Discourse,
in a word, is quintessentially, a mediative enterprise. As such, it
is both interpretive and preinterpretive; it is always as much about
the nature of interpretation as it is about the subject matter which
is the manifest occasion of its own elaboration." (White, 4) The
logical way in which a reader will interpret a text will be based
upon her concept of reality. And this reality will be based upon her
language because language and logic are invariably tied together,
making reality a linguistic concept. In Flann O’Brien’s novel, The
Third Policeman, he presents a novel that delineates the foregoing
concept. Each character has his own language and, therefore, his own
reality. O’Brien illustrates the problems that can library occur
when two individuals don’t speak the same language, not meaning
German or French, but a language that differs in its underlying when
you stay longer than you plan logical structure. The reality that
each character sees is based upon their "logical" beliefs and views
about the world. Jim, the protagonist, roots his reality deeply in
DeSelby, an "absurdist" French philosopher. When Jim dies, his train
of thought does not change drastically. For him to see things which
would be strange to the average Westerner, i.e. the ghost of Old
Mathers, the man who Jim had murdered, would not be strange to Jim
because of his belief in the views of DeSelby. O’Brien quotes
DeSelby on the first page of the novel as saying that: "Human
existence being an hallucination containing in itself the secondary
hallucination of day and night (the latter an insanitary condition of
the atmosphere due to accretions of black air) it ill becomes any man
of sense to be concerned at the illusory approach of the supreme
hallucination known as death." (O’Brien cover page) This quote would
not seem logical to the average Westerner (and perhaps not to the
average Easterner either) because, in English, and most likely in
German, French and even Arabic, there is a loose feature on the word
"death" that indicates that it is a state that is after life and
could not be simply a hallucination. Some might allow
"hallucination" and "death" to be metaphorically connected, but this
is not the sense in which DeSelby and, therefore, Jim are using the
words. DeSelby’s reality contains a linguistic process in which
"hallucination" and "death" become equal. To Jim, this is also true.
At the end of the novel when Divney tells Jim that he has been dead
for 16 years, Jim doesn’t act very strange. The scene in which Jim’s
reaction to Divney’s comments is described has qualities about it
which could be described by the word "hallucination," as it occurs in
the lexicon of most ative English speakers: "I did not know whether I
[Jim] was surprised at what he said, or even whether I believed him.
My mind became quite empty, light, and I felt as if it were very
white in colour. I stood exactly where I was for a long time without
moving or thinking." (197) Many English speakers would use the word
"hallucination" to describe the above experience. But hardly any
would go ahead and equate that state to "death." However, DeSelby and
Jim do equate the two, therefore altering their concept of reality as
based upon their language. Jim is also cognizant of the fact that
others speak a different language than he. At one point, immediately
after he meets MacCruiskeen, the first policeman, he is struggling to
comprehend MacCruiskeen’s language. Jim feels that if he can
understand MacCruiskeen’s language, he can then comprehend the
"reality" which is occurring all around him. Jim says: "That was
very competent masterwork,’ I said, endeavouring to speak his own
language." (71). MacCruiskeen’s language is very different
from that of Jim and also that of most native English speakers. He
describes the point of a spear to Jim in a way that would make most
"logical" people shudder. He explains: "‘That is the real point,’
said MacCruiskeen, ‘but it is so thin that it could go into your hand
and out in the other extremity externally and you would not feel a
bit of it and you would see nothing and hear nothing. It is so thin
that maybe it does not exist at all and you could spend half an hour
trying to think about it and you could put no thought around it in
the end." (69) This seems nonsensical to the average reader’s
"logical" mind, and they may simply dismiss this as a fantasy, a
dream, or some other non-living, illogical state. But this is
MacCruiskeen’s reality based upon his Weltanschauung. In his
lexicon, it is not impossible or illogical to try and think a thought
and not be able to do it. To the average Westerner, to think about
thought or a thought would invariably lead to some "thought," even if
it wasn’t the thought one was trying to think. MacCruiskeen’s
influence on Jim is simply to make him question (as O’Brien is trying
to make the reader question) as to whether reality can be different
to different people. Jim realizes this while MacCruiskeen is working
with the minuscule chests: "I shut my eyes and prayed that he would
stop while still doing things that were at least possible for a man
to do." (73) What Jim believes a man can do and what MacCruiskeen
believes that a man can do are two different versions of reality
based upon the different quality each believes a "man" and the word
"man" can possess. To MacCruiskeen it isn’t strange for a "man" to
work with invisible chests, but to Jim, concrete things, such as
chests, must be visible. MacCruiskeen’s language, and, therefore,
his reality, does not include this restriction. His reality and
language includes the possibility of concrete invisible objects.
When Jim leaves MacCruiskeen, he is confused, but he does not know
what he will yet encounter. Sergeant Pluck’s discourse also presents
another version of reality that Jim does not quite comprehend when he
first encounters it. Pluck, the second policeman, introduces the
idea that bicycles are partially human. The average Western reader
would immediately discount this as ridiculous. Sergeant Pluck
describes this phenomena as a result of people’s close relation to
bicycles. "‘The gross and net result of it is that people who spent
most of their natural lives riding iron bicycles over the rocky
roadsteads of this parish get their personalities mixed up with the
personalities of their bicycle as a result of the interchanging of
the atoms of each of them and you would be surprised at the number of
people who nearly are half people and half bicycles. I let go a gasp
of astonishment that made a sound in the air inadmissible, was not
understood by the eye and was in any event indescribable." (135)
Jim’s reality and his language do not have the capacity to explain
the things that he is encountering. But MacCruiskeen and Pluck do
not seem to have any problem in considering the objects as real and
belonging in their present place. By the time Jim meets Sergeant
Fox, he has escaped "death" within this realm of being dead. At this
point, the average reader is probably struggling with the questions
of reality just as Jim is. When Jim first encounters Sergeant Fox,
he thinks that perhaps Fox is "normal," but he soon realizes that Fox
is not "normal" according to Jim’s perception of reality. First, Fox
is huge and climbs in a very small window without any problems. At
this point, Jim thinks: "I do not know how he accomplished what did
not look possible at all." (181) In Jim’s version of reality, huge
things cannot rearrange themselves in order to fit into a small
window. Then Fox takes Jim into a police station which is inside the
walls of Old Mather’s house. "The dimensions of the place in which I
[Jim] found myself were most unusual. The ceiling seemed
extraordinarily high while the floor was so narrow that it would not
have been possible for me to pass the policeman if I had desired to
do so." (181-182) When Jim realizes that they are inside the walls of
Old Mather’s house, he also looks carefully at Sergeant Fox, and sees
that he has Old Mather’s head. He is, to Jim, Old Mathers. Then a
few sentences later, Sergeant Fox has a different face, and is, once
again, completely Sergeant Fox, and not Old Mathers. It would seem
like Jim is hallucinating, and that is completely the point that
O’Brien is trying to make: How does anyone know that life or death is
not a hallucination? Jim also encounters a problem with Sergeant
Fox’s language. Fox begins asking about strawberry jam and Jim does
not understand the relevance of this topic. So Fox asks him about
being in the underground paradise with Pluck and MacCruiskeen. Jim
admits that the place did exist because he can speak about it. Once
again, "reality" exists because it can be described, at least
partially, in words. But as Fox explains it, it is all very simple.
"‘Like everything that is hard to believe and difficult to
comprehend,’ he said at last, ‘it is very simple and a neighbor’s
child could work it all without being trained. It is a pity that you
did not think of the strawberry jam while you were there because you
could have got a barrel of it free of charge and the quality would be
extra and superfine, only the purest fruit-juice used and little or
no preservatives." (187) Sergeant Fox seems to believe that
strawberry jam, a rather trivial thing to most, is what Jim should
have desired in the "eternity" that Pluck and MacCruiskeen took him
to. Jim doesn’t understand until Fox reveals that the reason
everything took place was because of "the box." Jim thought that the
box contained money, but Fox informed him that the box contained four
ounces of omnium. So Jim’s box contained four ounces of everything.
This is hardly conceivable to the average reader because a small
metal box would not be big enough to hold four ounces of everything.
Jim was still confused at this point, but when Fox tells him that the
box is now at his house, Jim seems relieved. It is as if the mention
of things Jim is familiar with from his "reality" calm him down and
make him believe that he is getting back to his "reality". When he
leaves Sergeant Fox, the reader must feel, as Jim does, a sense of
relief. Perhaps things will return to "normal." But at the end of
the novel, things simply start over now that Divney is also dead. He
and Jim will probably encounter the same types of "things" again.
But will Divney tell the story in a different way? Will the same
things seem strange to Divney that seemed strange to Jim? These
questions all depend on Divney’s language and his reality. O’Brien
wants the reader to leave the book with these questions. Would
things have been the same if one of the other characters had told the
story? Undoubtedly, they would have been very different if
MacCruiskeen had been the narrator. The average reader may not have
been able to make any sense of what he was saying, and this is
precisely what O’Brien wants the reader to realize. O’Brien
deliberately manipulates language throughout the book to show the
reader what language is. He also makes comments about language that
the reader should pick up as very relevant to the structure of the
novel. MacCruiskeen makes a comment to Jim when Jim confides that he
has no bicycle that: "‘But I cannot get over what you confided in me
privately sub-rosa about the no- bicycle, that is a story that would
make your golden fortune if you wrote down in a book where people
could pursue it literally.’" (69) O’Brien is playing with the word
"literally." When someone reads a text, they often do take it
"literally," word for word. This way of reading does allow language
to dictate reality. If one were to read the sentence, "The sun is an
apple" literally, then one would believe that "sun" and "apple" are
equal and have the same features and qualities. O’Brien is making
the point that perhaps people take things too literally. The readers
should always allow the possibility of other interpretations. At
another point in the novel, Jim asks Sergeant Pluck to "‘open a door
and lift out a solid block of gold weighing half a ton.’’ To which
Pluck replies: "‘But that is impossible, it is a very unreasonable
requisition,’ he said. ‘It is vexatious and unconscionable,’" and
later, "‘there is a limit and a boundary to everything within the
scope of reason’s garden.’" (136) Jim really doesn’t believe that
Pluck can perform the task he asks him to do. Something that weighs
a "ton" cannot be lifted by a "man." Reason and logic dictate this
maxim in the language of most people. Since Pluck dismisses it as
being beyond the scope of "reason’s garden," it must also be outside
the reality of his language. But the question remains as to whether
or not there would he a person whose language and reality would allow
for such a feat. O’Brien also uses a subtle humor to make the reader
realize the connection between language and reality. At the end of
the chapter where Jim first meets with MacCruiskeen. MacCruiskeen
asks for Jim’s opinion of what has been said. Jim replies: "‘I think
it is extremely acatalectic.’" (75) To take this at its first
meaning, the talk has been incessant, almost driving Jim crazy with
its nonsensability. But if the other meaning of the word
"acatalectic" is introduced the sentence takes on a different
meaning. In poetry, an acatalectic line has the full number of
syllables, especially in the last foot. Jim’s line is the very last
line in the chapter. If it follows this definition, then it must
have the full number of syllables; it is complete. But the line
doesn’t make any sense in its context. It rather becomes a circular
statement throwing the reader back into the question of the effect of
language on the reality of reading this book and how to read it.
This is the way O’Brien wants the reader to approach the book. The
reality of all the characters is based upon their language which is
based on their world view -- their Weltanschauung. Flann O’Brien is
taking this concept to its extremes by creating realities that allow
half-human bicycles and worlds that have different laws of physics.
He is not trying to claim that the world is this way; but, rather, is
trying to make the reader question whether any discourse is as much
about discourse as it is about the subject matter that it is
explicating. If the reader realizes that language and reality are
joined together and are traveling eternally around a Mobius strip,
then she will see that reality is a linguistic concept. Then,
language and reality cannot be separated: they are the two
inseparable halves of a whole. This is the concept that Flann
O’Brien illustrates in The Third Policeman WORKS CONSULTED Barthes,
Roland. The Rustle of Language. Berkeley: University of California
Press, 1986. Eagleton, Terry. Literary Theory: An Introduction.
Minneapolis: University of Minnesota Press, 1983. Foucault, Michel.
The Order of Things: An Archeology of the Human Sciences. New York:
Random House, 1970. O’Brien, Flann. The Third Policeman. New York:
Penguin, 1967. White, Hayden. Tropics of Discourse: Essays in
Cultural Criticism. Baltimore: John Hopkins University Press, 1978.
exit; back; click on books:
2.21 BRAILLE SCREEN
2.21.r screen 05
2.21.a [lib_21a.wav] EP: You don't need glasses to read this;
[lib_21c.wav] DP: The second of five
2.21.s [libmus05.wav] There's no forever, there'll be a when
2.21.d Braille or some other embossed code book; on top, beige swirl
with two holes in it and a fish tail shape at the bottom, with five
Braille characters on it
back; back; back; click on piano:
2.11 HANDS SCREEN
2.11.r screen 17
2.11.h piano - screen 20
2.11.a [lib_11a.wav] EP: Sometimes the best thing said is nothing;
[lib_11b.wav] EP: Listen up; [lib_11c.wav] DP: sounds like; [lib01-
t.wav] SG: When you stay longer than you plan
2.11.f [piano02.wav] piano music
2.11.i ??? piano music
2.11.s [libmus07.wav] Is he under the moonlight thinking of me?
2.11.w shhhhhh ...; sounds like ...; 1 2 3 4 5 6 7 8 9 10; listen
2.11.d background is carpet; on top is picture of ear, and two hands
(fingers numbered) spread upon picture of piano and desk in sharper
focus than before; left thumb looks a bit short
click on piano:
2.20 PIANO SCREEN
2.20.r screen 11
2.20.h piano - DINING ROOM screen 18
2.20.f [piano02.wav] piano music; [violin02.wav] violin music
2.20.i piano is same as screen 11; violin music is Minuet by Boccherini
2.20.a [lib_20a.wav] EP: sing the song; [lib_20c.wav] DP: click
click click
2.20.w -.- -. --- .-- .-.. . -.. --. .
2.20.d Background is sheet of music, with faint violin on it; in
foreground is piano and stool
back; back; click on right bookshelf:
2.12 MIRROR SCREEN
2.12.r screen 17
2.12.h upper picture - screen 19
2.12.a [lib_12a.wav] EP: The fireplace
2.12.w It is the province of knowledge to speak, and it is the
privilege of wisdom to listen Sir Oliver Wendell Holmes The Poet at
the Breakfast Table; 1 2 3 4 5 6 7 ... 88 [number of keys on piano]
2.12.d Black and white view of fireplace; on top, colour mirror with
(not inverted) image of piano, bookshelves and desk; red lines
emanating from piano, and numbers flying out; two colour pictures at
right, upper one of Brooklyn Bridge, lower unidentified
click on upper picture:
2.19 SPIDER SCREEN
2.19.r screen 12
2.19.h spider - ATTIC screen 04
2.19.a [lib_19a.wav] EP: The shadows in my cave are legendary, who
am I?; [lib_19b.wav] EP: It's Greek to me; [lib_19c.wav] DP: The
Symposium
2.19.w The shadows in my cave are legendary. Who am I?
2.19.d Brooklyn Bridge with one lamp post at right and US flag on
top on cracked paint?; spider on right and spider's web with centre
at top left: centre of web (possibly with spider at it) is missing
2.19.m spider wriggles occasionally; entering solution to puzzle
allows entry to the Attic for the first time
3 ROOM 3 - THE ATTIC
Gatewheel symbol: trunk
Sound on entry: [trunk01.wav] Squeaking lid
Icon: Candle and holder
Angle: 252
Song: What We Don't
Spiritual guide: Gloria Swanson
Alt+tab: Attic
Bonus clue: If I look through the eye of another, the memory
I’m left with exceeds my earlier form of permanence
Quotation: ***removed***
Text of song: Wasn't it yesterday? I can hardly remember it now.
Compelling, yes. But there is no way - there is no space in the
window. The walls have been built, the foundation laid and there's
no going back to try to pay. I'm filling up my tank with fate. This
time I won't be late and I'll learn from yesterday. It's not what we
do it's what we don't. It's if we take the time to fix what's broke.
And if we know when to let things be. I was blind to judge, it's not
up to me. Content with working on myself, it's the only cheese I
need to chase. And it's not easy to take off the shelf the very
things that held you back from the rat race. and learn from
yesterday, and learn from yourself, and learn from total strangers
and you will find what you're looking for. Wasn't it yesterday that
I learned the golden rule? What held me back from putting it in
effect? It's not what we say, talk is cheap. It's not what we say
we're gonna do. Actions are the ones who speak. It's not what we do
it's what we don't. It's if we say we will and then decide we won't.
Where the heart is resisting but the soul is crying to pick up the
slack and bring this baby back. Just to let ourselves know that we're
tryin' to crack the case that keeps us trying. The case that keeps
us trying. To pick up the slack and bring this baby back. Just to
let ourselves know that we're trying to crack the case that keeps us
trying.
3.00 ENTRANCE SCREEN
3.00.r Gatewheel
3.00.s [whatwedo.wav] Introduction
3.00.d Telescopic ladder leading to attic hatch. Can't make out
what is through hatch
3.00.f [on click] [ladder01.wav] ladder opening out
3.00.h Hatch - screen 03
click on hatch:
3.03 ATTIC SCREEN
3.03.r Entrance screen
3.03.h gold door - screen 01; trunk - screen 09; gears - screen
12; window - screen 13
3.03.d Background is heavy machinery; mid ground is picture of attic
with gold shutter and window in colour, doorway, top of hatch, roof
with plasterboard, noose wrapped around rafter, upturned metal tub,
pile of wallpaper?, wires near door, unidentified object through
door.
3.03.f [attdoor1.wav] Door slamming; [attfoot1.wav] footstep;
footsteps (same as at start-up?); [trunk02.wav] single break noise
3.03.v [l3as5.avi] How can one balance on stiletto heels? The
answer, of course, is that it's not possible. I have reason to
believe that there's a seat in the house that needs to be filled
3.03.a [att_03a.wav] EP: Here, yesterdays live
3.03.s [attmus01.wav] Wasn't it yesterday
click on gold door:
3.01 GERMAN SCREEN
3.01.r Screen 03
3.01.h Doorway - screen 06; basin - screen 15
3.01.a [att_01a.wav] EP: Do you see the light?; [att_01c.wav] DP:
Sprechen zie Deutsch?
3.01.v [l3as1.avi] I _am_ big! It's the pictures that got small!
No, no photographs, please! (more like old self) I could go on and
on, believe me. You know, it's an interesting experience seeing the
world through someone else's eyes. (wraps fur around neck)
3.01.s [attmus02.wav] I can hardly remember it now
3.01.d Top half black, bottom half grey; on top is picture of attic
as in screen 03, but all yellow, and window and gold shutter are both
just bright light.
3.01.w Funf is des Menschen Seele wie des Mensch aus Gutem und
Bosem, ist gemischt, so ist die Funfe die erste Zahl aus Grad' und
Ungerade (dotted around but joined by red line)
3.01.x 'Five is the human soul. Just as mankind is comprised of both
good and evil, so the five is the number made of even and odd'
click on doorway:
3.06 FACE SCREEN
3.06.r Screen 01
3.06.h Right hand statue - screen 05
3.06.d Bare floorboards at bottom; carved face at left; arch with
figure on it at right, through arch more stonework
3.06.w I consider that a man's brain originally is like a little
empty attic, and you have to stock it with such furniture as you
choose.; Sir Arthur Conan Doyle; (1859 - 1930); English author;
Sherlock Holmes, A Study in Scarlet; ch. 2 (1887)
3.06.a [att_06a.wav] EP: Man's brain is like an empty attic at
birth; [att_06c.wav] DP: Inside the face, you will find another
puzzle, in the nick of time
3.06.s [attmus11.wav] Learn from yesterday, and learn from yourself
click on right statue:
3.05 CLOWN SCREEN
3.05.r Screen 06
3.05.a [att_05a.wav] EP: Don't worry, be happy; [att_05c.wav] DP:
One, twenty, nine and three. What do these mean to me?
3.05.s [attmus05.wav] And I'll learn from yesterday; [attmus14.wav]
It's not what we say, talk is cheap
3.05.f [laugh01.wav] Laughter
3.05.v [l3apu.avi] I'm ready for my close-up, Mr Gnant
3.05.w TT ITTA; ATTIC
3.05.d Background is pitted stone; mid ground is three views of
statues on stone work, central one is as on screen 06; foreground is
clown with tear painted below eye, and another eye and tear
back; back; click on basin:
3.15 BASIN SCREEN
3.15.r Screen 01
3.15.h Camera - screen 08
3.15.a [att_15a.wav] EP: My career is all washed up; [att_15b.wav]
EP: Shudder to think
3.15.d In background are roof beams and drawing of camera; in
foreground is a dented tin basin on tiled floor with a camera inside
3.15.s [attmus14.wav] It's not what we say, talk is cheap
3.15.f [camera02.wav] Pictures being taken (hollow-sounding)
3.15.c Is there an image reflected in the camera lens?
click on camera:
3.08 CAMERA SCREEN
3.08.r Screen 15
3.08.h Lens - screen 07
3.08.a [att_08a.wav] EP: It's still shut; [att_08c.wav] DP: Simple
addition will do the trick; [att03-t.wav] SG: After the lights and
the camera
3.08.s [attmus08.wav] I was blind to judge, it's not up to me
3.08.f [camera01.wav] Picture being taken
3.08.d Two views of a camera from above, and a close-up of a camera
lens in the centre
3.08.w lights, CAMERA action plus ISO; MD 50 mm; 100/21 1 to 1/1000
sec.
Click on lens:
3.07 FILM SCREEN
3.07.r Screen 08
3.07.v [l3as4.avi] My fans have been so fickle. One moment, I'm a
big, hot star, and there are millions of them. The next, I'm
forgotten, and they've dwindled to nothing in the blink of an eye.
Too bad there isn't some kind of formula for success.
3.07.a [att_07a.wav] EP: Laugh, and the world laughs with you;
[att_07c.wav] DP: Thirty-three is the sum I see; [att01-t.wav] SG:
Don't worry, be happy
3.07.f [laugh01.wav] Laughter
3.07.d On left is close-up of one film sprocket-hole; on right is a
reel of film with two and a half frames showing - on first frame is a
hideous mask with four tusks, on the second is the same face as on
screen 06, and the third is possibly a clown
3.07.w Ha ha ha! HE he He! HEE heeee (several times); icc cc taatt;
A261014A; GOLD 200-5
3.07.s [attmus13.wav] Wasn't it yesterday, that I learned the golden
rule?
back; back; back; back; click on trunk:
3.09 STRING SCREEN
3.09.r Screen 03
3.09.h String - screen 16; case - screen 17
3.09.f [trunksnp.wav] Opening of briefcase
3.09.s [attmus13.wav] Wasn't it yesterday, that I learned the golden
rule?
3.09.a [att_09a.wav] EP: A stitch in time saves nine
3.09.d In background, attic scene with picture frames (?) stacked
up, with briefcase on box; in foreground on right, trunk, on left,
spool of string, with end of string snaking across screen
3.09.w [ETAH OT RON]; JACKSON DALE FARM
click on string:
3.16 WIRE SCREEN
3.16.r Screen 09
3.16.h Wire - screen 14
3.16.a [att_16a.wav] EP: A wise man hears one word and understands
two; [att_16c.wav] DP: Numbers stand alone, for letters on the phone;
[att05-t.wav] SG: Nine one two is the area code. Is that all?
3.16.s [attmus03.wav] There is no space in the window
3.16.f [phone02.wav] Phone ringing
3.16.d In background, close-up of old bakelite electrical terminals;
in foreground, coils of barbed wire
3.16.w 9ine 1ne 2wo; NON TAMP TYPE S; "A wise man hears one word and
understands two" - Yiddish Proverb
click on wire:
3.14 RADIO SCREEN
3.14.r Screen 16
3.14.a [att_14a.wav] EP: Go ahead, take some; [att_14c.wav] DP: Take
the sum of nine and so on; [att06-t.wav] SG: Take the first of nine
and so on
3.14.f [shatter2.wav] Glass breaking
3.14.m When radio is clicked, some indistinguishable radio sounds
are heard as if dial is being turned
3.14.w Take the SUM of NINE and so on
3.14.d Background of green lumpy tiles, with old-fashioned radio
with four empty bottles on top and another six and a half in front,
plus a bottle opener; more coils of wire on top
back; back; click on case:
3.17 BRIEFCASE SCREEN
3.17.r Screen 09
3.17.h Box - screen 11; case - screen 18
3.17.s [attmus04.wav] Filling up my tank with bait, this time I
won't be late
3.17.a [att_17a.wav] EP: Any number plus itself is even;
[att_17c.wav] DP: A total in this room is the fifth prime plus
itself; [att02-t.wav] SG: A total in this room is the fifth prime
plus itself
3.17.v [l3as3.avi] (looking at hand mirror) Why, that's strange,
what is this? What can it mean? 'To shoot the moon atop Namibia,
prepare to be lead with dragged gait.' The rest is blurry. I cannot
read this. Props!
3.17.w A TOTAL IN THIS ROOM IS THE FIFTH PRIME PLUS ITSELF
3.17.d Background is attic scene with insulation, frames, wires; two
boxes in foreground, one with briefcase on top - case is slightly
open
click on box:
3.11 BOX SCREEN
3.11.r Screen 17
3.11.h Box - screen 22
3.11.a [att_11a.wav] EP: It's one for the money, two for the show;
[att_11c.wav] DP: Additional will keep you in your place
3.11.f [crash01.wav] Door slamming
3.11.s [attmus09.wav] Content with working on myself, it's the only
cheese I need to chase, and it's not easy to take off the shelf
3.11.d More eaves and insulation; on right is cardboard box
3.11.w 1 2; It's both the expression of one and two; Spirit Mind
Body; Do Not Think About Organization.
Click on box:
3.22 LIGHTBULB SCREEN
3.22.r Screen 11
3.22.h Book - Book 'Split Against Myself'
3.22.a [att_22a.wav] EP: That's a switch; [att_22c.wav] DP: Don't
box me in
3.22.f [walswtch.wav] Click of switch
3.22.m When switch is clicked, light comes on - only then can book
be accessed
3.22.d At first dark scene of boxes etc., light bulb, and lit up
light switch; when light is on, box, book and lantern on its side are
visible
click on book:
3.B SPLIT AGAINST MYSELF
3.B.h picture - LIBRARY screen 07
3.B.w SPLIT AGAINST MYSELF I remember the night I was born. The
stars shone brightly overhead while there was a new moon. I was born
in 1967 in Jerusalem. My father always calls me Ali, my mother calls
me Eli. They are not in love anymore, at least not on the surface.
Their love for each other was smothered by me: the schizophrenic by-
product of their historically ill-fated romance. And what an awful
job it was to suffocate each part of myself in turn to save my
parents. Through-out my life, I have always been the one to split so
that they could remain whole. The olive trees outside my father's
house have been there for thousands of years. Who knows, maybe my
prophetic forefathers, Ishmael and Isaac, even ate their salads made
from olives from these same light green, prickly branches that I eat
from now. Sometimes at night, I walk through the olive fields and lay
on the grass. I look up at the night sky and imagine the moon in
battle against the stars. The victory prize is me, but so far no one
has won: they haven't even begun to negotiate. So I remain an enigma.
My father used to tell me stories about the days of the glorious
Islamic empire. He would rage on about the times of great Arab glory
and would rant about the Caliphates of Uthman, Abu-Baaker and other
early rulers. These stories made me wonder why I hated myself. How
could I love the one part of me and hate the other? We would sit
among the olive trees while my grandmother Sammia and my aunts picked
the ripe green olives from the trees; the ancient trees which are my
roots as well as my foliage. Father would speak of Sultan Sulieman,
the Ottamans Jamal Abdul Nasser and praise all the good things they
did for Arabs everywhere. Then he would quickly turn black and red
in the face and begin to storm about the Zionist enemy who is half-
embodied in his own embryo. He always hated the Zionists: they took
away his pride: his land. And pride and honor are everything to the
Arabs. Sometimes I wondered why he loved my mother. But then I know
the answer. They had to fall in love for me to exist and my
existence was preordained. From the dawn of history, my existence
was a necessity. From the first star's light to the first full moon,
my birth was heralded by all the gods in heaven as well as all the
demons in hell. I am the battlefield of my country; only on me can
they become themselves. I am not two ends of a continuum, I am
forever joined, only one point. Points cannot be split, just as I
must be united in order to survive. I remember the stories that my
mother used to tell me about the war. She was a security officer in
the Israeli Defense Forces. She said that my father was a man who
desired peace as much as she did. So I was brought forth from two
peace-desiring people who had to fill each other up be uniting the
two halves of a coin that doesn't exist anymore. I am a currency
that doesn't buy anything. In this world, I have no value. Because
she was still nursing me, she was not allowed to fight with her
combat unit. Because she was suckling the enemy, she would not kill
him. I used to hate her olive green uniform--the olive green blended
in so well with my father's olive trees. It blended in with the olive
trees all over Israel. "Israel" is a real problem for me. When I'm
my mother's Eli, I am Israel. When I am my father's Ali, I am a
Palestinian refugee without a country. So I am a refugee in my own
country, a fugitive from religion, an outcast from history. But who
am I? Am I Ali, son of my father, a good Muslim Palestinian refugee
who is willing to die to express the solidarity of my people? Will I
die waving a Christmas- colored flag against the guns of my brother
on the side of my mother? Or am I Eli, son of my mother, a good
Jewish boy who learned my Torah (as well as my Holy Quran) at the
early age of seven? Will I slowly kill myself by strangling my father
to please my mother? Today, Jerusalem is a city filled with strife.
The stars and moon don't shine anymore in Jerusalem. They are
trapped in a black hole where they are each battling to find the
sun's light. I don't know where they will find it. In Jerusalem
today, my brothers are attacking my country in order to win a nation
for my people. But is there really a nation for me? I have an active
fault line that runs through my brain and heart. I am divided
against myself. When I used to visit Haifa, in the north, I would
sit atop Mount Caramel and look around at my nation. I would look to
the north and see the greenish-brown mountains of Lebanon. To the
southwest, I could see the steeples and minarets of Nazareth. To the
west, I could see the beautiful clear, royal blue waters of the
Mediterranean. To the east, I could see the far-away brown dead
hills of the West Bank. Where do I belong? Do I belong in Lebanon,
as a Palestinian refugee? Do I belong as an Israeli-Arab in Nazareth?
Do I belong as a Palestinian in the West Bank? Or do I belong as a
Jew in Israel? The answer to all of these options is "no." I belong
nowhere. I am forever lost among the rich smells of the markets and
forever wandering among the traditions which clash inside of me. My
father took me to visit my uncle Mustapha in Nazareth once. Nazareth
is an all-Arab city. He thought that I would like it there. When I
walked through the brown, dusty narrow streets of Nazareth, I felt at
home for a split second. But then I realized: these people too would
consider me an enemy. I am only half of what they are. I am half
some other foreign being that they constantly seek out of need, but
then crush out of fear and ancient anger. The saddest part -I have
striven- of my estrangement is that no doctor or psychiatrist will
ever be able to unite the two parts of me. I cannot even do it. I
have this uncontrollable urge to be united. But I will be forever
divided as if my left foot kicks my right leg. I am forever isolated
from who I am because of who I am. I liked Nazareth, but it didn't
like me. Or at least it didn't like part of me. When I went to
visit my uncle, his wife gave me a traditional cup of Arabic coffee.
She was very nice to me, but I can sense that people always feel
uneasy around me. When I drank the coffee, I noticed that it was the
same as the coffee that my mother's relatives give me. Once again I
didn't understand how two people so similar could see no likeness.
It is like looking at one's brother and seeing a stranger. This
cannot continue. I long to fit in somewhere, anywhere. I have been
denied for so long, but someday everyone will know that I was their
only salvation. By not accepting me, they do not accept the other
part of themselves. They will all die without knowing true
acceptance--of me or of themselves. So what will happen? Will there
be a true union of myself? Will I be accepted for who and what I am?
I do not think that will ever happen. I know in my heart that they
will forever deny me even to their own deaths. I cannot stop them.
In the end, I will destroy myself. My people will kill my nations.
In the end, I will destroy myself. In the end, all that will remain
are the olive trees and the ever blowing desert wind that covers me
with sand. There will be no light: no sun, no stars, no moon. Only
blackness and silence will remain and I will no longer be able to
unite myself. I will be eternally dead in a blacked out void of
sorrow, pain, denial and anger. I will cease to exist -- even in the
memory of God.
exit; back; back; click on case:
3.18 WINDOW SCREEN
3.18.r Screen 17
3.18.h Suitcase - screen 19
3.18.f [trunksnp.wav] briefcase opening
3.18.d background is curtain; mid ground is window similar to screen
13; and closed suitcase; suitcase has label which is difficult to
make out
3.18.s [attmus06.wav] It's not what we do it's what we don't
3.18.a [att_18a.wav] EP: My bags are packed, I'm ready to go
click on suitcase:
3.19 YO-YO SCREEN
3.19.r Screen 18
3.19.h Picture - screen 20; postcard - screen 21
3.19.a [att_19a.wav] EP: Twice the team without the E; [att_19b.wav]
EP Is it a yo-yo if it only goes down?; [att_19c.wav] DP: Remember
the rules of algebra
3.19.s [attmus10.wav] The very things that held you back from the
rat race
3.19.f [tool01.wav] Tinkle; [footbal1.wav] American football
players; [knives01.wav] knife being sharpened
3.19.d Background is striped blanket and suitcase at bottom without
lid; coming out of suitcase is picture of American footballers, yo-
yo, knife, back of empty postcard, front of postcard with house on
it, front of postcard with column on it, garden fork, and back of
another empty postcard
3.19.w TWICE THE TEAM - 2(E); POST CARD; POST CARD; 24 64
3.19.i Postcard of column is Trafalgar Square, London (?)
click on picture:
3.20 FOOTBALL SCREEN
3.20.r Screen 19
3.20.m On entry, five of the circles move, accompanied by a shout
and a whistle
3.20.a [att_20a.wav] EP: Helmets? We don't need no stinkin' helmets;
[att_20b.wav] EP: Fourth down and inches; [att_20c.wav] DP: Watch the
moves
3.20.f [footbal2.wav] shout, grunt and whistle
3.20.s [attmus07.wav] And if we know when to let things be
3.20.d The background is a black and white picture of three football
players; the foreground has a diagram of players with five arrows and
eleven circles
3.20.w 3 4 7; T E H T E H G Q F G C
back; click on postcard:
3.21 POSTCARD SCREEN
3.21.r Screen 19
3.21.h lamp - BEDROOM screen 14
3.21.a [att_21a.wav] EP: Things that go bump in the night;
[att_21c.wav] DP: The light may illuminate you; [att04-t.wav] SG: A
hexagon is a six-sided object
3.21.s [attmus13.wav] Wasn't it yesterday that I learned the golden
rule?
3.21.d Same postcard of house as screen 19 and blank postcard; six-
sided (?) art deco lamp (as bedroom icon); letter
3.21.m When light is clicked, letter is illuminated
3.21.f [lamp02.wav] light switch
3.21.w 3 May 1949 Dearest Jonathon, Words cannot describe the
feelings I have for you. When we spoke last evening my heart drifted
away on waves of happiness. However, I must speak with immediately
regarding a most private matter. I only hope that after hearing me,
you will choose not to condemn me, but to understand me. Please meet
me tonight at 7:00 underneath the bell tower. Until then, R; Ln 13 a
trio of the five; POST
back; back; back; back; back; click on gears:
3.12 FISH SCREEN
3.12.r Screen 03, KITCHEN screen 13
3.12.h Fish - KITCHEN screen 13
3.12.d Background is close-up of machinery; on top is diagram
showing 19 degrees, and picture of neon sign shaped like a fish
hanging from a ceiling; astrological symbols for Saturn and Pisces
3.12.w 49.5 minutes; fresh; forty-nine point five; 19 degrees
3.12.m Picture of fish sign (rather than just sign itself) flickers
like faulty neon sign with buzzing noise every so often
3.12.e Sometimes clicking on hotspot leads to blank screen, but
hotspots are obeyed as if correct screen
3.12.s [attmus04.wav] Filling up my tank with bait, this time I
won't be late; [attmus12.wav] Learn from total strangers, you'll find
what you're looking for
3.12.a [att_12a.wav] EP: WCOD 49.5; [att_12c.wav] DP: Six degrees of
separation makes a nice and tidy conjunction
3.12.c what does att_12c refer to?
3.12.x the astronomical symbols refer to a date of 5th October 1995
or 7th January 1996
3.13 WINDOW SCREEN
3.13.r Screen 03, DEN screen 11; BEDROOM screen 13
3.13.h Window - screen 02; lamp - screen 04
3.13.a [att_13a.wav] EP: Turn right at the morning star
3.13.f [lavalamp.wav] Bubbling
3.13.s [attmus04.wav] Filling up my tank with bait, this time I
won't be late
3.13.v [l3as2.avi] You can't imagine how difficult it is for a star
like me ... No, make that an entire constellation ... Well, I simply
cannot keep up with all the fan mail from all you wonderful people
out there in the dark
3.13.d Window with stars through it; lava lamp
click on window:
3.02 STARS SCREEN
3.02.r Screen 13
3.02.a [att_02a.wav] EP: When you wish, wish upon a star;
[att_02c.wav] DP: Fill in the blanks, and you're on your way
3.02.d Background of many stars, seven are larger, plus reflections,
plus probably Saturn with rings
3.02.w "VERY OFTEN, THEREFORE, IN [ ] AFFAIRS WE ARE SUBJECT TO [ ],
THROUGH IDLENESS, SOLITUDE OR STRENGTH, THROUGH THEOLOGY AND MORE
SECRET PHILOSOPHY, THROUGH SUPERSTITION, MAGIC AGRICULTURE AND
THROUGH SADNESS"
3.02.s [attmus03.wav] There is no space in the window
3.02.f [space02.wav] Ghostly sound
3.02.i Quotation is from Marsilio Ficino; the missing words are
'human' and 'Saturn'
back; click on lamp:
3.04 LAMP SCREEN
3.04.r Screen 13, ATTIC screen 19
3.04.h Lamp - DEN screen 11
3.04.a [att_04a.wav] EP: If first we try to deceive; [att_04c.wav]
DP: Bubble bubble, toil and trouble, looking for eleven double
3.04.f [lavalamp.wav] Bubbling
3.04.s [attmus06.wav] It's not what we do, it's what we don't
3.04.d Spider's web in background; lava lamp in foreground
3.04.w SARHOAGFW TGVEECSXI RPNYNKLFT AKQJOUTDH TLSNYRVMO SFDTRMNZU
BCUWEXBJP TQIWVEYZA HMEZEMIUB (fourth column EYJNTWW and eighth row
WVEYZ are white in an L shape, rest is yellow)
3.04.m Wordsearch answer provides access to the Den
4 ROOM 4 - THE DINING ROOM
Gatewheel symbol: mask
Sound on entry: [mask01.wav] Ring of bell as in hotel
Icon: Cocktail glass
Angle: 324
Song: Prophecy
Spiritual guide: maitre d'
Alt+tab: Dining
Bonus clue: Search what holds the knowledge to find the secret
passage it contains
Quotation: ***removed***
Song lyrics: I have to be the one your finger falls upon.
Looking everywhere but in the mirror. No hidden rule that says I
have to live your life. Everything you do seems so clear. You've got
to get your feet wet first. There's nothing wrong with rolling
around in the dirt. Look up, look down, but never as an equal. A
self-fulfilling prophecy with a self-destructing sequel. An indolent
way to run out on, and worm out of, sneak away. An indolent way to
run out on, and crawl from the pain. Didn't you ever hear what your
mother said? Looking everywhere but straight ahead. No smothered
law that says we can't go both ways. Does the aftermath happen
before you can begin? You're sure amazing, you're sure amazing.
Listen to the voices. Listen to the voices. Shhh, listen. Shhh,
listen. Look up, look down, but never as an equal. A self-
fulfilling prophecy with a self-destructing sequel. An indolent way
to run out on, and worm out of, sneak away. An indolent way to run
out on and crawl form the pain. An indolent way to run out on, worm
out on, and run out on, worm out of, and crawl from, and run out on
... [fade]
4.00 ENTRANCE SCREEN
4.00.r Gatewheel
4.00.s [prophecy.wav] Introduction
4.00.d Two ruined pillars with stonework resting on them and a
pedestal in front of each, all standing on some sheet music
4.00.i Music played on click is Eine Kleine Nachtmusic by Mozart, start of third movement; music on sheet???
4.00.f [on click] [violin03.wav] Burst of classical music
4.00.h Entrance between pillars - screen 03
4.00.v [l5drs1.avi] Good evening. How many in your party? Please
count carefully, and make certain the number reflects everyone,
including you. Really? That many? Well, if you'll just wait a
moment, we'll have to make a few arrangements.
Click on entrance:
4.03 PILLARS SCREEN
4.03.r screen 00
4.03.h Violin - screen 04; chest - screen 11; lights - screen 14
[when full moon]
4.03.d Same pillars as entrance but in black and white; behind them,
black and white view of dining room - visible are ceiling with
chandelier, table with tablecloth and centrepiece, glass fronted
cabinets, doorway on right and chest; in colour, chair with violin
and bow on it; vague blue shape on right - violin again?
4.03.w GEOMETRICALLY, A SQUARE IS THE MOST STABLE OF ALL FORMS
4.03.f [violin02.wav] Classical music - Turkish March by Mozart; [china01.wav] dropped glass;
[rockslid.wav] rocks sliding against each other
4.03.i [Music played?]
4.03.a [dine_03a.wav] EP: Geometrically speaking, of course;
[dine_03b.wav] EP: The most stable of all forms; [dine_03c.wav] DP:
The number of sides
4.03.s [dinmus01.wav] I want to be the one your finger falls upon
click on violin:
4.04 MUSIC SCREEN
4.04.a [dine_04.wav] EP: Time flies; [din02-t.wav] SG: Look in the
cellar for a vocation
4.04.r screen 03; BEDROOM screen 20
4.04.h violin - screen 17; music - screen 18; flower - screen 19
4.04.f [violin04.wav] classical music; [violin05.wav] classical
music
4.04.s [dinmus01.wav] I want to be the one your finger falls upon
4.04.i Music played is Eine Kleine Nachtmusic by Mozart, start of third movement
4.04.d Background is upper part of background from screen 03;
superimposed are chair, violin and bow from screen 03, sheet music
from entrance screen, and daffodil/narcissus
4.04.w COMPLETING AN ORBIT OF THE SUN IN 225 DAYS
click on violin:
4.17 COMPOSERS SCREEN
4.17.r screen 04
4.17.a [dine_17a.wav] EP: Every good boy deserves fudge;
[dine_17b.wav] EP: Learn to appreciate the classics; [dine_17c.wav]
DP: Dead composers may be best. One note stands out among the rest
4.17.f [tschaiko.wav] classical music; [hayden.wav] classical music
4.17.i Music is Swan Lake by Tchaikovsky and String Quartet No 0 by Haydn ('the Joke')
4.17.w Joseph Haydn; Peter Tschaikovsky; four members of the violin
family
4.17.d Portraits of the two composers; five musical staves and whole
notes - two bass clefs, one treble clef, one ?? clef and one larger
brown stave with clef not on screen; notes are GDAE on treble clef,
CDGA on one bass clef and EADG on the other, ???? on the ?? clef, and
the larger one appears to be a repeat of the treble clef; the E on
the smaller treble clef is brown, the other notes are gray
4.17.s [dinmus02.wav] Looking everywhere but in the mirror
back; click on music:
4.18 PIANO SCREEN
4.18.r screen 04; LIBRARY screen 20
4.18.a [dine_18a.wav] EP: You must have sharp sight or you'll fall
flat
4.18.h piano - LIBRARY screen 20
4.18.f [piano01.wav] classical music; [piano02.wav] classical music
4.18.i [Music played?]
4.18.w Costanzo Porta wrote a 4-part motet which could be sung
upside down; Vobis datum est cognoscere mysterium [your task is to
understand the mystery]
4.18.d Sheet music in background; in front is oval view of piano
keys
4.18.s [dinmus01.wav] I want to be the one your finger falls upon
back; click on flower:
4.19 FLOWERS SCREEN
4.19.r screen 04
4.19.a [dine_19a.wav] EP: Oh mercy on me; [dine_19c.wav] DP: Break
on through to the other side
4.19.m wordsearch answer provides access to a further screen
4.19.h daffodil - screen 20
4.19.f [trumpet1.wav] trumpet music; [trumpet2.wav] trumpet music
4.19.w BWRSDSCOC; LHBIMOLFG; QARMYMATN; TTHOKEXHI; WAGPSTNES;
QPKEUISGS; NJUSTMHVI; ELZVIEEJM; COUDFSARE
4.19.s [dinmus6.wav] Look up, look down, but never as an equal
4.19.d Background is black and white bouquet of daffodils and
?crocuses; drawing of trumpet; foreground is colour daffodil
click on daffodil:
4.20 IRIS SCREEN
4.20.r screen 19
4.20.a [dine_20a.wav] EP: You weren't looking for this;
[dine_20c.wav] DP: Letters here, letters there, any letters in the
air?
4.20.h -
4.20.w JUMX; BGAP; ZLET; COSQ; HFWK; NDYV
4.20.d a few blurred blobs in background; in foreground is iris and
four nearly concentric circles like orbits
4.20.s [dinmus05.wav] There's nothing wrong with rolling around in
the dirt
back; back; back; click on chest:
4.11 BIBLE SCREEN
4.11.r screen 03
4.11.a [dine_11a.wav] EP: It's a safe bet; [dine_11c.wav] DP: A
repeated number - what could it mean?
4.11.h mask - screen 07; safe - screen 09; bible - screen 16
4.11.w creation; four corners of the earth
4.11.f [choir01.wav] chorus of voices; [safeclos.wav] creak of door
4.11.v [l5drs2.avi] Many is the time the Professor would sit here
and compose passages of poetry. I wonder where he could have put ...
Of course! It's right here: Consider the charms of the nightly
pull, petition the lunar power 'til your will is full; Be ye Caliph
or be ye Raver, This simple spell be not palaver.
4.11.s [dinmus04.wav] You've got to get your feet wet first
4.11.d dining room wall, against which is dresser with mirror and
two drawers visible (one with a knob, one with a looped handle), on
which are a mask, a mat like a metal coaster, and a wooden
candlestick, and also a safe with an indecipherable label on it; to
right is a bible with embossed crucifix on cover, behind geometric
design vaguely like a cross
click on mask:
4.07 BOTTLES SCREEN
4.07.r screen 11; KITCHEN screen 23
4.07.a [dine_07a.wav] EP: In every life some wine must fall;
[dine_07c.wav] DP: Four prepositions squared plus one
4.07.h mask - screen 06; bottle label - KITCHEN screen 23
4.07.w V. vinifera; Sakar 1983 Venetian? Cabessel
4.07.f [iceglass.wav] Stirring of glass; [winecork.wav] cork squeak
4.07.s [dinmus06.wav] Look up, look down, but never as an equal;
[dinmus05.wav] There's nothing wrong with rolling around in the dirt
4.07.d In background, two bottles, glass and carafe on doily on
tray, reflected in mirror, and mask, in black and white (presumably
on top of dresser); in foreground, the same two bottles and glass in
colour
click on mask:
4.06 MASK SCREEN
4.06.r screen 07
4.06.h left picture - screen 01; mask - screen 08
4.06.a [dine_06a.wav] EP: Mirrors to the soul
4.06.d two views of mask (one from its right and one front left) on
either side of mask itself - its left side has white decoration not
on right, the right has bluish eye decoration not on left
4.06.s [dinmus02.wav] Looking everywhere but in the mirror
4.06.f [shatter1.wav] Glass breaking
4.06.v [l5drs3.avi] We have some specials on the menu, but I'm not
sure I can see to read them. Not that I'd need to. Hmmmmm ... I
wonder if I could convey them telepathically.
Click on left picture:
4.01 PEGASUS SCREEN
4.01.r screen 06
4.01.a [dine_01a.wav] EP: The old gray mare ain't what she used to
be; [dine_01b.wav] EP: Constellation of the horse; [dine_01c.wav] DP:
A Greek scramble, please
4.01.s [dinmus04.wav] You've got to get your feet wet first
4.01.w Grace
4.01.d Mask in background on right; over it is lace; in foreground
is flying horse [Pegasus]
back; click on mask:
4.08 EYES SCREEN
4.08.r screen 06
4.08.h pocket - GAME ROOM screen 04
4.08.a [dine_08a.wav] EP: Anyone wanna go swimming?
4.08.f [billiard1.wav] Pocketing of ball
4.08.d Sight as if through eyes of mask of red pool table - balls
appear to be in starting position; brick wall behind
back; back; back; click on safe:
4.09 DOOR SCREEN
4.09.r screen 11
4.09.h button - screen 02
4.09.a [dine_09a.wav] EP: Do it the safe way; [dine_09b.wav] EP:
Close the door and another will open; [dine_09c.wav] DP: Close, and
the door will open
4.09.w DOOR; close and another will open; LOCK & SAFE CO
4.09.s [dinmus08.wav] Didn't you hear what your mother said?
Looking everywhere but straight ahead
4.09.f [safeopen.wav] Door opening
4.09.d Close-up of safe in black and white; label still
indecipherable, button and other label below; large circle on top,
with lettering
click on button:
4.02 LOCK SCREEN
4.02.r screen 09
4.02.h Postcard - screen 10
4.02.a [dine_02a.wav] EP: A rose by any other name would smell as
sweet
4.02.w L ck; 5 June 1949 My Darling Jonathon, I am really quite
concer-ned. I saw the man following me aga.. not sure.. sec.. I th..
with.. a pas.. I .. in .. no.. ger.. sa.. lo..; My darling Jonathon,
Thank you for meeting me last night. I feel much better now that
we've had a chance to talk. I suppose I was a bit silly about ..
hole thing. But I thought ..should know before our ..nship went any
.. ve told; 01 02 03 04 05 06 07 08 09 combination; J & M CA..
CARDROOM
4.02.d Two letters in background; safe rose in place of 'o' of
'lock', with rays as sun in Library; four small gray rectangles
decreasing in size; postcard of cafe on street corner; two arrow
symbols
4.02.m Can operate safe rose by clicking on arrows: entering correct
combination allows access to a further screen
4.02.f [diner01.wav] Restaurant sound
click on postcard:
4.10 POSTCARD SCREEN
4.10.r screen 02
4.10.h stamp - BEDROOM screen 02
4.10.a [dine_10a.wav] EP: Are you staying at the Ritz?;
[dine_10b.wav] EP: Check it out; [dine_10c.wav] DP: Look at the
stationery
4.10.f [diner02.wav] Restaurant
4.10.w Mercy Hotel 804 N Central Seattle WA 94110; SEATTLE WA PM 16
OCT 1983; Professor Sorry for the inconvenience last weekend but I
couldn't find anyone else in town to stay with. I am currently in
town staying at the Mercy Hotel downtown in room 121. Please stop by
or call; THE CENTRAL 25; J M HOTEL 26; J & M CARD.. CARDROOM 27
4.10.s [dinmus09.wav] No smothered law that says we can't go both
ways
4.10.d Front of postcard as on previous screen, back with US Stamp
and frank; writing is printed rather than hand written; lace in
background
back; back; back; click on bible:
4.16 BIBLE SCREEN
4.16.r screen 11
4.16.h book - screen 12
4.16.a [dine_16a.wav] EP: It's like the woman at the well;
[dine_16c.wav] DP: Part of speech that modifies a verb or adjective
4.16.f [choir02.wav] Deep choir sound
4.16.s [dinmus09.wav] No smothered law that says we can't go both
ways; [dinmus03.wav] No hidden rule that says I have to live your
life. Everything you do seems so clear.
4.16.w A DV ERB; PROVERBS; [indistinct writing on open book - can
see:] 354. D...
4.16.d mosaic of ?Jesus with his hands in the air, with arch around
it; an open book is on top at lower right
click on book:
4.12 POND SCREEN
4.12.r screen 16
4.12.a [dine_12a.wav] EP: Water, water everywhere, and not a drop to
drink; [dine_12b.wav] EP: And she called his name Moses;
[dine_12c.wav] DP: A building in DC plus one side
4.12.f [pond01.wav] running water
4.12.s [dinmus04.wav] You've got to get your feet wet first
4.12.w And she called his name Moses; for she said, I drew him out
of the water.; EXODUS 1:10; 708564 646C573 696E 746865 726F6164;
synonymous with m...her and water synonymous with mother and water
synonymous with
4.12.d top right three quarters of screen is a wavy edged image of a
pond with water-lilies, a flower bed and grass beyond; in the flower
bed is a statue of a seated woman clutching her bosom and holding
onto something beside her
4.12.c what is synonymous with mother and water? Mere/mer?
back; back; back; click on lights [when full moon]:
4.14 TABLE SCREEN
4.14.r screen 03
4.14.h moon - screen 13
4.14.a [dine_14a.wav] EP: Take your second voyage past it
4.14.w 7,500 0.92; ITS DIAMETER IS 7,500 MILES AND ITS MASS IS 0.82
THAT OF THE EARTH
4.14.d centre right is a black and white image of a table and four
chairs with a vase on it an two books or napkins and a knife, behind
the table is a large dresser full of crockery and an old-fashioned
record player with the lid open; at top left is a copper-blue
crescent moon image and at bottom left is the playing arm in gold and
part of a record presumably from the record player, on top of which
are 12 eccentric circles like orbits
4.14.v [l5drs5.avi] Okay, that's it. I'm shelving the maitre d'
act. Guess I'd better start thinking about my next career
incarnation ... Unless one of you is looking to worship a lovely
woman?
Click on moon:
4.13 MOON SCREEN
4.13.r screen 14
4.13.h armour - screen 15
4.13.a [dine_13a.wav] EP: When the moon is in the seventh house;
[dine_13b.wav] EP: Sir Lancelot; DP: It comes and goes, like the
tides; [din03-t.wav] SG:
4.13.s [dinmus07.wav] A self-fulfilling prophecy with a self-
destructing sequel
4.13.v [l5drs4.avi] Personally, there's someone we can think of
who's getting a little tired of wearing menswear. She wants to put
her dresses back on, but they aren't ready. And, as he would say,
what you see is what you get.
4.13.w The king of Prussia and German emperor. He was born in
Berlin on March 22, 1797. He had received the iron cross for
personal bravery shown at Bar-sur-Aube. He achieved the rank of
colonel at the age of 20 and a major-general at age 21. On March 21,
1871 he opened the first imperial parliament of Germany. He died at
Berlin on March 9, 1888. [William I]; [Moon code for] on the stars
4.13.d at top left is the same crescent moon as the previous screen
but facing to the right; to its right is the moon code with a line at
its right and top; at bottom right is a suit of armour; the
background is a dim large black and white image of the crescent moon
with a sort of tulip shape at the end of the crescent and an even
dimmer outline next to it, and two stars, one white and one reddish.
Click on armour:
4.15 CARDS SCREEN
4.15.r screen 13
4.15.a [dine_15a.wav] EP: In Nevada, you hit; [dine_15c.wav] EP: The
ace is the first one
4.15.s [dinmus06.wav] Look up, look down, but never as an equal
4.15.w right and left; A A; 4 4; pythagoras; limited and unlimited
4.15.d two playing cards aligned diagonally from top left to bottom
right: the ace of spades with a mediaeval statue of a soldier holding
a sword and a large shield, and the four of spades with four
identical statue heads of mediaeval soldiers.
5 ROOM 5 - THE KITCHEN
Gatewheel symbol: Copper kettle
Sound on entry: [kettle01.wav] Kettle whistling
Icon: spoon
Angle: 108
Song: Boy Blue
Spiritual guide: Angel
Alt+tab: 4
Bonus clue: Pay no attention to human titles
Quotation: ***removed***
Song lyrics: Boy blue, where are you? Angels hear you drifting.
From here to there and back again. From here to there and back
again. Boy blue, I'm calling you. You're getting sleepy. Did you
use to cause this pain? I need to know the thing, the name. Ahhh.
Give a little bit, give a little bit. Ahhh. Where are you little,
where are you, play a bit, where are you, where are you little, give
a little bit, give a little bit, ahhh, give a little bit, give a
little bit, where are you, play a bit, where are you, where are you
little, where are you, play a bit, where are you little boy blue?
Small and blue, imprints the sky. The notes you play make me high.
Revelations dance, dance in my brain. From here to there and back
again. I, I, I, I, I, I, I, I, I, little boy blue. I, I, I, I, I,
I, I, I, I, little boy blue.
5.00 Entrance
5.00.r Gatewheel; BEDROOM Screen 01
5.00.h saucer - Screen 05
5.00.s [boyblue.wav] Introduction
5.00.d A flying white cup and saucer with a dark green rim above a
row of tiles, three wide by seven long
5.00.f [on click] [saucer01.wav] putting down of teacup
5.00.v [l2kit5.avi] [emerging from cup] I probably shouldn't be
doing this, but I thought I'd make us a little snack. You set the
table and I'll do the cooking. And I happen to be a great cook. You
should try a slice of my angel food cake. Mmmmm, with strawberries
and ... let's eat!; [l2kpu.avi] [emerging from cup] You devil, you!
Click on saucer:
5.05 FLOWERS SCREEN
5.05.r Screen 00; GARDEN Screen 08
5.05.h counter - Screen 07; table - Screen 08; telephone - Screen
24; flowers - GARDEN Screen 08
5.05.a [kit_05a.wav] EP: Come and get it; [kit_05b.wav] EP: Can you
guess what we're cooking up?
5.05.f [drawer01.wav] drawer opening; [phone03.wav] phone ringing
5.05.d large picture at an angle in black and white of a kitchen
table and wooden chairs, with a chandelier, windows and many kitchen
cabinets and a counter to the left, one cabinet is the wall near the
table with a wall telephone and a bottle under it; to the right are
three and a half large yellow flowers; to the left is a pattern of
green, black and white squares
5.05.v [l2kit4.avi] [smelling flowers] How sad the Professor never
had children. He would have made a heavenly father. He often
yearned to hear the pitter-patter of little feet. But he always said
if one was to have children, one must be prepared to follow every
step of parenting to the letter. Frankly, it's not such a tragedy.
Considering he believed in large families - did you know he had eight
brothers and sisters?
Click on counter:
5.07 MYSTERY SCREEN
5.07.r Screen 05
5.07.h kitchen area - Screen 10
5.07.a [kit_07a.wav] EP: To be or - was it to be?; [kit_07b.wav] EP:
Mystery set apart being and non-being
5.07.s [kitmus03.wav] From here to there and back again;
[kitmus02.wav] angels hear you drifting
5.07.v [l2kit1.avi] Greetings, citizens of this mortal plane. I
don't think this was the professor's favourite room - he always had
to do battle with the morning condensation. Still, despite what some
believed, he was never defeated by it. It takes more than a little
dew to unseat a real man. Amen to that! ; [l2kit2.avi] The Professor
was always critical about those who read planetary signs. But
astrology is so popular, I'm afraid he may have offended a few
people. I always told him, if you're going to mix in polite society,
it helps to know the rules of the game.
5.07.w mystery; mystery sets apart being and nonbeing
5.07.d the left half of the screen is a black-and-white negative
image of the right half, which is in colour, except on the left half
there are four footprints on the floor. The scene is of the back of
the kitchen, with a wooden floor, counter with a wooden top, white
cupboards, a hob and extractor hood, coffee machine, white kettle on
the hob and an oven.
Click on kitchen area:
5.10 SENSES SCREEN
5.10.r Screen 07
5.10.h kettle - Screen 02; gas ring - Screen 03
5.10.a [kit_10a.wav] EP: It only makes sense; [kit_10b.wav] EP: Five
is the number of man; [kit_10c.wav] DP: Plead the fifth in this room
5.10.s [kitmus02.wav] angels hear you drifting
5.10.f [coffee01.wav] a hot drink being poured; [kettle01.wav] a
kettle whistling
5.10.w 5 the number of man; Sight Sound Smell Touch Taste
5.10.d in the centre is a black and white image of the hob from the
previous screen; at top is a gas ring and at lower right is a copper
kettle with ceramic handle, knob on lid and whistle
click on kettle:
5.02 CUPS SCREEN
5.02.r Screen 10
5.02.a [kit_02c.wav] DP: Just reach out and touch me
5.02.m three cups slide on to the screen to complete the picture -
the upper left one from the left group [with a clink], the upper
right one from the right group [with a scrape] and the lower left one
from the top group [with a clink]
5.02.w kai-fey kaffe koffie cafe[acute acent]; kafe[acute]o
caffe[acute] Kaffee ke[acute]hi cafea; kahvi cafe[acute] kophe kawa
5.02.d in the centre are a row of six hooks with coffee cups hanging
from the first and fourth hooks; around the edge are three groups of
cups viewed from above: [braille words] the top group handle
positions go 5 none 3 4 10 3, the left group go 5 4 11 none 10 11,
the right group go none 4 11 none 3 1
back; click on gas ring:
5.03 TRUMAN SCREEN
5.03.r Screen 10
5.03.h 'TRUMAN' - Screen 22
5.03.a [kit_03a.wav] EP: Too many cooks spoil the broth;
[kit_03b.wav] EP: If you can't stand the heat, get out of the
kitchen; [kit_03c.wav] DP: All those numbers - what can they mean?
5.03.s [kitmus01.wav] Boy blue, where are you?
5.03.w IF YOU CAN'T STAND THE HEAT GET OUT OF THE KITCHEN;
TRUMAN; 11-1 4-4 8-1 W L 6-2 4-5 7-1 11-6 4-3 B L 7-2
5.03.d the left half of the screen is a black and white negative
image of part of Screen 05; the writing is on the right except for
'TRUMAN' which is across the centre
click on 'TRUMAN':
5.22 WAR SCREEN
5.22.r Screen 03
5.22.h plane - Screen 20
5.22.a [kit_22a.wav] EP: It was the best of times, it was the worst
of times
5.22.s [kitmus04.wav] Boy blue, I'm calling you. You're getting
sleepy; [kitmus05.wav] Did you use to cause this pain
5.22.f [airplan2.wav] Plane flying past
5.22.w 7; WAR; PROVERBS 11:14 Where there is no guidance, the
people fall, but in abundance of counselors there is victory.; 9K G
9 K
5.22.d the background is a superimposed black and white image of a
war cemetery and a cloudy sky; in the foreground is a lime green
World War I plane
click on plane:
5.20 TAGS SCREEN
5.20.r Screen 22
5.20.a [kit_20c.wav] DP: Simple math will help you out
5.20.s [kitmus05.wav] Did you use to cause this pain; [kitmus01.wav]
Boy blue, where are you?
5.20.f [rifle01.wav] Machine gun; [warbat01.wav] gunfire
5.20.w named +d; 431 648 625 J COLLINS RC A/RH/108 CON FORCES COR
[twice]
5.20.d jumbled images of battle: a camouflaged helmet, a machine
gun, two dogtags and a chain, some plants, a pile of equipment
back; back; back; back; back; click on table:
5.08 RULEBOOK SCREEN
5.08.r Screen 05
5.08.h large book - Screen 11
5.08.a [kit_08a.wav] EP: It's your serve; [kit_08b.wav] EP: You must
follow the rules; [kit_08c.wav] DP: What's for dinner? Huevos
rancheros?
5.08.f [silver01.wav] rattling crockery
5.08.w The Rules of Grammar and of Logic; El Nombre del Libro [the
name of the book]
5.08.d The kitchen table, wooden floor and six wooden chairs with
cushions tied to them; a red and white striped book with three black
casserole dishes is on the table, and its image is reproduced larger
at top left; at bottom right is a fork, knife and spoon
click on large book:
5.11 COMMUNICATION SCREEN
5.11.r Screen 08
5.11.h pillars - Screen 06; book - Screen 12; Jefferson - Screen
15; 'recipe' - Screen 16
5.11.a [kit_11a.wav] EP: Take four scores of common sense;
[kit_11c.wav] DP: The recipe of communication [kit03-t.wav] SG:
Artists, writers and models all had this
5.11.s [kitmus06.wav] Small and blue, imprints the sky. The notes
you play make me high.
5.11.w recipe of COM.MU.NI.CA.TION; talk speak sing; [indistinct
writing in book, which looks like a dictionary]
5.11.d the main image is of an open book; at top is a classical
building with eight pillars; at right is a statue of Jefferson; a red
line connects the two smaller pictures and 'talk speak sing'
click on pillars:
5.06 JUDGE SCREEN
5.06.r Screen 11
5.06.a [kit_06a.wav] EP: Knead the dough?; [kit_06b.wav] EP: Judge
not that ye be judged; [kit_06c.wav] DP: The sum is 12 broken down
5.06.v [l2kit3.avi] Was the Professor a full professor? Associate?
Emeritus? Does it matter what his title was? It's the record that
counts.
5.06.s [kitmus05.wav] Did you use to cause this pain?
5.06.w JUDGE not that ye be not judged; 5 7
5.06.d the pillars from the previous screen are in the centre here
but in colour; the background is a grey image of looking down two
rows of square pillars
back; click on book:
5.12 EYE SCREEN
5.12.r Screen 11
5.12.h eye - Screen 17
5.12.a [kit_12a.wav] EP: An eye for an eye; [kit_12c.wav] DP: A
sadder Valentine's Day, perhaps
5.12.s [kitmus07.wav] Revelations dance, dance in my brain.;
[kitmus04.wav] Boy blue, I'm calling you. You're getting sleepy
5.12.w From women's eyes this doctrine, derive: They sparkle still
the right Promethean fire; They are the, the arts, the academes,
That show, contain and nourish all the world, Else none at all in
aught proves excellent.; Shakespeare, Love's Labour's Lost, IV, III
5.12.d in the background is the head of a statue of a woman, with
red lines emanating from her right eye; there are some larger red
lines across the screen, and in the foreground is an open book
click on eye:
5.17 STATUE SCREEN
5.17.r Screen 12
5.17.a [kit_17a.wav] EP: Rolling stones gather no moss; DP: The past
and the present
5.17.s [kitmus02.wav] angels hear you drifting; [kitmus07.wav]
Revelations dance, dance in my brain.
5.17.w sought imagined understood dreamt created; se imagi
understa dre crea thi; ek ne nd am te nk
5.17.d the background is a marbled image, in the foreground is a
statue of a woman sitting cross-legged with her head in her right
hand reading a book in her lap
back; back; click on Jefferson:
5.15 VERNON SCREEN
5.15.r Screen 11
5.15.a [kit_15a.wav] EP: It was banned in Boston; [kit_15c.wav] DP:
Have a tea party?
5.15.f [kettle01.wav] Kettle whistling
5.15.w 40-42 Mt. Vernon Street; The large brownstone houses at 40-
42 Mt. Vernon were the newest fashion on the south slope of Beacon
Hill 1 2 . -4 are more than 50 years younger than most of the brick
15 here. When new, these brownstones seemed very large. Improved
structural technol- ogy 17 larger 4, higher ceilings and taller
windows to add to the sense of space. Today the brownstones cannot,
in turn, be outscaled. Strict zoning laws prevent 3 archi- tectural
intrusion of size or 12345 that might disturb the character 12 the
neighborhood.; Beacon Hill
5.17.d The background appears to be a tray of plums; in the
foreground is the head and shoulders of the statue of ?Jefferson
back; click on 'recipe':
5.16 FOOD SCREEN
5.16.r Screen 11
5.16.a [kit_16a.wav] EP: Yes, we have no bananas; [kit_16c.wav] DP:
Hopefully, you won't find this in your food; [kit02-t.wav] SG: The
bugs in my head sound like a cat's food
5.16.f [chopping.wav] chopping
5.16.w 2 cups sliced 1 teaspoon 3/4 cup cubed 4 cups chopped; C
Celeriac I Imlee L Loofah E Escarole; The bugs in my head sound
like a cat's food; TENDER THICK ASPARAGUS $2.99 LB; TENDER SMALL
ASPARAGUS $1.99 LB.; SWEET SEEDLESS NAVEL ORANGES 49c LB.
5.16.d there is a circular image in the centre of a market stall
with asparagus at front and oranges at back and possibly tomatoes at
left; there is a cheese grater at lower left
back; back; back; click on telephone:
5.24 LEAVES SCREEN
5.24.r Screen 05
5.24.h telephone - Screen 04; vase - Screen 09; clock - Screen
13; left leaf - Screen 23
5.24.a [kit_24c.wav] DP: M is like D in this regard
5.24.s [kitmus04.wav] Boy blue, I'm calling you. You're getting
sleepy
5.24.f [clock03.wav] Clock ticking; [china01.wav] crockery breaking
5.24.w 4; Four and Seven
5.24.d at top left and right are green leaves - the left one with a
drop of water on it; in the centre is some reddish wallpaper with a
clock with no numbers but twelve different textures at top, below it
an old-fashioned telephone, at left part of a kitchen cabinet and at
lower left a ceramic vase
click on telephone:
5.04 TELEPHONE SCREEN
5.04.r Screen 24
5.04.h calendar - Screen 01; address book - BEDROOM Screen 09
(Book)
5.04.a [kit_04a.wav] EP: Here's looking up your old address;
[kit_04c.wav] DP: Dialling for dollars
5.04.s [kitmus04.wav] Boy blue, I'm calling you. You're getting
sleepy
5.04.f ([phone3.wav])
5.04.w ...ide in me ... ch close... Andre Breton ... neither ...And
wh.. either .. find; .. is worth ... one finds ... elf is worth ...
at one allows ...is, I leave ...; 28; 236.328.4823; Mama ... SE
Tel.No. (473) 287 2782 Tel. No. Tel. No. Tel. No. Tel. No.; 1 2 3
Full Moon 4 5 7 8 9 10 Last Quar... 14 15 16 ... New ... 21 22 23 ...
28 M!! ..y) 29 30
5.04.d in the centre is the same telephone as the previous screen;
at left is a page from a monthly calendar and at right is a page from
an address book
click on calendar:
5.01 CALENDAR SCREEN
5.01.r Screen 04
5.01.a [kit_01a.wav] DP: A phone number to dial - a letter to dial?;
[kit01-t.wav] SG: I own these punctuation marks, I do!
5.01.w MARCH; APRIL SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY
FRIDAY SATURDAY 1 2 3 Full Moon 4 5 6 7 Easter 8 9 10 Last Quarter
11 12 13 14 15 16 17 New Moon 18 19 20 21 22 23 24 25 First Quarter
26 27 28 Call M!! (Birthday) (636) 926 6627 29 30; Call M!!
(Birthday) (636) 926 6627
5.01.d In the background are some daffodils; in the foreground is
the April page from a calendar - on the 28th is circled the entry to
call M
5.01.s [kitmus09.wav] Where are you little boy blue
back; back; click on vase:
5.09 VASE SCREEN
5.09.r Screen 24
5.09.a [kit_09a.wav] EP: Don't look so puzzled; [kit_09c.wav] DP:
Put them all together
5.09.f [china01.wav] Breaking crockery
5.09.w NHEHGPTMA; AOGQRNUIF; MNZYUKMNB; CECFBAYUE; FBLDCFLSM;
UQKVOADSJ; VTENJBRII; ZSEMGDSZW; EOXDVNINE
5.09.d several brown and black vases, with one large one in the
centre - different from the one in the previous screen
back; click on clock:
5.13 MOSAIC SCREEN
5.13.r Screen 24; ATTIC Screen 12
5.13.h either eye - ATTIC Screen 12
5.13.a [kit_13c.wav] DP: I equals H
5.13.f [choir02.wav] deep choir sound
5.13.s [kitmus07.wav] Revelations dance, dance in my brain;
[kitmus08.wav] where are you, where are you little, give a little
bit, give a little bit
5.13.w spiritual teachings of bread and fish; JPLEX BPL BHII EXXV
JPX FZEBXDE FDX BHEX (ULE, JDXE, KQFJDL)
5.13.d a rough mosaic in sepia of a fish on either side of a shape
in the middle, obscured by a faint image of some reeds
click on either eye:
5.23 GRAPES SCREEN
5.23.r Screen 24; DINING ROOM Screen 07
5.23.h middle grapes - Screen 14; right grapes - DINING ROOM
Screen 07
5.23.s [kitmus08.wav] where are you, where are you little, give a
little bit, give a little bit
5.23.w but others were mocking and saying they are full of sweet
wine ACTS 2:13; T; wine
5.23.d there are two superimposed images of bunches of red grapes,
and green cylinders of ?bamboo
click on middle grapes:
5.14 KNIVES SCREEN
5.14.r Screen 23
5.14.h watermelon - Screen 18; swords - Screen 19
5.14.a [kit_14c.wav] DP: Take the engraved initial with you
5.14.f [knives01.wav] sharpening of knives; [chopping.wav] three
chops on chopping board
5.14.w BY; H
5.14.d in the centre is a chopping board with two knives on it;
behind it at top right is a chopped ?watermelon and at bottom left a
slice of lime; the background is a larger fainter image of the lime
click on watermelon:
5.18 MARKET SCREEN
5.18.r Screen 14
5.18.h strawberry - Screen 21
5.18.a [kit_18c.wav] DP: Strawberry fields forever
5.18.f [crowd01.wav] crowd of people
5.18.s [kitmus03.wav] From here to there and back again
5.18.w PUBLIC MARKET CENTER; PERRY'S IMPROVED SPRING BALANCE; A;
STRAWBERRY; 1 2 3 4 5 6 7 8 9 10 11 12
5.18.d at top left, a sign for a market on scaffolding and a clock
showing 2:52; at right, a spring and hook weighing device; at bottom
left, half a strawberry; and in the background, a market stall with
many yellowish items
click on strawberry:
5.21 IMAGINE SCREEN
5.21.r Screen 18
5.21.a [kit_21c.wav] DP: What's in a name?
5.21.w in me... in memor... in memory of in memory of in memory..
in mem... in me... in m.. in...; IMAGINE; T; w + 3 + 2 + k + 4 + 9 +
w
5.21.d a mosaic with an abstract circular black and white pattern;
superimposed on it a circular red object with spots ?a strawberry
with a green ?flower in front of it; a photograph of John Lennon at
top
5.21.s [kitmus06.wav] Small and blue, imprints the sky. The notes
you play make me high; [kitmus07.wav] Revelations dance, dance in my
brain
back; back; click on swords:
5.19 SWORDS SCREEN
5.19.r Screen 14
5.19.a [kit_19c.wav] DP: A six-sided figure comes forth
5.19.s [kitmus08.wav] where are you, where are you little, give a
little bit, give a little bit; [kitmus09.wav] Where are you little
boy blue
5.19.f [swords01.wav] sword fight
5.19.w 77697468 75746D6F7374 7365766572697479
5.19.d two crossed swords; behind them, a classical statue of a
bearded man curled up within an alcove; in the background, a
classical frieze of centaurs
5.19.e hotspot from screen 18 appears on this screen, probably
erroneously
6 ROOM 6 - THE BEDROOM
Gatewheel symbol: bedside lamp
Sound on entry: [lamp01.wav] Light switch
Icon: Hand mirror
Angle: 36
Song: He and Beauty
Spiritual guide: night-dress
Alt+tab: Bedroom
Bonus clue: Figure out the symbols and learn to read the signs
Quotation: Beauty is truth, truth beauty. That is all ye know
on earth, and all ye need to know - John Keats
Text of song: He's here to fix your mind. Pulling me in, taking
me over, my temple exists as a channel. Do I seek it? Have I found
it? Do I seek it, have I found it? He and beauty - make it a safe
place to play. They're all I needed to make things OK. Chanting,
screaming, drumming, and I can feel it build. Repelling, rebuffing,
deflecting, denying those not at will. As you slam to your knees and
try to read that sky. I'm floating, I'm flying. He's here to fix
your mind. He's here to fix your mind. There is no prevention,
divine intervention. We were born with it, is an instinct, instinct,
instinct. He and beauty make it a safe place to play. They're all I
needed to make these things OK. Can you feel him coming? Is he
right behind? Not here to fix your plumbing, but here to fix your
mind. He's here to fix your mind. He's here to fix your mind. He's
here to fix your mind. And give you advice as a daydream.
6.00 Entrance Screen
6.00.r Gatewheel
6.00.f [on click] [walking4.wav] footsteps
6.00.d two sets of gold railings with lamps on stone pedestals at
intervals, leading up to steps up to a domed roof on four pillars
6.00.s [beauty02.wav] Introduction
6.00.h top of steps - Screen 04
click on top of steps:
6.04 FRAME SCREEN
6.04.r Screen 00
6.04.h bed - Screen 03; sofa - Screen 05; painting - Screen 16
6.04.a [bed_04a.wav] EP: Now that's a bed frame
6.04.f [pflip1.wav] page turning; [doorslam.wav] door slamming;
[locks02.wav] click of lock
6.04.s [bedmus04.wav] He and beauty
6.04.d background is framed picture as in screen , in front of that
is a black and white image of two twisted pillars with a support on
top, surrounding a double bed with striped pillows; in the foreground
is a colour sofa with a floral design on pinkish white, two striped
cushions and a lace antimacassar.
6.04.v [l3brs2.avi] [seated on sofa, filing nails] You know, I think
there's a tag still in here. Oh well, as our mother used to say,
'Beauty knows no pain.' Then again, she never had her legs waxed.
click on bed:
6.03 BED SCREEN
6.03.r Screen 04; ATTIC Screen 21
6.03.h drawer - Screen 02; window - Screen 07; table top - Screen
08; - Screen 13
6.03.a [bed_03a.wav] EP: Goodnight, Stan; [bed_03c.wav] Look beyond,
deep in the back, it doesn't jump out, but it's clear as fact
6.03.f [lamp02.wav] light switch; [clock02.wav] alarm bell ringing
6.03.w ..X TIMES ...EQUAL TWELV.. BY TWO EQUALS SIX; 6X2=12/2=6
6.03.d Bed and pillars as in screen four in roughly the same place;
to the right of the bed is a colour table with a drawer and lattice-
work cupboard underneath and a book and a clock on top; on the far
left is a stained-glass window, white in the centre and yellow
outside with two lit candles in front; at lower left is a white
pillar with a lamp on it with a corrugated shade and metal base
6.03.s [bedmus05.wav] Chanting, screaming, drumming, and I can feel
it build. Repelling, rebuffing, deflecting, denying those not at
will. As you slam to your knees and try to read that sky.
6.03.v [l2fbr1.avi] [getting up from lying on bed] Eat your heart
out, Rita Hayworth! Don't you just love my version of pjs? I'm sure
you'd like to take a closer look, but you'll just have to stay where
you are! [files nails]
click on drawer:
6.02 JUNK SCREEN
6.02.r Screen 03; LIBRARY Screen 10; DINING ROOM Screen 10
6.02.h postcard - Screen 17; thread - Screen 18
6.02.a [bed_02a.wav] EP: Having a great time. Wish you were here
6.02.f [desk01.wav] rolltop desk opening or closing
6.02.w POST CARD THE ADDRESS TO BE WRITTEN ON THIS SIDE; 26 May
1949 My darling Jonathon, Thank you so much for your letter and
postcards. I hadn't realized how much I would miss you. Something
quite odd happened to me today. I was sure I was being followed. I
just had a strange feeling. Anyway, I never saw anyone but ...;
Jonathon Faulkner 7 Ram's Head Lane Oxford England
6.02.d appearing to spill out of the drawer are a postcard, writing
to the front, at right, above which is a spool of red thread and a
pair of scissors, and another postcard of ?Trafalgar Square in
London, on top of which are two paper clips, three rubber bands, a
roll of tape, a square nut and the end of a green and white ruler;
the drawer is at the bottom
click on postcard:
6.17 POSTCARD SCREEN
6.17.r Screen 02
6.17.a [bed_17a.wav] EP: I will follow you; [bed_17b.wav] EP: Read
between the lines; [bed_17c.wav] DP: Don't forget to read between the
lines
6.17.f [airplan2.wav] aeroplane flying past
6.17.w The side may have a message written upon it for POSTAGE IN
THE BRITISH ISLES ONLY the ... must be ... stamp and address; C. W.
Faulkner & Co., London, E.C. Series No ?T08A. British Production;
POST CARD THE ADDRESS TO BE WRITTEN ON THIS SIDE.; HALF PENNY;
CHISWICK ...; Jonathon Faulkner 7 Ram's Head Lane Oxford England
Airmail; 26 May 1949; My darling Jonathon, Thank you so much for
your letter and postcards. I hadn't realized how much I would miss
you. Something quite odd happened to me today. I was sure I was
being followed. I just had a strange feeling. Anyway, I never saw
anyone but just felt uneasy. Probably just my imagination. I am
sure that is all it was. Hope things are going well for you! Love,
[unrecognisable flourish]; ln. 14 wd. 2-4; Miss D [or R]...;
?March
6.17.d the background is a surface like bark; the postcard from the
previous screen occupies the bottom right of the screen
6.17.q 'that is all': words 2-4 on line 14 of the postcard
back; click on thread:
6.18 SEWING SCREEN
6.18.r Screen 02
6.18.a [bed_18a.wav] EP: Re - a note to follow so; [bed_18c.wav] DP:
A phrase and some number - put them together
6.18.w ...a needle pulling thread; DURKOPP; 19.02.05 01.11.10
6.18.d the background is like the surface of a plank of wood; most
of the picture is taken up with a postcard of a sewing machine; on
top of it is a red cotton reel although not the same as the one in
screen 02, with the thread coming from it threaded through a needle
6.18.c 're' does not follow 'so' - is this a clue for the word
'sore'?
6.18.q 'and all': numbers indicate letter positions in 'a needle
pulling thread'
back; back; click on window:
6.07 CANDLES SCREEN
6.07.r Screen 03
6.07.h window, then flower - GARDEN Screen 04
6.07.m [st_gl-09.avi] When the wordsearch is solved and the window
clicked, it swirls and turns into a flower, giving access to the
Garden
6.07.a [bed_07a.wav] EP: Don't look so puzzled; [bed_07c.wav] DP:
Open the windows and go beyond
6.07.w AYECGAREQ; MBPAJRXFD; ZATHISOEW; KBNSEUHWM; DICIPNDBX;
TEOCREJFK; SSNOBTBRY; AHBIFULVG; GZQVLWITH
6.07.d the right hand half of the screen contains the stained-glass
window from screen 03, but this time the outside is brown, the centre
green and the base purple: the colours are reflected in the
wordsearch on the left; two lighted candles are in silhouette in
front of the window
6.07.s [bedmus03.wav] Do I seek it? Have I found it? Do I seek it,
have I found it?
back; click on table top:
6.08 TABLE SCREEN
6.08.r Screen 03; GAME ROOM Screen 08
6.08.h address book - Screen 09; clock - Screen 19
6.08.a [bed_08a.wav] EP: Don't be alarmed
6.08.f [clock03.wav] clock ticking; [pages02.wav] three pages
turning
6.08.s [bedmus03.wav] Do I seek it? Have I found it? Do I seek it,
have I found it?
6.08.w Address Book; J.W.Faulkner
6.08.d The top of the bedside table, with a black address book with
gold lettering at lower left, and an old-fashioned alarm clock at top
right ?showing 5:37
click on address book:
6.09 ADDRESS BOOK SCREEN
6.09.r Screen 08
6.09.h book - BOOK
6.09.a [bed_09a.wav] EP: Here's looking up your old address
6.09.f [pages03.wav] three pages turning
6.09.w Address Book; J.W.Faulkner; Name Address; Name Address; C
D; K L; W X; S
6.09.d a close-up of the address book is in front of various parts
of it: blank entries and letter tabs, in blurred black and white
click on book:
6.B Address Book [this generates a separate taskbar entry]
6.B.r Screen 09; KITCHEN Screen 04
6.B.w [each page has 12 entries of:] Name Address Tel. No.; back
exit; [first page no entries]; A B: Bugz-B-Gone (765) 276 3683 (x7)
[can be dialled]; C D: Creative Cavortions 468 Fleet Street Dinot,
NY (336) 326 2464; [crossed out] Denny's Dry Cleaning .. Modern Park
Hwy Redmond, WA 392 9888; [name crossed out] Carri Roberts (477)
774-7831; Robert Canlan 9316 200th Place SE Wipsnade, OR. (331)
424 1766; Riccardo Capluctio 4421 East Brothens Drive Tucson AZ
(603) 471 4773; Crysta L. Pelota 2255 Heavenly Way Seattle, WA
(843) 779-2442 [can be dialled (without 843)]; E F: [no entries]; G
H: Garden Pharmacy 7425 Back Garden Way Boston Ma. (378) 423 3428
[can be dialled]; I J: [no entries]; K L: Lane Lovers 8733 Nut Tree
Lane Oakcreek Way, RI 11-GRASS; Beacon Hill Village Library 631
Reading Street; Beacon Hill, MA 742-7279; La Cocina de Mama 564
33rd Way SE NEW YORK, NY (473) 287 2782; M N: Dean of Linguistic
Research 891 Port Lacy Way Washington DC 868 6438; O P: Crysta L.
Pelota 2255 Heavenly Way Seattle WA 779-2442 [can be dialled];
Garden Pharmacy 7425 Back Garden Way Boston Ma (378) 423-3428 [can
be dialled]; Q R: [no entries]; S T: Star Sight Observatory (759)
562-2537 [can be dialled]; Margaret Swanson 625 SE Blvd Roschik,
Atlanta (377) 278 1522; Mike and Jule Smith 8520 SE Sea View Holy
Brook WA (462) 832-1120; Cynthia Swaine 5552 395 80th Str Lynrood
Boston (317) 637-6646; [crossed out] Stan & Justine Swift 342 Mine
Way Buffalo NY (818) 416 48..; John Smith (& Amy) 3361 124th
Nyson; Chance Indiana (440) 403 4641 202; Cliff and Flora Stone
(843) 677 8379 [can be dialled (without the 843)]; U V: Tutta il
Handa Travel Agency 2355 285 Rees Ave Boston MA (843) 329-3675
(x68377) [can be dialled]; W X: UMBRA PENUMBRA Astabox 937 Macking
Way Serona AZ; 843-STAR; Y Z: [no entries]
'exit'; back; click on clock:
6.19 CLOCK SCREEN
6.19.r Screen 08; CELLAR Screen 23
6.19.h clock - CELLAR Screen 19
6.19.a [bed_19a.wav] EP: Hey buddy, can you spare the time?;
[bed_19c.wav] DP: Watch your clock - tick, tock, tick, tock
6.19.f [largeclk.wav] large clock ticking
6.19.w THERE IS AN APPOINTED TIME FOR EVERYTHING. AND THERE IS A
TIME FOR EVERY EVENT UNDER HEAVEN...; Elgin Natl Watch Co; XII I II
III IIII V VII VIII IX X XI; 60 10 20 30 40 50; 12 1 2 3 4 .. 7 8 9
10 11
6.19.d there is a large clockface at right with outsized hands
showing 1:42:05, and a fainter old-fashioned watch at left showing
12:14:35; even dimmer in the background is the alarm clock, still
with an indistinct time
back; back; click on lampshade:
6.13 WINDOWS SCREEN
6.13.r Screen 03; DEN Screen 12
6.13.h mirror - Screen 14; picture or books - Screen 15; left
window - ATTIC Screen 13
6.13.a [bed_13a.wav] EP: You're so vain; [bed_13b.wav] EP: The ties
that bind
6.13.f [shatter2.wav] glass shattering; [pages03.wav] three pages
turning; [space02.wav] eerie sound
6.13.d the edge of the bed is at left, with a pillar with the lamp
on it and a clock on it to the right of the bed; there is the edge of
a chandelier in the top left corner; the rest of the picture is the
corner of the room with two windows with a night sky outside: through
the left window other than the background stars is one bright white
star and one dim yellow one, and through the right window is one
bright yellow one; there is a shelf running under the windows: on the
left hand end are six or seven upright books with a ?phone socket
under the shelf at that point, then a small painted box, then a
framed photograph of a man and a woman, and at the corner is an
ornate circular mirror on a stand with a red book lying next to it;
at the right is the edge of a plain lampshade and a bushy plant
6.13.v [l3brs3.avi] [sitting on shelf] Hmmmmm ... I can pretty much
see from here that we might have something in common. Are you a big
Dr Seuss fan too? [getting up] I knew it! Listen, I don't want to
get too ... well, meaningful, but I'm starting to think we could have
... chemistry.
click on mirror:
6.14 MIRROR SCREEN
6.14.r Screen 13
6.14.a [bed_14a.wav] EP: Test your mettle; [bed_14c.wav] DP: Why not
become a catalyst?
6.14.s [bedmus07.wav] He and beauty, make it a safe place to play.
6.14.w Beryllium 9.0122; Verdad [in mirror image and also upside-
down, fainter]; Yttrium 88.905; Gold 196.967; Titanium - i 47.90
6.14.d A close-up of the mirror on the corner of the shelf and the
red book is in a fuzzy-edged box in the centre: there is a shiny
label on the book; the rest of the screen is black, with the words
and 11 circles like orbits
6.14.q 'truth, beauty': verdad is Spanish for truth, the chemical
symbols for the elements (minus the 'i' in the case of titanium)
spell be/au/t/y
back; click on picture or books:
6.15 BOOKS SCREEN
6.15.r Screen 13
6.15.h books - LIBRARY Screen 15; photograph [twice] - GAME ROOM
Screen 1
6.15.a [bed_15a.wav] EP: My, how they've changed over the years
6.15.m [l3brp.avi] Both hands on the keyboard, please.;
[a_chess6.avi] the picture of Faulkner's ?parents changes into two
chess pieces when clicked
6.15.f [pages03.wav] three pages turning
6.15.w THE HOLLYWOOD ..SICAL; MUSEUMS OF ...; GALLERY BOOKS; THE
COLORFUL WORLD OF THE CIRCUS; THE ENCYCLOPEDIA OF ?Curie
6.15.d close-up of the area of the shelf with the books and the
photograph: there are parts of eight books visible, and next to them
is the small tin box with a picture of a house on it surrounded by an
ornate design; the photograph is from about the 1920s with a formal
man and woman: she has a ruffle and he has a buttonhole, the frame is
metal with engraved wavy designs; part of the white pillar is visible
at bottom left
6.15.m When the photograph is clicked, the picture transforms to
four chess pieces - the one at front right is like that in the
Garden; when clicked again, it allows access to the Game Room
back; back; back; click on sofa:
6.05 METAPHOR SCREEN
6.05.r Screen 04
6.05.h yellow doorway - Screen 06; left red ball - Screen 12
6.05.a [bed_05a.wav] EP: The metaphor equates two unequal ideas;
[bed_05c.wav] DP: A dictionary is a printe