Zork Nemesis Design Document: Section 11

ZORK NEMESIS DESIGN DOCUMENT: Part 11 - Monastery

VERION 2.5/3.0 (1995/08/17)

VERSION 4.1 (1995/09/27)

LIST OF TEXT (A)

LIST OF TEXT (B)

RUFFINI'S NOTES ON VER 2.5/3.0

11.01 Transport to the Monastery — Through the Portal
The player aligns the Orrery to Saturn and the portal dissolves to flames [qt_actor]. Amidst the crackling of the flames, the player hears the faint sound of church bells ringing [audio actor]. The player steps through the portal and is initially engulfed in flames. The player flies through a volcanic landscape. The final powerful image as the camera sweeps forward is of a small lead triangle. It glows briefly and fades as the whole frame becomes engulfed in flames.

The Monastery graveyard dissolves into view.

11.01 Transport to the Monastery — Through the Portal
The player aligns the Orrery to Saturn and the portal dissolves to flames [qt_actor]. Amidst the crackling of the flames, the player hears the faint sound of church bells ringing [audio_actor]. The player steps through the portal and is initially engulfed in flames. The player flies through a volcanic landscape. The final powerful image as the camera sweeps forward is of a small lead triangle. It glows briefly and fades as the whole frame becomes engulfed in flames.

The Monastery graveyard dissolves into view.

11.02 The Monastery Story Summary
In the Monastery section of the game, the player learns of Malveaux, the corrupted, powerful bishop of the fire-based Zorkastrian religion. The player sees hallucinations which reveal that Malveaux was involved in a strange plot with Sophia, Kaine, and Sartorius. The plot involved his adopted daughter, Alexandria.

The player learns that Alexandria was brought into the Monastery as a baby, baptized by the cabal of four and then raised by Malveaux and his monks. Through her wanderings in the Monastery, the player also sees the ambiguous relationship between Malveaux and Alexandria that wavered between love and, ultimately, betrayal.

The Monastery has three levels: the main building, a graveyard and a series of secret underground catacombs leading to Malveaux's Alchemy Lab.

Monastery Level 1

Graveyard & Path
Entry Hall

Hall of Masks

Chapel

Bell Tower

Relics Room

Manuscript Room

Monastery Level 2

Second Level Hallway
Balcony

Malveaux's Room
Alexandria's Room

The Catacombs

Old Room

Fire Tunnel

Alchemy Lab

Monastery Level 1

Graveyard & Path
Entry Hall

Hall of Masks

Chapel

Bell Tower

Relics Room

Manuscript Room

Monastery Level 2

Second Level Hallway
Balcony

Malveaux's Room
Alexandria's Room

The Catacombs

Old Room

Fire Tunnel

Alchemy Lab

The word "Zorkastrian" is somewhat cheesy, but I have to admit that I like it.

11.02.01 The Graveyard & Path
The player begins her quest for Malveaux's purified metal in the graveyard adjoining the Monastery. Rotting and decaying gravestones dot the hillside. The portal back to the Temple is represented by a floating model of the planet Saturn at the point of entry.

If the player clicks on the planet, she dissolves back into the Orrery Room in the Temple [qt_actor]. If the player is carrying an object when passing back through the Orrery, that object is left in the graveyard and may be retrieved upon returning to the Monastery.

The Monastery is set into the upper edge of a huge chasm. Large volcanoes rise around the graveyard. Smoky columns of fire emit from the cones of the exploding mountains. Much of the terrain is black and scorched by fire.

Lava flows [animation_actor] from one of the volcanoes, creating rivers of moving molten earth around the graveyard and path leading away from it. The path disappears around a ancient, but the top of a Bell Tower can be seen rising above the structure.

Outside: headstones state A. Agrippa, Ozmar, Satchmoz

What are the dates of birth and death?

If the gravestones are visible, they should show names of past alchemical masters, and the previous heads of their secret society, such as Satchmoz, Agrippa, Ozmar, etc.

11.02.02 The Path to the Monastery
To the E is a small ledge overlooking the chasm. Engraved on the smooth rock wall to the N is the following:

HEAT AND FLAMES TRANSFORM THE WORLD

11.02.02 The Path to the Monastery
To the E is a small ledge overlooking the chasm. Engraved on the smooth rock wall to the N is the following:

HEAT AND FLAMES TRANSFORM THE WORLD [text_actor]

The player heads E following the rough path

11.02.03 The Zorkmid
The player heads E following the rough path. Before her, two broken walls form rough steps climbing towards the Monastery. From the base of these, she notices a faint glint of metal at the intersection of the walls. Curious, she advances.

At the intersection, she looks down and sees a curve of metal protruding over the edge of the wall, but otherwise buried. The dirt above the metal is active. She clicks on it and the dirt clears away to reveal a Zorkmid, which is active. If she clicks on it again, the Zorkmid becomes her cursor [cursor_object].

The Zorkmid (what should this zorkmid look like?)

and over the top of a broken wall before finding herself at the foot of the Monastery of Zork -- Malveaux's former home and the seat of his power.

The building is a two-story structure. A Bell Tower rises above one end of the building. The player crosses to the an immense wood door which serves as its entrance. The door is heavily boarded and sealed with a bronze plaque that says the following:

CLOSED PENDING FINAL EXORCISM! ENTRY IS FORBIDDEN BY ORDER OF THE GRAND INQUISITOR PURSUANT TO A.G. E. CODE 1535-47750/BCV56A.

The player clicks on the door, but nothing happens. If the player looks down, she will see a small hole in the ground at the base of the door revealing a piece of the structure's foundation. If she clicks on the hole , she will see a close up of the hole. If she clicks on the close-up, she will travel suddenly through the hole and find herself in the Monastery Entry Room [animation_actor].

11.02.04 The Monastery Door
Satisfied, she continues over the top of a broken wall before finding herself at the foot of the Monastery of Zork -- Malveaux's former home and the seat of his power.

The building is a two-story structure. A Bell Tower rises above one end of the building. The player crosses to the an immense wood door which serves as its entrance. The door is heavily boarded and sealed with a bronze plaque that says the following:

CLOSED PENDING FINAL EXORCISM! ENTRY IS FORBIDDEN BY ORDER OF THE GRAND INQUISITOR PURSUANT TO A.G. E. CODE 1535-47750/BCV56A. [text_actor]

The player clicks on the door, but nothing happens. If the player looks down, she will see a small hole in the ground at the base of the door revealing a piece of the structure's foundation. If she clicks on the hole, she will see a close up of the hole. If she clicks on the close-up, she will travel suddenly, through the hole and find herself in the Monastery Entry Room [animation_actor].

This area has been closed pending final exorcism! Entry is forbidden by the Order of Syovar, Viceregent to the Exiled Kings of the Great Underground Empire. Signed at Foozle, 21 Arch 947, IV xxii.

change the Grand Inquisitor's notice to one of the following, the first if the monastery was closed after the fall of the empire, and the second if it was closed before:

This area has been closed pending final exorcism! Entry is forbidden by the Order of Syovar, Viceregent to the Exiled Kings of the Great Underground Empire. Signed at Foozle, 21 Arch 889, IV xxii.

This area has been closed pending final exorcism! Entry is forbidden in the name of His Royal Highness Idwit Oogle Flathead, Protector of the Empire and Ruler of all the Known Lands. Signed into law at Aragain, 22 Suspendur 879.

11.03 Monastery Entry Room
The Entry is two-storied. The player can return to the outside via the hole or continue to explore the Monastery. East of the Entry is the Hall of Masks.

The Monastery is an eerie, unnerving and simple structure. Stark wooden columns and beams throw shadows onto the plain walls. Floor grates add to the effect by casting a deep orange-yellow light upwards. Around her, the player hears flames [audio_actor]. The building appears to have fallen into disrepair and decay.

The player can click on the door at the far end of the Entry Room and the doors will open.

Above the door in the E end of the room the player can look up to see a burnished metal symbol of a flame. Around the flame circles a large gold ring and a large silver ring.

OR INSERT ALTERNATIVE CLUE TO FINAL ACT III PUZZLE.

The player continues East.

11.03 Monastery Entry Room
The Entry is two-storied. The player can return to the outside via the hole or continue to explore the Monastery. East of the Entry is the Hall of Masks.

The Monastery is an eerie, unnerving and simple structure. Stark wooden columns and beams throw shadows onto the plain walls. Floor grates add to the effect by casting a deep orange-yellow light upwards. Around her, the player hears flames [audio_actor]. The building appears to have fallen into disrepair and decay.

The player can click on the door at the far end of the Entry Room and the doors will open.

The Donation Box
To the right of the door on the wall behind the player when she enters, the player notices a donation box on a small wooden table. A sign above the donation box reads:

"Donate now! Every Zorkmid 'brings you prescience from the six Gods of Emotion." [text_actor].

The box is active. If the player clicks on the box, she sees a close-up of the box. At the base of the box on the right side, she notices a curved metal shoot such as one sees on a label maker. She also notices a latch on the side of the box and, on top of the box, a slot.

The slot and the latch are active.

If the player has the Zorkmid and clicks on the box, the Zorkmid animates and drops into the ,donation box, which rattles as if full of coins; then a strip of paper inches out of the metal shoot [animation_actor]. The paper is active.

The Messages
If the player clicks on the paper, It tears away from the box and zooms into the player's POV [animation_actor]. This is advice from one of the six Gods. The box has twelve of these messages; each message has a symbol on the left and text on the right. The symbols are the same symbols as the player finds in the Hall of Masks; the messages should give the player an idea of which emotion is associated with each symbol so that the player can match the words of the Masks with the symbols on the floor.

The messages read something like:

Message 1: "Donations make a happy man." [text_actor]
Message 2: "Rain is the tears of God; it washes all away." [text_actor]
Message 3: "And at his insult, smite him through the skull." [text_actor]
Message 4: "Though once your lover, now he only loves to kiss another." [text_actor]
Message 5: "In the darkness, you will hear your killer's footsteps coming." [text_actor]
Message 6: "Turn the other cheek." [text_actor]
Message 7: "A balanced life is a life of joy." [text_actor]
Message 8: "In life, all that you can gain is lost in death." [text_actor]
Message 9: "Let your blood boil and fill your limbs with the power to rip him limb from Iimb [text_actor]
Message 10: "All that you want, she has." [text_actor]
Message 11: "Fear what you cannot know." [text actor]
Message 12: "Do unto others as you would have done unto you." [text_actor]

Getting The Zorkmid Back
After reading the first message, the player returns to the close-up of the box. The latch is active; and the sound of money has made her a little greedy. She clicks on the latch, and the box animates and opens [animation_actor] to a close-up of the inside of the box.

Inside the box, she is disappointed to find only one Zorkmid. She can also see a note pinned to the inside of the door. The note reads: "Thank the Gods for the generosity of man, and a curse all your progeny for stealing from the church" [text_actor]. The Zorkmid is active, and she can click on it to take it [cursor_object].

With the Zorkmid, she can now get the next homily from the donation box. She can repeat this as many times as she likes. After a set length of time, she receives a slip that reads, "Please refill with homily roll #6" [text_actor].

The Parish Announcements
Having finished with the donation box, the player turns her attention to the wall on the other side of the door. There, she notices an announcement board listing births, marriages, and deaths. This board will provide the background for the Hall of Masks/Bell Tower puzzle. Besides births and marriages (perhaps using photos of the production staff), the board has a small text announcement that reads as follows:

"Condolences to the family of Father Mulligan, who was drawn and quartered for ringing the Seventh Tone to God out of order. Measures have been taken to prevent such tragic errors in the future" [text_actor].

The Monastery Flame
Above the door in the E end of the room the player can look up to see a burnished metal symbol of a flame.

OR INSERT ALTERNATIVE CLUE TO FINAL ACT III PUZZLE.

The player continues East.

Monastery Door Puzzle Box
“Donate now! Every Zorkmid brings you prescience from the six Gods of Emotion.” [text_actor].

The Messages
    6 Symbols Required
    12 Messages
    “Please refill with homily roll #6”

Revised Dialogue of Six Masks

MC1HB2 (Afraid)
Afraid #1:   True fear is known only by the very quick, and the very thick.
Afraid #2:   Fear nothing except the fearlessness that comes when nothing is all you have to lose.

MC1HB3 (Angry)
Angry #1: An angry man is a righteous man.
Angry #2: Anger has no room for reason.

MC1HB4 (Bored)
Bored #1: Boredom is perfect balance without purpose.
Bored #2: If you wish to slow time, do nothing.

MC1HB5 (Happy)
Happy #1: The road to happiness is paved with good health.
Happy #2: Donations make a happy man

MC1HB6 (Sexy)
Sexy #1: The hip’s curve, the arching spine, a heartbeat outside your own, in these lies absolution.
Sexy #2: Within the touch of bodies, we find ourselves.

MC1HB7 (Suspicious)
Suspicious #1: To the eye of suspicion, there can be no mistakes, only misdirection.
Suspicious #2: The suspicious man has closed his heart to unexpected gifts.

MC1GB2
Zorkmid Box:
“Thank the Implementors for the generosity of man, and a curse on all your progeny for stealing from the church.”

Bulletin Board
The Announcement Photos of us

Condolences to the family of Father Mulligan, who was drawn and quartered for ringing the Seventh Tone to the Great Implementor out of order. Measures have been taken to prevent such tragic errors in the future.

Condolences to the family of Father Goffman, who was banished after muttering in his sleep the forbidden words, "Hello Sailor."

We welcome the Burton family, who has renounced the absurdities of the Brogmoid cult and accepted the wisdom of Zorkrastrianism.

Congratulationsto Alvira Flatman who has won a free plot of land in a new development in the up and coming Valley of the Sparrows.

11.04 Hall of Masks
On each side of short, wide hallway there are THREE MASKS, representing different emotions.

The player sees six carved plaques [cursor_objects] laying on the floor at the player's [text_actors] marked as follows:

HAPPINESS
SADNESS
ANGER
JEALOUSY
FEAR
COMPASSION.

The player's task is to pick up each of the plaques and attach it to the correct mask. When she matches the correct label with the correct mask the mask speaks [audi_ actors].

[INSERT REVISED DIALOGUE TO BALANCE GAMEPLAY]

HAPPY MASK

"of lead and fire, fire and lead— water, earth, air and then fire is how eternal transmutation will awake."

SAD MASK

"This is the true Elixir to make"

ANGRY MASK

"Take Earth of earth, Earthe's brother"

JEALOUS MASK

"...and water of Earth that is the other..."

FEARFUL MASK

"...and fyer of Earth that beareth the pryce..."

COMPASSIONATE MASK

"...and of that Earth look thow be wyse..."

In all likelihood, the player will not label the masks in the correct order the first time. Thus, the combined speech makes no sense because the pieces are out of order.

After the first playback, the player may click on any of the masks and again hear that mask's dialogue. If the player clicks on the six masks in the correct sequence, all six masks will again speak, but in the correct order so that the speech is comprehensible [qt_actor].

ANGRY MASK

"Take Earth of earth, Earthe's brother"

JEALOUS MASK

"...and water of Earth that is the other..."

FEARFUL MASK

"...and fyer of Earth that beareth the pryce..."

COMPASSIONATE MASK

"...and of that Earth look thow be wyse..."

SAD MASK

"This is the true Elixir to make "

HAPPY MASK

"of lead and fire, fire and lead— water, earth, air and then fire is how eternal transmutation will awake."

Once the puzzle is solved, clicking on any mask replays the correctly ordered dialogue. The sequence the masks speak is also the sequence needed for the Bell Tower puzzle -- the first letter of each descriptive plaque is the correct one to play on the console (A, J, F, C, S, H).

11.04 Hall of Masks
This room contains:

Six Masks of the emotions set into the walls, three on a side
Six Plaques showing the symbols that match the masks

On each side of short, wide hallway there are THREE MASKS, representing different emotions: happiness, sadness, anger, jealousy, fear, compassion.

The player sees six carved plaques [cursor_objects] laying on the floor in a pile of bricks. The plaques each have a single symbol, which corresponds to one of the symbols that the player saw printed on the Donation Box homilies. If the player clicks on a plaque, it becomes her cursor [cursor_object].

The Masks
Six masks line the hall, three on a side. Each Mask depicts one of the following emotions: happiness, sadness, anger, jealousy, fear, and compassion. Also, the player notices a recess below each mask. The recess is approximately the size of the plaques on the floor.

Both the recess and the masks are active. The player's task is to listen to each portion and then figure out the proper order. This in turn tells the player what order to ring the six bells in the Bell Tower.

The first time the player clicks on a mask, she hears all six masks speak, but in the wrong order. The masks say the following:

[INSERT REVISED DIALOGUE TO BALANCE GAMEPLAY]

HAPPY MASK

"of lead and fire, fire and lead— water, earth, air and then fire is how eternal transmutation will awake."

SAD MASK

"This is the true Elixir to make"

ANGRY MASK

"Take Earth of earth, Earthe's brother"

JEALOUS MASK

"...and water of Earth that is the other..."

FEARFUL MASK

"...and fyer of Earth that beareth the pryce..."

COMPASSIONATE MASK

"...and of that Earth look thow be wyse..."

After having clicking on any one of the masks, the masks will repeat their portion individually when the player clicks on a mask.

Noticing the recess, the player will also want to place a plaque into the recess below the mask. Having read the homilies from the Donation Box, she deduces which symbol is associated with the emotion displayed on each mask. She then places the appropriate symbol beneath the appropriate mask. When she has placed the last of the plaques property, the plaque will glow and seal into place. All of the plaques will become inactive.

Solving the Mask Puzzle
At any time, the player may click on any of the masks and again hear that mask's dialogue. If the player clicks on the six masks in the correct sequence, all six masks will speak in the correct order so that the speech is comprehensible [qt_actor].

ANGRY MASK

"Take Earth of earth, Earthe's brother"

JEALOUS MASK

"...and water of Earth that is the other..."

FEARFUL MASK

"...and fyer of Earth that beareth the pryce..."

COMPASSIONATE MASK

"...and of that Earth look thow be wyse..."

SAD MASK

"This is the true Elixir to make "

HAPPY MASK

"of lead and fire, fire and lead— water, earth, air and then fire is how eternal transmutation will awake."

Once the puzzle is solved, clicking on any mask replays the correctly ordered dialogue. The sequence themasks speak is also the sequence needed for the Bell Tower puzzle -- the player must press the symbols in the Bell Tower in the same order as the masks.

11.05 Passage to the Bell Tower, Manuscripts Room and Chapel
The stairs to the left of the masks lead straight and right. The straight corridor leads to the Bell Tower and the right corridor leads to a small balcony outside of the Manuscripts Room. From the balcony of the Manuscripts Room, the player can look down into the Hall of Masks and Entry. To the right of the Hall of Masks is a short series of steps up and a short hallway leading to the Chapel or through the corridor on the left to the balcony outside the Manuscripts Room.

The player may explore in either direction, although if she turns right she hears someone repeating prayers [audio_actor] and follows the sound of the voice. Two closed double doors stand in the player's path. If the player clicks on them they will open and remain open for the rest of the game [animation_actor, game state_actor].

The Raised Balcony and Secret Door to Malveaux's Room
Directly opposite the hall of mirrors, the player will notice a raised balcony and beyond that the door to the manuscripts room. When she walks to the end of the hall, and she notices that the engravings on the wall below the balcony form the outline of a doorway. Yet, she finds nothing active. If the player rotates the narrow bookcase in Malveaux's room and descends the stairs, she will emerge here. From then onwards, whenever she reaches the last node in the hall, the door will automatically swing open.

It would be -very- interesting to hear the audio_actor in this part repeat thereligious commandment in Zork I, the one against saying "Hello Sailor." Intriguingly enough, there were several parts of that Zork I religion that were fire-oriented, as is the religion at this monastery.

11.06 The Chapel
The player enters a darkened chamber, with strange wooden platforms on either side that create a narrow walkway. The ceiling of the room is peaked and decorated with simple designs. Dirty light cascades in from windows at the left. At the head of the room is an altar, slightly raised against the wall. In front of each platform is an iron floor grate through which streams up hot orange-yellow light from the molten earth beneath the Monastery.

Through a doorway to the right (west) is a small dark room with dim yellow light spilling onto the Chapel floor.

11.06.01 The Mad Monk
If the player clicks on the altar, a MAD MONK appears from behind it and moves toward the player [video_actor].

The monk mumbles prayers in an unknown tongue as he reacts to the player. His eyes jitterbug ceaselessly, a visual representation of the chaos inside his head.

MAD MONK
(reacting to presence of player)

What are you doing here? Don't you know this place is shut down? There's evil here.

(frightened whisper)

Demons. Everywhere. Coming from upstairs in the Master's room. And now he's gone. Disappeared. There's no one to protect me. If I have to listen to them for one more night, I think I'll go mad.

When the monk finishes, he turns and runs through the doorway into the dim room to the right. The player hears a groan of metal and a loud clang [audio_actor] -- as if someone is closing a heavy iron grate -- before the scene dissolves to the player's original POV.

11.06.01 The Mad Monk
If the player clicks on the altar, a MAD MONK appears from behind it and moves toward the player [video_ actor].

The monk mumbles prayers in an unknown tongue as he reacts to the player. His eyes jitterbug ceaselessly, a visual representation of the chaos inside his head.

MAD MONK
(reacting to presence of player)

What are you doing here? Don't you know this place is shut down? There's evil here.

(frightened whisper)

Demons. Everywhere. Coming from upstairs in the Master's room. And now he's gone. Disappeared. There's no one to protect me. If I have to listen to them for one more night, I think I'll go mad.

11.06.02 The Baptism Area
The player enters the dimly-lit baptism area of the Chapel. Yellow light spills up from a locked grate in the floor to the right of the stone baptismal font. A small beam of light pokes through the roof highlighting the bowl of the font. Yellow-orange light streams up from a locked grate in the floor. If the player tries to click on the grate it will merely shake slightly [animation_actor] and rattle [audio_actor], but the grate does not open.

11.06.02 The Baptism Area
The player enters the dimly-lit baptism area of the Chapel. Yellow light spills up from a locked grate in the floor to the right of the stone baptismal font. A small beam of light pokes through the roof Ihighlighting the bowl of the font. Yellow-orange light streams up from a locked grate in the floor. If the player tries to click on the grate it will merely shake slightly [animation_actor] and rattle [audio_actor], but the grate does not open.

11.06.03 Hallucination: The Baptism of Alexandria
If the player clicks on the font, the player sees an overhead close-up of the font bowl. When the player clicks on the overhead close up, the fire grows from the font bowl and fills the screen before dissolving into a new POV. The player's POV is now facing the font with her back to the doorway.

Surrounding the font in a semi-circle are the four alchemists [video_actor], The yellow light from the floor grate gives the four characters an eerie look. A younger Malveaux dressed in high priestly gear holds a baby wrapped in silver cloth in the air, above a stone basin.

Sophia, Sartorius and Kaine - also younger, also in priestly robes that obscure their appearance - stand in a circle around the basin. Malveaux raises the wrapped infant into the beam of light coming down from above. He whispers a line from a magical text.

He tosses a small bit of powder into the bowl. The flames briefly flare up. He then lowers the baby into the flame for a second. As the scene fades, the fire fills the screen before dissolving into the player's original POV (the overhead close up of the font).

If the player takes a close look at the steps below the locked floor grate, she will see a clue to the Monastery alchemy puzzle:

[INSERT CLUE]

From the Chapel the player must return though the Hall of Masks in order to explore other parts of the Monastery.

11.06.03 Hallucination: The Baptism of Alexandria
If the player clicks on the font, the player sees an overhead close-up of the font bowl. When the player clicks on the overhead close up, the fire grows from the font bowl and fills the screen before dissolving into a new POV. The player's POV is now facing the font with her back to the doorway.

Surrounding font in a semi-circle are the four alchemists [video_actor]. The yellow light from the floor grate gives the four characters an eerie look. A younger Malveaux dressed in high priestly gear holds a baby wrapped in silver cloth in the air, above a stone basin.

Sophia, Sartorius and Kaine - also younger, also in priestly robes that obscure their appearance - stand in a circle around the basin. Malveaux raises the wrapped infant into the beam of light coming down from above. He whispers a line from a magical text.

He tosses a small bit of powder into the bowl. The flames briefly flare up. He then lowers the baby into the flame for a second. As the scene fades, the fire fills the screen before dissolving into the player's original POV (the overhead close up of the font).

Below the Floor Grate
If the player takes a close look at the steps below the locked floor grate, she will see a clue to the Monastery alchemy puzzle:

[INSERT CLUE]

From the Chapel the player must return though the Hall of Masks in order to explore other parts of the Monastery.

When Malveaux "whispers a line from a magical text", I would like to see it sprinkled with suitably Zorkian syllables and words, the occasional boz and frob, and maybe some of the non-sense words included in the provincial mottos in the Zork II packaging.

11.08 The Bell Tower Puzzle
Entering the Bell Tower from the Hall of Masks, the player is struck by the size of the tower. The room is an octagonal stone-walled chamber roughly 10' on each side. The spiral stairway to the Second Level leads up the second level. On the second level a partially collapsed walkway hugs the wall. If the player looks up, she will see above her a carillon of 30 bells of different sizes attached to rough-hewn beams beneath the roof.

At the top of the stairs is a landing containing the carillon console. One story up (out of the player's reach) is a narrow open window which opens onto the Balcony adjoining Malveaux's Room.

The carillon console fills one side of the landing. The console consists of a series of 26 wooden levers labeled A-Z [text_actors] about the size of draft beer taps.
If the player clicks one of the levers, it will depress momentarily [animation_actor], and a corresponding tone is heard [audio_actor] from the smaller bells above the player and move the organ keys in the console.

As the bells ring the corresponding note plays on the organ and the key on the console depresses [animation_actor]. The player can play the small bells by clicking on the levers in any combination for as long as she wants. This will also occur if the player tries to enter any other sequence or word in the console.

Pasted on the wall beneath the area where the bell rope descends are a series of several bell calls including:

CALL TO MEALS	TBFG
CALL TO PRAYER	EEDR
INVASION/ATTACK	SADW
ASSEMBLY	EDRG
LIGHTS OUT	GHYT
WAKE UP	BFRD
FIRE ALARM	KNIT

If the player clicks on the levers in the sequence corresponding to the correct order of the Hall of Masks puzzle (A, J, F, C, S, H), a rope will drop down from the Bell Tower ceiling near the window.

If the player clicks on this rope, she can "grab" it and hang on as it travels up and down. As the player "rides" the rope, the bells will play a loud booming version of the sequence she just played on the console. The player must click on the open window to the balcony as it passes her POV in order to gain access to the Balcony.

11.08 The Bell Tower Puzzle
Entering the Bell Tower from the Hall of Masks, the player is struck by the size of the tower. The room is an octagonal stone-walled chamber roughly 10' on each side. The spiral stairway to the Second Level leads up the second level. On the second level a partially collapsed walkway hugs the wall. If the player looks up, she will see above her a carillon of 30 bells of different sizes attached to rough-hewn beams beneath the roof.

At the top of the stairs is a landing containing the carillon console. One story up (out of the player's reach) is a narrow open window which opens onto the Balcony adjoining Malveaux's Room.

The carillon console fills one side of the landing and is curved like an organ. The console consists of 16 wooden levers labeled with symbols, six of which match the ones in the Hall of Masks and the homilies in the Donation Box. If the player clicks one of the levers, it will depress momentarily [animation_actor], and a corresponding tone is heard [audio_actor]. The player can play notes by clicking on the levers in any combination for as long as she wants. These are not the sounds of the true organ bells, but merely reference tones.

The player also notices a lever on the far left, different from the others. If the player clicks on this, she will see a close-up of the lever, which is still active. If she clicks on it again, the great bells will play whatever notes she has entered. The lever will repeat this string of notes until she enters a new string.

Pasted on the wall beneath the area where the bell rope descends are a series of several bell calls including:

CALL TO MEALS	(Four symbols TBD)
CALL TO PRAYER	(Four symbols TBD)
INVASION/ATTACK	(Four symbols TBD)
ASSEMBLY	(Four symbols TBD)
LIGHTS OUT	(Four symbols TBD)
WAKE UP	(Four symbols TBD)
FIRE ALARM	(Four symbols TBD)

If the player clicks on the levers in the sequence corresponding to the correct order of the Hall of Masks puzzle, and then clicks on the left lever, the player's POV will tilt up from the lever to the roof where a trap door will swing open and a rope will descend.

If the player clicks on this rope, she can "grab" it and hang on as it travels up and down. As the player "rides" the rope, a seventh tone will sound, the tone to God. The player must click on the open window to the balcony as it passes her POV in order to gain access to the Balcony.

The winning melody should be a variation of the Harmony of the Sphere's: Alexandria's piece.

CALL TO MEALS	(Four symbols TBD)
CALL TO PRAYER	(Four symbols TBD)
BROGMOID SACRIFICE	(Four symbols TBD)
CALL TO FANUCCI	(Four symbols TBD)
LIGHTS OUT	(Four symbols TBD)
WAKE UP	(Four symbols TBD)
FIRE ALARM	(Four symbols TBD)
HALF-BOZ WARNING	(Four symbols TBD)

To the listed bell calls, it might be nice to add some random ones like:

Call to Fanucci	KFHC
Half-Boz Warning	MOFX
Brogmoid Sacrifice	DUMF

mixed in randomly amidst the others.

11.09 Balcony & Malveaux's Room
The Balcony affords a view of the cliff surrounding the Monastery. A huge volcano can be seen in the distance.

The Balcony connects with Malveaux's Room via a solid wooden door. Clicking on it opens it [animation_actor]. Beyond the doors is a small room with a bed and simple furnishings. The door to the S is boarded up and cannot be used. (Later the player will see the same door from the other side as the player explores the Second Level Hallway).

A small narrow table next to a worship platform contains a photo of Alexandria and a gold medallion in addition to several candles, In a small glass-front cabinet the player finds a hypochondriac's assortment of bottles with powders and pills, Prozork and pain-killers, a syringe, creams, herbs and some acupuncture needles.

Near the door is a simple wooden night-table and a wooden stand with candles burning on it [animation_actor]. At the foot of the candle stand is a worship platform similar to the ones the player saw earlier in the chapel.

The player finds the medallion and a photo of Alexandria on the candle stand. The player can click on the medallion to get a close-up of it. If the player clicks on the close-up, the view dissolves and pulls back slightly to reveal the medallion in Malveaux's hand [video_actor].

From the player's POV, the view pulls back further to reveal a hallucination of Malveaux as he makes his confession. The only light comes from the oil lamp which casts a warm glow on Malveaux's face, the medallion and the photograph.

MALVEAUX

A lifetime, for some.

He smiles sadly.

MALVEAUX

A lifetime fashioning this desperate hope, immortality.

His smile gives way to a grimace of emotional pain. He rips off the medallion with a guttural cry and throws it at the floor.

MALVEAUX

I can't! Not at this cost. Hell is better.

(beat - desperate)

I'll pray. I can still pray for forgiveness.

He puts a hand on a carved chair to steady himself, then lowers himself to his knees, shuts his eyes and mutters incoherently for a few beats.

MALVEAUX
(first clear, coherent words)

...pardon my sins... avarice, sloth, envy ... lust

His urgent look gives way to blank despair as he realizes how numerous his sins, how profound his fall. His eyes open.

MALVEAUX

...unnatural desires... impure thoughts... stealing...

He gazes at some inner vision of hell. He knows his resolve is beaten. Still kneeling, he reaches for the medallion. It's too late to turn back. He rises. It sounds like he's still talking to God.

MALVEAUX

Forgive me.

As Malveaux's dialogue ends, the player move in to a close-up of the medallion. It dissolves into the player's original POV looking at the close-up of the medallion.

11.09 Balcony & Malveaux's Room
The Balcony affords a view of the cliff surrounding the Monastery. A huge volcano can be seen in the distance.

The Balcony connects with Malveaux's Room via a solid wooden door. Clicking on it opens it [animation_ actor]. Beyond the doors is a small room with a bed and simple furnishings. The door to the S is boarded up and cannot be used. (Later the player will see the same door from the other side as the player explores the Second Level Hallway).

A small narrow table next to a worship platform contains a photo of Alexandria and a gold medallion in addition to several candles, In a small glass-front cabinet the player finds a hypochondriac's assortment of bottles with powders and pills, Prozork and pain-killers, a syringe, creams, herbs and some acupuncture needles.

Near the door is a simple wooden night-table and a wooden stand with candles burning on it [animation_actor]. At the foot of the candle stand is a worship platform similar to the ones the player saw earlier in the chapel.

The player finds the medallion and a photo of Alexandria on the worship platform. The player can click on the medallion to get a close-up of it. If the player clicks on the close-up, the view dissolves and pulls back slightly to reveal the medallion in Malveaux's hand [video_actor].

From the player's POV, the view pulls back further to reveal a hallucination of Malveaux as he makes his confession. The only light comes from the oil lamp which casts a warm glow on Malveaux's face, the medallion and the photograph.

MALVEAUX

A lifetime, for some.

He smiles sadly.

MALVEAUX

A lifetime fashioning this desperate hope, immortality.

His smile gives way to a grimace of emotional pain. He rips off the medallion with a guttural cry and throws it at the floor.

MALVEAUX

I can't! Not at this cost. Hell is better.

(beat - desperate)

I'll pray. I can still pray for forgiveness.

He puts a hand on a carved chair to steady himself, then lowers himself to his knees, shuts his eyes and mutters incoherently for a few beats.

MALVEAUX
(first clear, coherent words)

...pardon my sins... avarice, sloth, envy ... lust

His urgent look gives way to blank despair as he realizes how numerous his sins, how profound his fall. His eyes open.

MALVEAUX

...unnatural desires... impure thoughts... stealing...

He gazes at some inner vision of hell. He knows his resolve is beaten. Still kneeling, he reaches for the medallion. It's too late to turn back. He rises. It sounds like he's still talking to God.

MALVEAUX

Forgive me.

As Malveaux's dialogue ends, the player move in to a close-up of the medallion. It dissolves into the player's original POV looking at the close-up of the medallion.

The hypochondriac's collection would be a good place to make another reference to spenseweed, this time visually. Perhaps the gold medallion in this section is made out of a zorkmid, like an old silver dollar necklace. See the Zork Trilogy packaging or Return to Zork for pictures of zorkmids. Or, if you would prefer something more cryptic, an image of the Oracle of Bargth in Zork Zero or the Spellbreaker serpent swallowing its own tail would both be appropriate, if they have not already been used in the relics room.

Returning across the Balcony and down the bell ropes [qt_actor] the player finds herself once again in the Bell Tower. From here, she can take the stairs down to the corridor leading to the Manuscripts Room.

Alternatively, the player can press on a narrow bookcase to the left of the boarded-up door in Malveaux's Room. The bookcase will spin 90 degrees to revel a narrow stairway leading down. If the player clicks on this staircase she will find herself in the Hall of Masks.

The Medical Book
(moved from Malveaux's Office as per Laird's notes)

Also in the Office, the player will find a book wrapped in a cloth. Clicking on the cloth, a medical book is revealed [animation_actor]. The book is entitled Strange Diseases of the Great Underground Empire. Sticking out of one section of the book are some loose pages. The player clicks on the pages and the book opens to that part [animation_actor]. The pages are letters from Dr. Sartorius [text_actor]. They comment on the nature of Malveaux's disease. Clicking on the pages causes them to turn over animation actor] revealing the next beneath.

[CB TO REVISE LETTERS]
Letter 1:

I have investigated all the texts I can and researched extensively your disease. There is no known treatment.
It begins with a simple lethargy, sometimes a small rash. It is a quiet disease. It makes no noise coming in and no noise going out.

Letter 2:

You must live with it. Accept the life that you have and accept the death that will come. Or you can choose to be involved in some experiments that I have been conducting. If I am successful, you will be cured of every ailment you have ever suffered. But there are risks...

Letter 3:

Based on all that, I can see you are in some kind of remission. This is a devious, dexterous disease. It is smarter than we know. But the player are smarter. Trust in all we have done, trust in the prima materia. Eternal life will be ours.

Letter 4:

X-ray results reveal that the disease is beginning to spread again. The time of the Great Experiment is nearly upon us. Keep up your hopes.

Once the fourth letter is read, the player can clearly see the page describing the disease. The page has four illustrations showing a person in various stages of suffering. The first has arrows pointing to marks on the hands. The second shows a person hunched over. The third shows the person sitting in some sort of wheel chair. The final image is of a person with welts and various marks on his body. The person is lying down on a cot in some kind in a ward.

Leaving the Room
Returning across the Balcony and down the bell ropes [qt_actor], the player finds herself once again in the Bell Tower. From here, she can take the stairs down to the corridor leading to the Manuscripts Room.

Alternatively, the player can press on a narrow bookcase to the left of the boarded-up door in Malveaux's Room. The bookcase will spin 90 degrees to revel a narrow stairway leading down [animation_actor]. If the player clicks on this staircase she will find herself in the Hall of Masks below the raised balcony.

Medical book: Strange Diseases of the Great Underground Empire

Inside of Medical Book: Need to Create Asset

Letters contained in book:

Font: John Handy

Mage 7, 922
Dear Father,
I have investigated all the texts I can and researched extensively your disease. There is no known treatment. It begins with a simply lethargy, sometimes a small rash. It is a quiet disease. It makes no noise coming in and no noise going out.
Dr. Sartorius

Letter 2:
Font: John Handy

Dismembur 15, 922
Dear Father,
You must live with it. Accept the life that you have and accept the death that will come. Or you can choose to be involved in some experiments that I have been conducting. If I am successful, you will be cured of every ailment you have ever suffered. But there are risks...
Sartorius

Letter 3:

Augur 2, 924
Dear. Father.
I am encouraged by your zeal in finding the quintessence. I do not mean to be discouraging but alchemists, including my father, have searched for ages for the philospher’s stone, the elixir of life with little success -- I am beginning to believe it is a secret that is not discoverable by one person alone. There are four elements we must master, and four metals we must purify. I believe we must search for others who have the will and courage to take on this study.

MM4E
Medical Book in Malveaux' chambers - in his own hand

My dream passed like a nightmarish ride through the impoverished classes. I am dazed by the dirt, the impudence, and the sheer volume. My coach spilled over and the crowd closed about me like an egg, crushing me like the grip of Earth. Their spit fell upon me like the hot purity of Water. The filth of their language beat about my burning ears so that I became consumed by the flames of the Emotion and fell through Fire, grasping for the Hand of Yoruk among the flames of the Damned. At the height of my despair breathing my last, I felt the wind of Air, rushing down and clearing out the crowds of suppurating sinners. Is this a sign of my fallen state? Or perhaps simply my Work. The others are already prepared, but my Metal awaits me.

Letters contained in book:

Font: John Handy

Mage 7, 922
Dear Father,
I have investigated all the texts I can and researched extensively your disease. There is no known treatment.
Dr. Sartorius

Dismembur 15, 922
Dear Father,
You must live with it. Accept the life that you have and accept the death that will come - for all of us - someday. Or - perhaps you would like to be included in my current work. It's all very experimental, of course, and there are certain risks - but if am successful, you will be cured of every ailment you've ever suffered.
Sartorius

Augur 2, 924
Dear Father,
I am encouraged by your zeal in finding the quintessence. I do not mean to be discouraging, but alchemists, including my father, have searched for ages for the philospher's stone with little success. I have come to see that the quint essentia cannot be created by one person alone. There are four elements we must master, and four metals we must purify. Much as we have found each other, we must search out two others who have the will and courage to take on this study.
S.

11.09.01 Malveaux's Alchemy Book
Sitting on the medicine cabinet is a book with its text printed in obscure circular format. It is indecipherable without a second object — the cylindrical mirror from Malveaux's Office. On the top center of the pages of the book is a circle with the Alchemical symbol for fire in its center. The player clicks on the symbol with the mirror, and the POV zooms in, and the player can now read the writing in the book. It is a drawing of six skulls arranged in a circle.

Each of the skulls has a different orientation. One looks directly toward the player, another looks directly away, two skulls are turned to the right 45 degrees, one to the left 45 degrees and the final skull is turned to the right 90 degrees.

If the player has previously explored the Catacombs, she will see that five skulls decorate a small grotto just past the Fire Tunnel portion of the Catacombs. If she has not explored the catacombs, she will note the positions of the skulls.

Once the mirror is in the book, it may not be removed [game_state_actor].

The mirror also reflects a series of candles, with flames colored blue, yellow, red, orange, and white from left to right.

A fabric wall-hanging near the bed shows six panels containing pictures of stylized flames.

11.09.01 Malveaux's Alchemy Book
Sitting on the medicine cabinet is a book with its text printed in obscure circular format. It is indecipherable without a second object -- the cylindrical mirror from Malveaux's Office. On the top center of the pages of the book is a circle with the Alchemical symbol for fire in its center. The player clicks on the symbol with the mirror, and the POV zooms in, and the player can now read the writing in the book. It is a drawing of five skulls arranged in a circle.

Each of the skulls has a different orientation. One looks directly toward the player, another looks directly away, one skull is turned to the right 45 degrees, one to the left 45 degrees and the final skull is turned to the right 90 degrees.

If the player has previously explored the Catacombs, she will see that five skulls decorate a small grotto just past the Fire Tunnel portion of the Catacombs. If she has not explored the catacombs, she will note the positions of the skulls.

Once the mirror is in the book, it may not be removed [game_state_actor].

The Wall Hanging
A fabric wall-hanging near the bed shows five panels containing pictures of stylized flames, all flames identical in color. At the bottom of the hanging, the player reads, "The Searing of Flame is a Screen for All Secrets" [text_actor]

Above the bed is a painting with 5 colored flames in the correct order needed for the Monastery alchemy puzzle (from left to right): blue, yellow, red, orange, white.

Alchemy Book

Picture of alchemical symbol for fire

Drawing of the five skulls near the tomb of Yoruk

Text on the process of purification through fire

Painting of flames

Wall Hanging

Photo inside book of cells

11.09.02 The Scrapbook of Alexandria
On the narrow counter containing the candles, the player discovers a scrapbook containing letters and pictures pertaining to Alexandria. As the player flips through the pages [animation_actor], she learns some of Alexandria's back story. Clicking outside the book returns it to the drawer. Clicking on the left page flips back one page. Clicking on the right page goes forward. The player finds pictures, and letters [text_actor].

The scrapbook reveals the following:
[CB TO REFINE LETTERS AS NECESSARY]

Letter:

"I will bring her to you one week after birth, with a nurse who will raise her through her early years. In this way her education in purity and religion will be insured."

It is unsigned.

Letter: To the Grand Inquisitor:

"The Monastery has in its spirit of generosity and good will accepted the responsibility of raising a small child, an orphan, who were it not for us would be left to die and rot. I hope this meets with the Inquisitor's approval."

The rest of the letter is scribbled out, as if this is a rough draft.

Picture of Alexandria with Malveaux and small cat.

Letter from the Grand Inquisitor:

"I have been tolerant of the abomination of a young girl in a Monastery only because of your pleas and assurances that she is receiving a strong moral upbringing. It has been called to my attention, that now being a woman, she has become a distraction and a potential temptress to the other monks. She must leave at once."

Picture of Alexandria playing the violin.

Letter: from the Grand Inquisitor:

"As Alexandria has grown into a young woman and a talented musician, you will be sending her to the conservatory for her training and education."

Letter 1 from Alexandria:

Dear father,
I am enjoying my time here. Sophia seems to have taken a liking to me and treats me very well. I am composing much music, although my teachers say it is extreme and too unconventional for their taste. I find it is the only way I am able to play. Take care of yourself and do not worry about me.

Picture of Alexandria at conservatory with Sophia — smiling strained.

Letter 2 from Alexandria:

I can't sleep anymore. I hear music in my dreams. In my dreams, I see water spilling out of pipes and tidal waves sucking me down. In my bones, I feel that something wrong is going on. Are you alight.? I am worried about you. Have you been seeing Dr. Sartorius? I hope his treatments are working. Please write and let me know that everything is fine.

Picture of Alexandria at her first performance.

Copy of the marquee from the performance at the conservatory.

Letter 3 from Alexandria:

At my last performance I met someone and for the first time in months I feel optimistic about the future. I sleep. I dream peacefully. He loves my music and is the only one, except for you, that seems to understand it. It feels like he is the only person, before whom I don't have to apologize for who I am or what I believe.

Letter 4 from Alexandria:

You are the only one I can confide in. The girls here are gossipy and jealous. They think I am strange — and I must say, I agree. I don't fit in here. I have tried over and over to play the sappy and boring music they find fitting, I have tried to be sweet, I have tried to care — but I don't. I am anxious to get out. It is best. I know. I want to leave with Lucien. And I want to marry him. Please, understand that this is right for me. I know that you will. I will come with him on the next full moon. I'd like you to marry us, and give us a blessing for the future.

Note 1 from Sartorius:

I have found the perfect specimen. On the day of the solar eclipse we will be ready. Kaine has volunteered to assist in the conception.

Note 2 from Sartorius: with sketches and drawings of sperm and egg; sketch of a woman who bears a strange resemblance to Alexandria.

The book has no other entries.

11.09.02 The Scrapbook of Alexandria
On the narrow counter containing the candles, the player discovers scrapbook containing letters and pictures pertaining to Alexandria. As the player flips through the pages [animation_actor], she learns some of Alexandria's back story. Clicking outside the book returns it to the drawer. Clicking on the left page flips back one page. Clicking on the right page goes forward. The player finds pictures, and letters [text_actor].

The scrapbook reveals the following:
[CB TO REFINE LETTERS AS NECESSARY]

Letter:

"I will bring her to you one week after birth, with a nurse who will raise her through her early years. In this way her education in purity and religion will be insured."

It is unsigned.

Letter: To the Grand Inquisitor:

The rest of the letter is scribbled out, as if this is a rough draft.

Picture of Alexandria with Malveaux and small cat.

Letter from the Grand Inquisitor:

Picture of Alexandria playing the violin.

Letter: from the Grand Inquisitor:

"As Alexandria has grown into a young woman and a talented musician, you will be sending her to the conservatory for her training and education."

Letter 1 from Alexandria:

Picture of Alexandria at conservatory with Sophia — smiling strained.

Letter 2 from Alexandria:

Picture of Alexandria at her first performance.

Copy of the marquee from the performance at the conservatory.

Letter 3 from Alexandria:

At my last performance I met someone and for the first time in months I feel optimistic about the future. I sleep. I dream peacefully. He loves my music an is the only one, except for you, that seems to understand it. It feels like he is the only person before whom I don't have to apologize for who I am or what I believe.

Letter 4 from Alexandria:

Note 1 from Sartorius:

I have found the perfect specimen. On the day of the solar eclipse we will be ready. Kaine has volunteered to assist in the conception.

Note 2 from Sartorius: with sketches and drawings of sperm and egg; sketch of a woman who bears a strange resemblance to Alexandria.

The book has no other entries.

As we discussed, the purification of the blood and soul is essential. I will bring her to you one week after birth, with a nurse who will raise her through her early years. In this way her education in purity and religion will be insured.

Letter: To the Grand Inquisitor:
The Monastery has in its spirit of generosity and good will accepted the responsibility of raising a small child, an orphan, who were it not for us would be left to die and rot. I hope this meets with the Inquisitor's approval.

The rest of the letter is scribbled out, as if this is a rough draft.

Letter 1 from Alexandria:

Dear father,
I am enjoying my time here. Sophia seems to have taken a liking to me and treats me very well. I am composing much music, although my teachers say it is extreme and too unconventional for their taste. I find it is the only way I am able to play. Take care of yourself and do not worry about me.

Letter 2 from Alexandria:
I can't sleep anymore. I hear music in my dreams. In my dreams, I see water spilling out of pipes and tidal waves sucking me down. In my bones, I feel that something wrong is going on. Are you all right? I am worried about you. Have you been seeing Dr. Sartorius? I hope his treatments are working. Please write and let me know that everything is fine.

Letter 3 from Alexandria:

At my last performance I met someone and for the first time in months I feel optimistic about the future. I sleep. I dream peacefully. He loves my music and is the only one, except for you, that seems to understand it. It feels like he is the only person, before whom I don't have to apologize for who I am or what I believe.

Letter 4 from Alexandria:

Scrapbook of Alexandria:

The scrapbook reveals the following:

PAGE1:
Letter 1 On right side:
Alex picture #1 on left

Font: John Handy

Dear Malveaux,
Mage 15, 925
As we discussed, I will bring her to you one week after birth, with a nurse who will assist you in raising her through her early years. Do not underestimate the importance of your task. Her spiritual progress --the purification of her soul-- is essential to the process. She will be a gift to all mankind.
Dr. Sartorius

PAGE2:
Alex #2 on left side
Letter #2 on right

Font: Unknown

Father Malveaux,
While you know that at the monastery we have a strict code of conduct, I was much moved by your tale of the orphan child. As a result in a spirit of good will, I have agreed to grant your request. You may take in this baby and raise her until she reaches maturity.
Yoruk’s blessing be with you,
The Grand Inquisitor

Picture of Alexandria with Malveaux and small cat.

PAGE 3:
Alex #3 on right.
Letter 3 on left.

Picture of Alexandria playing the violin.

Font: Rapier

Estuary 16, 935
Dearest Malveaux,
Just a quick word of encouragement. I am delighted by the Alexandria’s progress. I think that your use of puzzles to sharpen her mind and spirit is working beautifully. And already, I can see promise in her music. I will be saving a special place for her in the conservatory.
Yours truly,
Sophia

PAGE4:

Font: Papyrus

Augur 5, 942
Dear father,
I miss you. Although Madame Sophia seems to be paying much attention to me although she sometimes seems very demanding. She believes that in my soul, I possess the power of music and that if I practice enough, I will find the precious notes which are the “Harmony of the Spheres.” I’m not so sure. As much as I try, everyone believes my music is strange. Do you think me strange? I know I am lonely.
Always missing you,
Alexandria

Picture of Alexandria at conservatory with Sophia — smiling strained –

[not included in final text collection]

Photo#5: debut performance on left
Letter on right:

Picture of Alexandria at her first performance.

Copy of the marquee from the performance at the conservatory.

Font: Papyrus

Mage 1, 943
Dear father,
At my performance, I met someone and for the first time in months I feel optimistic about the future. His name is Lucien Kaine and he even seems to understand my music. When I’m around Lucien, I don’t have to apologize for who I am or what I believe. Be happy for me, as I am.
Your,
Alexandria

(another version)
Dear father,
At my performance, I met someone... and for the first time in months I feel optimistic about the future. His name is Lucien Kaine (even his name is beautiful!) and he is the one person who seems to understand my music. When I'm around Lucien, I don't have to apologize for who I am or what I believe. I've finally found my kindred spirit, as you always promised I would. My one true Lucien! Be happy for me, as I am,
your Alexandria

(another version)
Mage 1, 943
Dear father,
At my performance, I met someone—and for the first time in months I feel optimistic about the future. His name is Lucien Kaine, and he is the one person who seems to understand my music. When I'm around Lucien, I don't have to apologize for who I am or what I believe. I've finally found my kindred spirit, as you always promised I would. Be happy for me, as I am, your Alexandria.

Final Letter:
Font: Papyrus

Mage 22, 945
Father,
You are the only one I can confide in. There is something strange going on here. And it’s not just my usual complaints about the gossipy girls and their boring music. I have to get out. I want to leave with Lucien and I want to marry him. We will come to you at the next full moon. Marry us, father, and and give us a blessing for the future.

(another version)
Mage 22, 945
Father,
You are the only one I can confide in. There is something strange going on here; and it's not just my usual complaints about these gossipy girls and their boring music. I have to get out. Lucien wants to marry me, Father! We will come to you at the next full moon. Marry us, father, and give us a blessing for the future. I know you're going to lecture me about "the purity of the spirit" - but remember, Father, not all of us are destined to marry Yoruk and live in a Monastery!

(another version)
Mage 22, 945
Father,
You are the only one I can confide in. There is something strange going on here - and it's not just my usual complaints about these gossipy girls and their boring music. I have to get out. I want to leave with Lucien - He wants to marry me, Father. We will come to you at the next full moon. Marry us, father, and give us a blessing for the future. I know you're going to lecture me about the purity of the spirit" – but remember, not all of us are destined to marry Yoruk and live in a Monastery.
A.

In terms of the letters reproduced on this page, it is difficult for me to tell when Alexandria was born. Was it as early as the 880s or even the 860s? Or was it as late as the 920s? In any of these cases, the notion of a Grand Inquisitor seems a little strange. If Alexandria was born before the fall of the Empire, perhaps it could be replaced with His Highness's Provincial Governor for the Desert River, or King Idwit Oogle, or King Wurb. If she is born after the fall, perhaps it should be Lord Ellron, or the Viceregent, later the King, Syovar himself. Later in this report, I give reasons to think that she was born in the early 920s, which would be something to keep in mind here.

Perhaps you could name some of the boring conservative music that Alexandria dislikes: J.S Flathead's Concerto for Woodwinds and Waterfalls, or his Overture for Rack and Pendulum.

11.10 The Second Level Hallway
The player takes the walkway in the Second Level of Bell Tower stairs to the Second Level Hallway. Doorways line both walls of the narrow corridor. Some rooms have doors that will open when the player clicks on them. Within the rooms can be seen the quarters of the individual monks. Next to each door is a plaque with the name of the room's former occupant [text_actor]. A narrow vertical slit window provides limited light for each room. Each room is slightly different, illustrating some aspect of the monks' religion.

A set of narrow stairs leads up W from the Hallway to the boarded-up door of Malveaux's Room. If the player clicks on the door a wisp of smoke will rise [animation_actor] as if the room behind it is on fire.

As the player steps into the Second Level Hallway she hears a violin [audio_actor]. The player turns to search out the source of the violin. The player begins to walk down the hallway. The far end of the hallway contains two set of large doors -- one to the right, the other at the far end of the hall.

11.10 The Second Level Hallway
The player takes the walkway in the Second Level of Bell Tower stairs to the Second Level Hallway. Doorways line both walls of the narrow corridor. Some rooms have doors that will open when the player clicks on them. Within the rooms can be seen the quarters of the individual monks. Next to each door is a plaque with the name of the room's former occupant [text_actor]. A narrow vertical slit window provides limited light for each room. Each room is slightly different, illustrating some laspect of the monks' religion.

A set of narrow stairs leads up W from the Hallway to the boarded-up door of Malveaux's Room. If the player clicks on the door a wisp of smoke will rise [animation_actor] as if the room behind it is on fire.

As the player steps into the Second Level Hallway she hears a violin [audio_actor]. The player turns to search out the source of the violin. The player begins to walk down the hallway. The far end of the hallway contains two set of large doors -- one to the right, the other at the far end of the hall.

The plaques should bear suitably Zorkish names. I don't know how many you intend to have, but a few examples might be Mumbo Frobton, Hieronymous Glub, Boffinthrax, or what have you.

11.13 Alexandria's Room
At the last door on the right of the Second Level Hallway, the player clicks on the door and the door opens [animation_actor]. Originally a room for a monk of higher stature, this room has a large window on one wall. The player can see the fiery landscape surrounding the Monastery though this window. The sky is red and the clouds are pink. The entire Monastery appears to be surrounded by lava flows [animation_actor].

Positioned prominently in the room is a music stand, currently empty. Alexandria's room also contains a bed, two stools and small writing table.

On the bed is a violin which plays a tune when the player clicks on it [animation_actor and audio_actor].

[INSERT CLUE TO MONASTERY ALCHEMY PUZZLE HERE]

11.13 Alexandria's Room
At the last door on the right of the Second Level Hallway, the player clicks on the door and the door opens [animation_actor]. Originally a room for a monk of higher stature, this room has a large window on one wall. The player can see the fiery landscape surrounding the Monastery though this window. The sky is red and the clouds are pink. The entire Monastery appears to be surrounded by lava flows [animation_actor].

Positioned prominently in the room is a music stand, currently empty. Alexandria's room also contains a bed, two stools and small writing table.

On he bed is a violin which plays the five notes of the Harmony of the Spheres when the player clicks on it [animation_actor and audio_actor].

[INSERT CLUE TO MONASTERY ALCHEMY PUZZLE HERE]

Harmony of the Spheres:
“Sometimes I hear these music in my head. Father says they are divine.”

MH3E - book in Alexandria's room at the monastery

I wonder where my mommy is. All I have of left her is this locket. Father says if I am good, I will get to see her one day up in heaven.

11.13.01 Hallucination: Alexandria the Violinist
If the player moves near the window and looks back toward the door, the player will see a piece of sheet music on the elaborate silver music stand.

If the player clicks on the music stand, the sheet music on it burns away. The empty music stand frames a hallucination of Alexandria (age 10) playing the violin for Malveaux [video_actor]. She is concentrating deeply on the music in front of her. Malveaux (younger) reposes in a lush velvet chair watching Alexandria play the violin. His long, healthy, well groomed tresses frame a plump face; this is a pampered man. There's a harsh look on his soft face, contrasting sharply with the soothing music of the strings. The music stops suddenly.

ALEXANDRIA

Father?

Malveaux turns to the speaker.

ALEXANDRIA, now ten years old, sits on his knee, setting aside her violin. She's thin, waif like, with unsettling eyes and pale skin. He smooths her shining hair. A huge ruby ring glitters on his manicured hand. He smiles benignly at her.

MALVEAUX

Your music is lovely, Alexandria. Like the harmony of the spheres.

ALEXANDRIA

Then why does it make you so unhappy?

He looks in her eyes. She smooths his hair.

MALVEAUX

I was thinking how much I'll miss it ...

A world of regret/pain/guilt flickers for a nanosecond in his eyes and then it's gone.

MALVEAUX

...when you're gone.

ALEXANDRIA

Why can't you visit me at the Conservatory?

MALVEAUX
(shaking off the mood)

I can.

ALEXANDRIA

And, since I'm never getting married...

Malveaux smiles broadens. He tweaks her nose.

MALVEAUX

Ah. Then you're sure your destiny is the nunnery?

She smiles back and nods confidently.

ALEXANDRIA

I can come back here and play for you.

(playful)

Until you're old and feeble and totally deaf.

(beat)

Forever and ever.

Seeing that distant thing in his mind's eye, Malveaux loses his smile.

MALVEAUX

Amen, my child.

As the scene fades, the scene dissolves to the player's original view of the music stand with the music in place. The player can repeat this hallucination by clicking on the music stand any time during Act II.

ALEXANDRIA

Father?

MALVEAUX

Your music is lovely, Alexandria. Like the harmony of the spheres.

ALEXANDRIA

Then why does it make you so unhappy?

He looks in her eyes. She smooths his hair.

MALVEAUX

I was thinking how much I'll miss it ...

A world of regret/pain/guilt flickers for a nanosecond in his eyes and then it's gone.

MALVEAUX

...when you're gone.

ALEXANDRIA

Why can't you visit me at the Conservatory?

MALVEAUX
(shaking off the mood)

I can.

ALEXANDRIA

And, since I'm never getting married...

Malveaux smiles broadens. He tweaks her nose.

MALVEAUX

Ah. Then you're sure your destiny is the nunnery?

She smiles back and nods confidently.

ALEXANDRIA

I can come back here and play for you.

(playful)

Until you're old and feeble and totally deaf.

(beat)

Forever and ever.

Seeing that distant thing in his mind's eye, Malveaux loses his smile.

MALVEAUX

Amen, my child.

As far as the nunnery mentioned here, this would be the first reference to anything like this in the Zork world, and perhaps might seem a little strange in a world more or less devoid of monotheistic, or Christian, traditions, although the same might be said about the monastery and the earlier baptism. One possible replacement might be: "Ah, of course. The artist, married to her work."

11.15 Malveaux's Office
Malveaux's Office is located off the Second Level Hallway at its far end. While the monks, and even Alexandria, have lived in relatively stark confines, Malveaux's office is abundant in comforts and finery. A large raised gazebo dominates the center of the room. The four chairs near the door are comfortably padded and covered with rich red cloth.

Picture of Malveaux getting awards

11.15.01 Hallucination: The Cabal Meets
This well-appointed room contains a large desk under the gazebo opposite the doorway. Four chairs occupy the small area by the doorway. As the player explores the gazebo containing Malveaux's desk, the player clicks on the expensive looking hookah (Turkish water pipe) sitting on it.

The player sees a close up of the hookah then clicks on this close up to get a close up of the bowl. The bowl of the pipe/burner fills with swirling white smoke, which quickly enlarges to fill the screen and dissolves into a POV facing the doorway. As the player looks over the top of the desk, Sophia, Sartorius and Kaine sit in chairs in front of the door [video_actor]. The fourth chair is empty. Malveaux stands between them. Malveaux takes a letter from the copious sleeve of his robe and lays it on the table.

MALVEAUX

Our worst fears have come true. They've asked me to marry them. They intend to leave.

REACTION ON SOPHIA AND SARTORIUS An exchange of alarmed looks.

SARTORIUS

No, she cannot leave -- absolutely not.

Malveaux approaches the player and blocks her view of the people behind him with his bulk. As he looks directly at the player, Sophia and Kaine come up on either side of him to speak.

SOPHIA
(angry concern)

Leave? What are you talking about?

KAINE
(to Sophia)

Don't act so surprised. It's all taking place under your roof. You can't pretend you didn't know about it.

SOPHIA
(through gritted teeth)

I tried to guide her, Kaine. I can't run her life. If she wants to spend time with Lucien, let her. But marriage, Malveaux? Surely you didn't encourage them.

Malveaux speaks like he's got a dark secret.

MALVEAUX

But I did.

Despair creases Malveaux face even further as the scene fades in a swirl of smoke. The player's POV returns to her original standing view of the hookah.

MALVEAUX

Our worst fears have come true. They've asked me to marry them. They intend to leave.

REACTION ON SOPHIA AND SARTORIUS An exchange of alarmed looks.

SARTORIUS

No, she cannot leave -- absolutely not.

Malveaux approaches the player and blocks her view of the people behind him with his bulk. As he looks directly at the player, Sophia and Kaine come up on either side of him to speak.

SOPHIA
(angry concern)

Leave? What are you talking about?

KAINE
(to Sophia)

Don't act so surprised. It's all taking place under your roof. You can't pretend you didn't know about it.

SOPHIA
(through gritted teeth)

I tried to guide her, Kaine. I can't run her life. If she wants to spend time with Lucien, let her. But marriage, Malveaux? Surely you didn't encourage them.

Malveaux speaks like he's got a dark secret.

MALVEAUX

But I did.

Despair creases Malveaux face even further as the scene fades in a swirl of smoke. The player's POV returns to her original standing view of the hookah.

[this scene is completely different in the final version of the game]

11.15.02 Cylindrical Mirror
As she explores the room, the player will eventually come across the cylindrical mirror. When the player clicks on the mirror, it transforms into a cursor_object. The room is reflected in a distorted manner. The wooden caps have identical markings as the Alchemy symbol in the book. The player double-clicks and the mirror transforms into a [cursor_object].

The player must use this mirror on the Magic Writing Book in Malveaux's Room in order to get the clue to solve the Skull Puzzle in the Catacombs.

MALVEAUX'S OFFICE - LETTERS.
I have recently come into possession of a most unusual relic, a mirror known among Zorkastrians as the Implementor's Eye. Like an ancient seerstone, it alters the words of the faithful to illuminate hidden truths. Hopefully, it will expedite my attempts to refine the alchemical essence of Iron. Perhaps Yoruk takes pity on this old, sickly monk, and sends help at last.
M.

11.15.05 The Medical Book
Also in the Office, the player will find a book wrapped in a cloth. Clicking on the cloth, a medical book is revealed [animation_actor]. The book is entitled Strange Diseases of the Great Underground Empire. Sticking out of one section of the book are some loose pages. The player clicks on the pages and the book opens to that part [animation_actor].

The pages are letters from Dr. Sartorius [text_actor]. They comment on the nature of Malveaux's disease. Clicking on the pages causes them to turn over [animation_actor] revealing the next beneath.

[CB TO REVISE LETTERS]

Letter 1:

Letter 2:

Letter 3:

Letter 4:

X-ray results reveal that the disease is beginning to spread again. The time of the Great Experiment is nearly upon us. Keep up your hopes.

11.15.05 The Medical Book
(moved to Malveaux's room as per Laird's notes)

The book title on diseases is excellent. I would suggest Thwack of Mareilon as the possible author, which would put the publishing date sometime in the middle of the
9th century GUE, circa the 840s.

Perhaps the X-ray reference could be replaced with something a little less modern like "The magical probe of your body's interior".

11.15.06 The Letters from Sophia & Kaine
On one of the shelves in the office is a pile of letters. Clicking on them causes them to flip over.

Letter from Sophia:

Alexandria is doing well. She is not particularly well liked and appears to be somewhat of a loner. She is stubborn and her music is wild and eccentric. We are trying to tone her down. How did she get like this? What did you do to her while she was at the monastery? Maybe it is part of the process.

Letter from Sophia:

You are right. Dr. Sartorius is a brilliant man. He is strange and he has that annoying laugh, but nonetheless I think his medical studies may be very valuable. Please send me any alchemical materials or notes that you have obtained.

Letter and check from Kaine:

I have enclosed a check for 500,000 Zorkmids to be used in the pursuit of religious ideals. I hope you and your chapter will find it valuable. I would like this to be considered an anonymous donation, although I would appreciate a receipt for tax purposes.

Letter about potential elopement from Kaine:

While there is no cause to be alarmed, I do believe that Lucien may be planning to elope with Alexandria. He left me a note alluding to his leaving and he has been suspicious as of late.

11. 15.06 The Letters from Sophia & Kaine
On one of the shelves in the office is a pile of letters. Clicking on them causes them to flip over.

Letter from Sophia:

Letter from Sophia:

Letter and check from Kaine:

Letter about potential elopement from Kaine:

While there is no cause to be alarmed, I do believe that Lucien may be planning to elope with Alexandria. He left me a note alluding to his leaving and he has been suspicious as of late.

ML6EB11: Medium shot with 2 pieces of paper: add text

Need to create ML6EB21

Font: Rapier

Letter from Sophia:

Dearest Malveux,
You will be glad to know Alexandria is flourishing here. I have given her books on the harmony of the spheres and I believe she hears the notes in her dreams. This is a difficult process and at times I am uncertain of it. I feel doubts.
Sophia

Need to create ML6EB31

Letter #2 from Sophia:

Font: Rapier

Dear Malveaux,
Our plans may be falling apart. Alexandria, has I believe, fallen in love with Lucien, Kaine’s son. Nothing we do seems to have any impact on them. Please find a way to put a stop to it.
Sophia

Create ML7EB21
Which is open book: On Immortality: Add Alchemy Text.

Font: John Handy

Dear Malveaux,
I am familiar with the old school of alchemy although not much remains on it. They believed that love was the 5th element and only the pure of heart could ever distill it. My father and his studies have refuted that rather naive, albeit charming, philosophy. Please read this book.
Dr. Sartorius

MALVEAUX ALCHEMY BOOK - THERE IS AN ORDER TO THE ELEMENTS
(NO NUMBER -- I GUESS THE ASSET HAS TO BE SNAGGED FROM ELSEWHERE)
(NO NUMBER – I’m not sure this wasn’t supposed to be a text on “Purification through Fire” but I’ve included that separately, next)

TITLE: The Elemental Order

[LEFT PAGE, NO CHAPTER HEADING]

must know the Order to the Elements that surround this Mortal Sphere, and are Ruled by the Solis et Lunae Unitas -- the Sun that Holds the Moon Fixed. Terra is the Subsidence, Remains of that Primitive Masse which the Implementors formed out of Darknesse. Aqua is life, the Mystery of Everything, for water dissolveth the body into spirit and returneth the quickening Spirit to the body. Ignis passeth through all things in the world, and refineth all things, changing the states of Matter. And Aer is the sea of Aethereall things, the Caement of two worlds, and so the semblence of Harmony, Medley of Extremes. In their Order, the Alchemist beholds the Scala Naturae, the Ladder of Nature which leads to the quintessence. In an Order Chance and Perverse, the Alchemist will find only Death.

[CONT.]

MALVEAUX ALCHEMY BOOK - PURIFICATION THROUGH FIRE

[RIGHT PAGE, INCLUDE CHAPTER HEADING]

Chapter Seven: Purification By Fire

The first Principle of Transmutation of Moulten Metal is Soalve et Coagula -- Dissolve and Coagulate, of which Workings the Regimen of the Fire is the Foundation of the Refinement. The Refiner’s Fire releases the anima mundi -- the soul of the world -- divyding the Subtlest Spirit from the Grossest matter. No Impure Metal, no Impure Mortal can survive its Fiery Triall Untempered. The Impure Metal will Tarnish and Dissolve. The Impure Mortal will Incinerate and Perish.
Fire is the Principall Apparatus whereby Coagulation, Calcination, Oxidation, Separation, Conjunction and Ablution will Form the End and Drifte of all our Worke -- to Atteine unto the composition of the purest Alixer of Lyfe, the Corpus Glorificationes, further upon which I have sworne not to write.

Dearest Malveux,
You will be glad to know Alexandria is flourishing here. She has a gift, of that I am certain. I have given her books on the Harmony of the Spheres and I believe she hears the notes in her dreams. Such a queer little thing; I see how she has won your heart, old monk. This is a difficult process, M. At times I am uncertain -- I don't know how hard to push -- but I will not let you down. Such strange parents we make.
Sophia

Malveux,
Our plans may be falling apart. Alexandria has, I believe, fallen in love with Lucien; you remember, Kaine's son. Nothing we do seems to have any impact on them; as if they were under some strange spell. You must put a stop to it. She has come so far with her music. Act quickly, or it will all have been for nothing...
Sophia

11.15.07 Parchment
Nailed into one of the shelves is a clue to the final Monastery Alchemy Puzzle.

[LM AND CB TO DESIGN]

Parchment:
Nailed into one of the shelves is a clue to the final Monastery Alchemy Puzzle

11.17 The Manuscripts Room
The player enters this First Level room through a stairway leading up from the Hall of Masks. In it the player finds a series of large tables with several impressive texts. The monks have been illustrating books about Saint Yoruk's descent into hell. Several of the shelves have plaques indicating the names of the monk who worked at that station [text_actors]. The player will notice that these names match those on the Cell doors upstairs.

Yoruk appears to have been an important Zorkrastrian saint who descended into hell and defeated the devil. The Monastery appears to have been built on the spot on which this event occurred.

Each manuscript details another part of his journey. Yoruk found the entrance to the underworld . There, Yoruk passed through the flames of hell. He emerged unscathed by passing through the flames with a shield of bronze. Finally, Yoruk defeated the demon. On one large manuscript, lying on the stand a raised dais, careful attention is paid to the shield of bronze which has five elaborate jewels in the shape of a talisman. The nameplate on the stand for this book is "Malveaux."

Above the door to the gallery is a painting with 5 colored flames in the correct order needed for the Monastery alchemy puzzle (from left to right): blue, yellow, red, orange, white.

THE DESCENT OF SAINT YORUK:
[from "alchtext," not "textalchtext"]

SCOTT: THESE ARE THE TEXTS THAT WOULD BE PHOTOSHOPPED IN TO REPLACE THE FAKE SQUIGGLES OPPOSITE THE ILLUMINATIONS DEPICTING THIS STORY IN THE MANUSCRIPT ROOM. IF YOU CANNOT FIT THE PAGES, THERE ARE THE ONE LINE CAPTIONS THAT TELL THE SHORT VERSION. ASK CECELIA BEFORE SCRAPPING THE TEXT.

1. YORUK FINDS THE ENTRANCE TO THE UNDERWOLD

SENTENCE:
--Seeking Truth, Yoruk Creeps Down to the Underworld.

PAGE:
Yoruk, himself a simple merchant, grew dissatisfied with his simple trade, his simple gods, his simple life. Seeking only truth, he prayed to the Implementors, and heard nothing. Because he could find no door to the Heavens, no portals to the Planes of Atrii, Yoruk hid himself in a deep mountain cave, and followed a Daemon down into the Underworld. The Devil, Yoruk reasoned, being the Devil, would keep less exclusive company.

2. YORUK FINDS THE ENTRANCE TO HELL

SENTENCE:
Yoruk Opens the Gate to Hell and Enters.

PAGE: The Legend of Saint Yoruk

For three days, Yoruk followed the Daemon down the forking forks, curving curves, and labyrinthine labyrinths of tunnels.   On the third day, when the earth beneath his feet began to glow red-hot with fire, and the stench of sulphur pierced the air, Yoruk quite rightly assumed that he had reached the Underworld.   As the Daemon quickened his step, a broad stone door flung open -- just for a moment -- in the darkness. When the Daemon slipped past the doors, Yoruk caught upon his cloak and was pulled inside -- the stone clanging shut just behind him.

3. YORUK ENCOUNTERS THE DAEMONS

SENTENCE:
Yoruk Encounters the Daemon and His Ring of Fire.

PAGE:
The hot molten earth veered sharply down beneath Yoruk's feet, and the air around him grew so thick with black smoke that he began to cough and choke. The Devil, he reasoned, could not be far off. Indeed, in the near and extreme distance, Daemons of all sorts -- larger and smaller, lesser and greater, wily and woolly-headed, pleasant and most decidedly not -- thronged in one great forlorn hoard towards the most immense Daemon of all. This Daemon, surrounded by a great infernal ring of fire, stood between all Hell and the Lord of Lamentation himself.
    As Yoruk's Daemon -- a lesser, melancholy sort -- approached the Great Daemon of the Threshold, he drew from his side a thick bronze shield, and hurried past the ring of fire, untouched. Yoruk, however, at the first blast of fire, let go of the Daemon's cloak with a yelp -- and fell to the ground. Oh, ye with the faith of a hungus.

4. YORUK FINDS THE BRONZE SHIELD WHICH PROTECT HIM FROM THE FLAMES AND ALLOWS HIM TO DEFEAT THE DEMONS

SENTENCE:
Yoruk Steals the Bronze Shield and Passes Through Fire, Unscathed. The Daemon is Defeated.

PAGE:
As a growing number of Daemons stopped to laugh and heckle in anticipation of the spectacle of Yoruk's fiery incineration, Yoruk saw his chance. He plucked a second bronze shield, studded in a like fashion with five brilliant red rubies, from the side of a careless Daemon -- and plunged his way into the ring of fire.
Miraculously, when the flames touched his shield, they fell to his side, dissipating into pungent black smoke. Yoruk, armed only with the simple blade of a simple merchant, slew the Great Daemon of the Threshold in his surprise, and made his way down to Devil, who, amused, taught Yoruk the Great Mysteries of the Cosmos.

5. THE BRONZE SHIELD OF SAINT YORUK

SENTENCE:
The Bronze Shield with the Five Fire Rubies, Stolen From a Careless Daemon.

Yoruk spent the rest of his life making good sense out of Hell, and, when his days drew to close, and he found himself creeping upwards towards the battlements of the Implementors, the seraphim and the cherubim, the harmony and the ecstasy, seemed to Yoruk strangely florid and overwrought. He conversed a while with the Implementors, found them likeable enough in their own way, and then politely requested that he be returned to the company of his good friends in the Underworld, citing differences both aesthetic and philosophical. The Implementors resisted until Yoruk, brandishing his sword and the bronze shield with the five fire rubies, hacked a path through the Happy Fields where Joy forever dwells, and was never heard of again, though his vast knowledge of things Above and Below, as scripted in the many Books of Saint Yoruk, is truly Enlightenment of a most sensible sort.

Map which shows discovery of Temple of the Ancients

It would I think be nice to imply heavily that St. Yoruk's journey to hell and back took place in specifically known locations of the Great Underground Empire, perhaps even Zork I's Land of the Dead. I have previously noted a possible relation between that religion and this monastery. In Zork I, the way someone like Yoruk would get into Hell would be by performing a ritual that involves bell-ringing, candle lighting and prayer-reading. It would be very interesting to see that portrayed in these manuscripts.

You also asked for the names of some noted historians whose works could be on display in the manuscript room. Froboz Mumbar's The Great Underground Empire: A History was published in 896 GUE. Picking some of the more amusing names from the bibliography of my own history book, I come up with Humphrey of Grubbo's A History of the Princes of Pheebor, I.Q. Roundhead's A Brief Analysis of Zorkish Engravings, and Theodore Frobsenn's Das Geschichte Quendoragraffen.

11.17.01 Hallucination: The Betrayal
If the player clicks on the large book on the stand, a large page turns and creates a wipe and dissolve to the next POV as the page moves across the screen. When the dissolve ends, the player's POV has rotated 180 degrees to a raised narrow area behind the book. She now faces back toward the door through which the player just entered.

From our raised position the player look down on scene unfolding in front of us. Standing in front of the book facing the player is Malveaux, Lucien and Alexandria. Alexandria is dressed for her wedding.

Her clothes and flowers reflect the haste with which their plans were made - as well as her strange imagination. She has a moment of intimacy with Malveaux, while Lucien waits at the altar. She teases him, much like the scene the player saw between them when she was ten.

ALEXANDRIA

Today you're my father and my priest. You have to give me away, and then you have to marry me.

Malveaux seems distracted. like he's got things on his mind and she's a little annoying.

MALVEAUX

Alexandria, your mind is always working...

She kisses his cheek.

ALEXANDRIA

This is an extraordinary day.

She joins Lucien, while Malveaux takes his place between of them.

MALVEAUX

As befits my extraordinary child. Now let us begin.

(beginning the ceremony)

Under the fire of Yoruk...

KAINE (O.S.)

But children can be full of surprises...

The player sees Kaine entering through the far door flanked by two mean-looking soldiers. They walk briskly toward the player to join the 3 characters in front of the book.

KAINE

...and disobedience.

Kaine gestures. The two soldiers approach Lucien, draw their swords.

LUCIEN

What is this?

KAINE

You're being arrested.

LUCIEN

For what?

ALEXANDRIA
(hysterical)

Leave him alone.

LUCIEN

I'm not going anywhere.

Kaine walks back over to Lucien. Before anyone knows what's happened, Lucien throws a big punch in his face and Kaine goes down. The soldiers drag Lucien towards the door at sword point.

ALEXANDRIA

Stop!! Why are they doing this?

ALEXANDRIA

LUCIEN!!

Alexandria tries to run after Lucien, but Kaine, now standing, blocks her with his big body.

ALEXANDRIA

Leave him alone. Father, tell them to leave me alone. Father?

Desperately, she looks around the room. Malveaux is gone.

On Alexandria's desperate look, the scene dissolves and the player returns to her initial position in front of the great book.

ALEXANDRIA

Today you're my father and my priest. You have to give me away, and then you have to marry me.

Malveaux seems distracted. like he's got things on his mind and she's a little annoying.

MALVEAUX

Alexandria, your mind is always working...

She kisses his cheek.

ALEXANDRIA

This is an extraordinary day.

She joins Lucien, while Malveaux takes his place between of them.

MALVEAUX

As befits my extraordinary child. Now let us begin.

(beginning the ceremony)

Under the fire of Yoruk...

KAINE (O.S.)

But children can be full of surprises...

The player sees Kaine entering through the far door flanked by two mean-looking soldiers. They walk briskly toward the player to join the 3 characters in front of the book.

KAINE

...and disobedience.

Kaine gestures. The two soldiers approach Lucien, draw their swords.

LUCIEN

What is this?

KAINE

You're being arrested.

LUCIEN

For what?

ALEXANDRIA
(hysterical)

Leave him alone.

LUCIEN

I'm not going anywhere.

Kaine walks back over to Lucien. Before anyone knows what's happened, Lucien throws a big punch in his face and Kaine goes down. The soldiers drag Lucien towards the door at sword point.

ALEXANDRIA

Stop!! Why are they doing this?

ALEXANDRIA

LUCIEN!!

Alexandria tries to run after Lucien, but Kaine, now standing, blocks her with his big body.

ALEXANDRIA

Leave him alone. Father, tell them to leave me alone. Father?

Desperately, she looks around the room. Malveaux is gone.

On Alexandria's desperate look, the scene dissolves and the player returns to her initial position in front of the great book.

11.18 The Relics Room
At the far end of the Manuscripts Room is a gallery leading to an open archway which in turn leads to the two-story Relics Room. The player enters the second level, which consists of an X-shaped catwalk which connects the four corners of the room.

The player must turn a fire-shaped dial on a table in the center of the catwalk in order to open two gates which give access to stairs to the level below. Once the gates to the stairs open, then they remain open [game_state_actor].

The first level is lined with built-in wooden cabinets which are filled with Holy Relics. All of the great mysterious objects are here. Zork versions of the ark, the holy grail, the shroud of Turin and the dead sea scrolls are all in this chamber. In addition the cabinets contain the following items which become cursor_objects:

Magic Scroll
Bag of Coins
Torch
Blue Sapphire
Green Emerald
Red Ruby
Chalice
Magic Wand
Coconut of Quendor
Old Sandal

Each item is labelled with a grimy white card [text_actor] containing a short description of the object above it [text_actor].

If the player is carrying on object and attempts to pick up another, she hears

VOICE (V.0.)

Only one object may be handled at a time.

-- and the object whooshes [audio_actor] back to its original spot.

One section of the Relics Room is devoted to Yoruk of Zork. The player clicks on various objects associated with Yoruk, including a wood shield which is a representation of the shield which protected Yoruk from the flames of Hades. On another rack, the player sees a ruby; a sign reads "A true stone taken from the shield of Yoruk which has never been found." [text_actor] The player can click on the ruby and it becomes a [cursor_object].

If the player attempts to walk up the stairs to the upper level of the Relics Room she will see the following sign on the stair rail:

THIS ROOM PROTECTED BY THE TROLL-TECH ANTI-THEFT SYSTEM 710 (FORMERLY THE FROBOZZ MAGIC ALARM 709)

If the player attempts to leave the Relics Room to go upstairs with any of the objects from the Room, the object will disappear with a whoosh [audio_actor] and return to its original location. The player is free, however, to use the objects in the Catacombs.

Jewel of jerrimore
Part of Gigantic Snake swallowing tail
Ball
Zizbit: Books of Lore
Shroud of Zylon
Sheath of Grueslayer
Book On Magic: by Bizboz
Large Serpent's head with open mouth and four glowing eyes
Hourglass
Magic Wand

Each item is labeled with a grimy white card [text_actor] containing a short description of the object above it [text_actor].

If the player is carrying on object and attempts to pick up another, she hears

VOICE (V.0.)

Only one object may be handled at a time.

THIS ROOM PROTECTED BY THE TROLL-TECH ANTI-THEFT SYSTEM 710 (FORMERLY THE FROBOZZ MAGIC ALARM 709)

Relic's Room Plaques for each object

The Relics Room should probably -not- include the Coconut, but could include the Sheath of Grueslayer, the legendary blade of King Entharion, the Shroud of Zylon the Aged, and the other mystical items we discussed earlier, including the ancient rodent idol and the image of the serpent swallowing its own tail, from the ruined castle in Spellbreaker. I believe I already gave you text for the accompanying white cards; let me know if I have not. Furthermore, after a quick check, it seems clear to me that the use of the Jewel of Jerrimore in this room is reasonable, but only if it has been added to the place since Zork Zero, ie the year 883.

Incidentally, given that we don't really know what "Zork" is exactly, keep in mind that it is risky, and even a little strange, to call him Yoruk of Zork.

11.19 Prayer Wheel
In the center of the room is a large pillar which supports the center of the catwalk on the floor above. Serving as the base of this pillar is a prayer wheel that seems to be of ancient origin. When the player turns it to a particular position [animation_actor], she hears a terrible groan of machinery and sliding stone [audio_actor]. When she turns, she finds that a portion of the floor has moved to reveal a staircase.

11.21 Catacombs
The player descends the staircase [qt_actor] and finds herself in a dark steamy tunnel. In two guardboxes at the far end of the short passage into the catacombs stand two dead monks. If the player clicks on the monks, they look at the player and speak. The phrases deal with portions of the Yoruk myth and also provide cryptic clues to the solution of the remaining Monastery world puzzle.

A strange shuffling and snorting sound can be heard intermittently [audio_actor].

[INSERT REVISED DIALOGUE IF NECESSARY FOR GAMEPLAY BALANCING]

GUARD MONKS (V.0.)

"Flames were all around."
"The holy five red rubies"
"Die a little to live a little"
"Lost forever, the most sought of objects, the shield of Yoruk."
"Down, down, down."
"Anointed by the Gods to defeat evil."

She moves forward in the spiral chamber. The Catacombs are ancient and crumbling — ruins from thousands of years past. The room is dark, but light filters in from openings in the roof. They are too high and narrow to be of any use other than as light sources. To the player's left is a orange-red light spilling from a long hallway. To the player's right is a dark doorway. Leading down are spiral steps ending in a jumble of stone coffins.

11.21 Catacombs
The player descends the staircase [qt_actor] and finds herself in a dark steamy tunnel. In two guardboxes at the far end of the short passage into the catacombs stand two dead monks. If the player clicks on the monks, they look at the player and speak. The phrases deal with portions of the Yoruk myth and also provide cryptic clues to the solution of the remaining Monastery world puzzle.

A strange shuffling and snorting sound can be heard intermittently [audio_actor].

INSERT REVISED DIALOGUE IF NECESSARY FOR GAMEPLAY BALANCING]

GUARD MONKS (V.0.)

The phrase "Anointed by the Gods" could perhaps be changed to "Anointed by the Implementors".

To make a minor point about the catacombs, to say that they are thousands of years old means that
they greatly predate the conquests of Duncanthrax, thus implying that the monastery was built on top of some heretofore unmentioned structure.

11.21.01 Yoruk's Chamber
If the player turns to enter the doorway to the right she will find herself in a dark tunnel with a faint glow at its far end. The player must get the torch from the Relics Room, put it in a holder in the wall. If the player tries to proceed without the torch, she will be eaten by a Grue and die [animation_actor].

If the player places the torch in the holder and continues down the hallway the tunnel will turn slightly and she will find herself in a dark room with a single massive stone coffin in its far corner. A small plaque is discernible on the coffin but has been covered with decades of dust and grime. Clicking on it clears the grime away [animation_actor] to reveal a name: "YORUK" [text_actor].

If the player clicks on the lid of the coffin the lid slides open [animation_actor] and gives a close up of the empty coffin. If the player clicks on the close-up, the player will enter the coffin and the lid slides aside. If the player clicks on the lid from inside the coffin, the lid will close above him. Once inside, the player is looking up at the inside of the coffin lid.

The screen goes dark except for a few rays of light entering from between the lid and the coffin. The player sees above her four points of red light. The player will recognize that the pattern nearly matches the shield of Yoruk in great book the Manuscripts Room and the wooden replica in the Relics Room.

If the player clicks in the location where the fifth ruby should be while holding the ruby from the Relics Room, it will click into place [animation_actor]. The shield of Yoruk will grow out of the lid [qt_actor]. Clicking on it makes it a [cursor_object]. If the player has taken the torch from the Relics Room, she will not witness the shield animation because the torchlight will be too bright.

The player leaves the coffin by clicking on the lid. The lid slides back [animation_actor]. Once the lid is open, clicking anywhere besides the lid allows the player to stand up [qt_actor].

The player can return to the larger chamber and follow the stairs down. To her right the player sees a long tunnel containing stepping stones over a fire.

11.21.01 Yoruk's Chamber
If the player turns to enter the doorwa to the right she will find herself in a dark tunnel with a faint glow at its far end. The player must get the torch from the Relics Room, in a holder in the wall. If the player tries to proceed without the torch, she will be eaten by a Grue and die [animation_actor].

If the player places the torch in the holder and continues down the hallway the tunnel will turn slightly and she will find herself in a dark room with a single massive stone coffin in its far corner. A small plaque is discernible on the coffin but has been covered with decades of dust and grime. Clicking on it clears the grime away [animation actor] to reveal a name: "YORUK" [text_actor].

If the player clicks on the lid of the coffin the lid slides open [animation_actor] and gives a close up of the empty coffin. If the player clicks on the close-up, the player will enter the coffin and the lid slides aside. If the player clicks on the lid from inside the coffin, the lid will close above her. Once inside, the player is looking up at the inside of the coffin lid.

The screen goes dark except for a few rays of light entering from between the lid and the coffin. The player sees above her four points of red light. The player will recognize that the pattern nearly matches the shield of Yoruk in the great book in the Manuscripts Room and the wooden replica in the Relics Room.

fifth the player clicks in the location where th Cfifth rub hould be while holding the ruby from the RelIics Room, it will click into place [animation _actor]. The shield of YYoruk will grow out of the lid [qt_actor]. Clicking on it makes it a [cursor_object]. If the player has taken the torch from the Relics Room, she will not witness the shield animation because the torchlight will be too bright.

The player leaves the coffin by clicking on the lid. The lid slides back [animation_ actor]. Once the lid is open, clicking anywhere besides the lid allows the player to stand up [qt_actor].

The player can return to the larger chamber and follow the stairs down. To her right the player sees a long tunnel containing stepping stones over a fire.

11.21.02 The Fire Tunnel
As the player passes third node in the Fire Tunnel, fire erupts from the floor several feet in front of the player, blocking her path.

The flames rise to fill the screen then dissolve into a close up of the Nemesis with his characteristic white eyes. The fire between the Nemesis and the player flickers on his face as he speaks.

DEMON/NEMESIS

Who did you sell your soul to?

It bursts into a riff of diabolical laughter.

As his dialogue ends, the flames fills the screen and the view dissolves back to the player's original POV, the flames blocking her path.

If the player approaches the demon without the shield of Yoruk, flames shoot out at the player, forcing her back [animation_actor]. The flames surround the player, and the player dies.

If the player carries the shield with her through the flames she will enter a small cave-like room dominated by a grotto made of human bones.

If the player has the shield, she is able to pass — the flames envelop her, but they soon clear to reveal the Skull Grotto. If the player turns around, she will see no signs of the demon or the fire. However, the shield is also gone.

DEMON/NEMESIS

Who did you sell your soul to?

It bursts into a riff of diabolical laughter.

As his dialogue ends, the flames fills the screen and the view dissolves back to the player's original POV, the flames blocking her path.

If the player approaches the demon without the shield of Yoruk, flames shoot out at the player, forcing her back [animation_actor]. The flames surround the player, and the player dies.

If the player has the shield, she is able to pass — the flames envelop her, but they soon clear to reveal the Skull Grotto. If the player turns around, she will see no signs of the demon or the fire. However, the shield is also gone.

11.22 The Skull Grotto Puzzle
At the end of the Fire Tunnel is a grotto made from human bones. A series of six grinning skulls are arranged in a circle around a massive skull sculpted from individual human bones. The player will recognize the skull pattern from the magic circular text book and cylindrical mirror in Malveaux's Room.

If the player clicks on any of the skulls, it will turn 45 to 90 degrees to the right or left [animation_actor]. In order to successfully navigate this puzzle, the player must click on the six skulls and turn them so as to match the pattern in the magic book. When the last skull has been selected, a fanfare plays [audio_actor], and an [audio_actor] plays back the sound of a heavy stone door moving open to the player's left. The player can turn and see that a door has opened [animation_actor]. The player advances into the now open passage to the Alchemy lab.

11.22 The Skull Grotto Puzzle
At the end of the Fire Tunnel is a grotto made from human bones. A series of five grinning skulls are arranged in a circle around a massive skull sculpted from individual human bones. The player will recognize the skull pattern from the magic circular text book and cylindrical mirror in Malveaux's Room.

If the player clicks on any of the skulls, it will turn 45 to 90 degrees to the right or left [animation_actor]. In order to successfully navigate this puzzle, the player must click on the six skulls and turn them so as to match the pattern in the maaic book. When the last skull has been selected, and an [audio_actor] plays back the sound of a heavy stone door moving open to the player's left. The player can turn and see that a door has opened [animation_actor]. The player advances into the now open passage to the Alchemy lab.

11.23 Malveaux's Alchemy Lab
[LM TO REFINE PUZZLE]
Entering Malveaux's lab, the player is struck by the size of the chamber. It is very large and filled with small cinder cone tops. Steam and vapor seep out of various holes in the floor. Along the walls, large holes have been bored out. Piles of ashes are on the floor near these holes.

The center has mostly been cleared, and a stone table has been created by laying a large hewn flat rock across four cinder cones. A mangled piece of lead is on the table.

Next to the lead is an illustration with various symbols. The symbol for fire is circled and annotated with the words "Element of fire is yours. It is your method of reaching freedom and transmutation."

A carving of two lion bodies sharing a single face has been hewn out of the rock. Its eyes are hollow sockets with streaks of discoloration leading from them to a stone bowl at the base of the lion's mouth. The streaks create the image of tears. A small trough leads from the bowl past a series of five vertical metal pipes suspended above the trough just before it empties into a shallow pool of water in a hole in the floor.

Along the back wall, a larger cinder cone rises. It is covered by a boulder and is attached to a large trough that disappears into one side of the lion statue. It apparently feeds the lion's eye sockets as similar discoloration streaks can be seen running along its length.

Above the metal tubes is a metal ramp (10 degrees in slope) which terminates at a small porcelain dish.

The metal tubes are all attached to a horizontal feed that makes a right angle before disappearing into the floor next to the pool of water. On each vertical pipe is a small dial. Currently, all the dials are set to the far left. Each dial has five positions.

The player clicks on the boulder, and the boulder is pried off the opening [animation_actor]. If the player clicks on the boulder again, it moves back into place. Lava bubbles out of the hole and into the trough moving towards the lion face. The lava pours out of the lions eyes, down its checks and into the basin. Once the basin fills, lava pours into the small trough. As it passes under the pipes, gas flames leap into life at the top of the five tubes [animation_actor]. The lava continues towards the hole and spills into the water creating constant steam [animation_actor] and sizzle [audio_actor].

The five flames are all yellow. By turning the dials (by click-dragging) [animation_actor], the player can set the flames to different heats, and consequently different colors [animation_actor]. The five possible dial settings create flame colors of (from left to right): yellow (coolest), orange, red, blue and white (hottest).

The player clicks on the metal, and it becomes a [cursor_object]. Clicking on the ramp at any position causes the metal to drop onto the ramp at that position and begin mutating as it slides down the ramp [animation_actor].

To correctly solve the puzzle, the metal must be place at the top position.)
Once it slides into the dish at the bottom, the metal hardens into a new shape [animation_actor]. If the flames are set incorrectly, the metal will mutate into one of five random twisted (wrong) forms.

(If the metal is placed on the ramp without any flames, it will slide down the ramp without changing.)

The correct flame setting is (from highest to lowest portion of the ramp): Blue, yellow, red, orange, white. This is specified in Malveaux's Alchemy book in his room.

Once the flames are correctly aligned, the metal must be placed at the top of the ramp. If it is placed lower, the metal will form into a twisted (wrong) shape as it makes its way down the ramp [animation_actor]. Each wrong twisted shape will lead to another shape.

Placing the metal at the top of the ramp, with the flames in the correct orientation, creates the purified lead [animation_actor], emblazoned with the Saturn planetary symbol.

Clicking on the finished metal transports the player back to the Temple.

11.23 Malveaux's Alchemy Lab

Entering Malveaux's lab, the player is struck by the size of the chamber. It is very large and filled with small cinder cone tops. Steam and vapor seep out of various holes in the floor. Along the walls, large holes have been bored out. Piles of ashes are on the floor near these holes.

The Table
The center has mostly been cleared, and a stone table has been created by laying a large hewn flat rock across four cinder cones. A mangled-piece of lead and a turn key are on the table. The turn key reminds the player of a key used to wind-up toys, except that the key is almost a foot across. Next to the lead is an illustration with various symbols. The symbol for fire is circled and annotated with the words "Element of fire is yours. It is your method of reaching freedom and transmutation."

The metal and key are both active. If she clicks on either one, it becomes her cursor [cursor_object].

The Compressor
Set into one wall, the player finds the compressor machine. From a distance, this machine appears to onsist an iron egg pierced vertically end to end by an iron shaft. On closer examination though, the player can see a seam running horizontally around the egg, and make out what appear to be hubs where the shaft disappears into the cavern wall. She also notices a lever set into the wall, and the outline of a panel. The lever and panel are active.

The Compressor's Panel
When she clicks on the panel, it lifts upwards to reveal a rectangular recess [animation_ actor]. In the center of the recess is a round hole. The hole is active, but when she clicks on it, nothing happens.

This is the hole for the wind-up key. If the player clicks on the hole with the key as cursor, the key animates and inserts into the hole [animation_actor]. The key cannot be removed. The player can now wind the key by clicking on it [animation_actor].

When the player exits the panel close-up, she hears the panel slide closed [audio_actor].

The Compressor's Lever
When she clicks on the lever, the bottom half of the egg lowers and the top half raises [animation_actor]. The bottom of the egg is active. If she clicks on the bottom half of the egg, whatever she is carrying is placed in the bottom of the egg [animation_actor].

When she clicks again on the lever, the two halves come together [animation_actor]. If she has wound the compressor, the two halves begin to spin in opposite directions, whirring and humming [animation_actor]. If she has not wound the compressor, the egg simply closes.

The Purifier
On the opposite wall from the Compressor, the player finds a recess filled with boiling water. A small basket with a movable cover hangs over the water. The basket might remind the player a bit of a very large old fashioned tea strainer. Holding the basket is a single cord that runs over a pulley and then winds around a rod. The rod is welded to a gear, which in turn connects to a second pulley. The second pulley is a part of a counter balance system that is weighted so that when the heavy weight is down, the tea basket is up.

The weight is active. When the player clicks on it, the weight rises and the basket lowers [animation_actor].

The basket is also active. If the player clicks on it, the basket opens [animation_ actor]. The player can click on the open basket and insert whatever she is carrying into the basket; the basket will close automatically [animation_actor].

The Metal Transformer
A carving of two lion bodies sharing a single face has been hewn out of the rock. Its eyes are hollow sockets with streaks of discoloration leading from them to a stone bowl at the base of the lion's mouth. The streaks create the image of tears. A small trough leads from the bowl past a series of five vertical metal pipes suspended above the trough just before it empties into a shallow pool of water in a hole in the floor.

A large bellows points towards the bowl.

Along the back wall, a larger cinder cone rises. It is covered by a boulder and is attached to a large trough that disappears into one side of the lion statue. It apparently feeds the lion's eye sockets as similar discoloration streaks can be seen running along its length.

Above the metal tubes is a metal ramp (10 degrees in slope) which terminates at a small porcelain dish. The metal ramp is topped by a circular scooped dish like an egg holder.

The metal tubes are all attached to a horizontal feed that makes a right angle before disappearing into the floor next to the pool of water. On each vertical pipe is a small dial. Currently, all the dials lare set to the far left. Each dial has five positions.

The player clicks on the boulder, and the boulder is pried off the opening [animation_actor]. If the player clicks on the boulder again, it moves back into place. Lava bubbles out of the hole and into the trough moving towards the lion face. The lava pours out of the lions eyes, down its checks and into the basin. Once the basin fills, lava pours into the small trough. As it passes under the pipes, gas flames leap into life at the top of the five tubes [animation_actor]. The lava continues towards the hole and spills into the water creating constant steam [animation_actor] and sizzle [audio_actor].

The five flames are all yellow. By turning the dials (by click-dragging) [animation_actor], the player can set the flames to different heats, and consequently different colors [animation_actor]. The five possible dial settings create flame colors of (from left to right): yellow (coolest), orange, red, blue and white (hottest).

If, when she holds the metal, she clicks on the ramp at any position, then the twisted metal strikes the ramp and bounces onto the floor [animation_actor]. The same thing will happen with the turn-key.

If she has shaped the metal into a ball, but not purified it, the metal ball will not fit on the top of the ramp; it will roll part way down the first loop, then bounce out of the groove [animation_actor].

Solving the Alchemy Puzzle
Having taken note of the top of the ramp, the player realizes that the metal is the wrong shape. She opens the Compressor and places the metal inside the egg. Then, she winds the machine and pulls the lever. The Compressor spins, polishes, and shapes the metal into a smooth ball. The player now clicks on the lever again, and then takes the metal.

Next, she tries to place the ball in the metal transformer, but the ball is too large and jumps off the track. She places the ball in the basket and lowers it into the water where the outer layers are flaked off by the boiling action [animation_actor].

Now, she places the purified ball at the top of the ramp. The metal drops onto the ramp and begin mutating as it slides down the ramp [animation_actor]. Once it slides into the dish at the bottom, the metal hardens into a new shape [animation_actor]. If the flames are set incorrectly, the metal will mutate into one of five random twisted (wrong) forms, and she must begin again with the compressor. If she places the metal ball on the ramp anywhere but the top, the ball will heat up, but not enough to transform before it reaches the bottom [animation_ actor]. (If the metal is placed on the ramp without any flames, it will slide down the ramp without changing.)

The correct flame setting is (from highest to lowest portion of the of the ramp): Blue, yellow, red, orange, white. This is specified in Malveaux's Alchemy book in his room.

Placing the metal at the top of the ramp, with the flames in the correct orientation, creates the purified lead [animation_actor], which forms a molten pool in the bowl. The player must now click on the bellows, which animate and blow the lead into the shape of Malveaux's symbol [animation_actor].

Clicking on the finished metal transports the player back to the Temple.

11.23.01 Malveaux's Alchemy Texts
Resting on a bookshelf above the table, the player finds a collection of texts. Clicking on any of the texts causes it to open and fill the player's view [animation_actor]. The player is presented with one page from the text. Clicking again returns the book to the shelf.

The first book is Scala Naturae by Thomas Vaughan. It includes the passage:

This Fire passeth through all things in the world, and it is Nature's Chariot, in this she rides; when she moves this moves, and when she stands this stands, like the wheels in Ezekiel whose motion dependeth on that of the spirit. This is the mask and skreen of the Almighty, wheresoever he is, this Train of Fire attends Him. Thus he appears to Moses in the Bush... [text_actor]

The second book is A Light in Darkness by Thomas Tymme. In it, the player reads:

The philosophers have called that the Body which, according the natural) power, may be fixed and, with continual) perseverance, can constantly abide the tryall of fire. And they have called that soule, which according to her naturall power hath no stedfastness or perseverance to abyde the trial of fire. Also they have called that Spirit which, being subtiled, dissolved, or moulten with fire, according to the naturall power thereof, hath ability to resoule the body with the soule into vapour or of retayning the soule with the body to the fiery tryall, if it vapour not. [text_actor]

The third book is by Giordano Bruno. Opening De Umbris Idearum, reveals the dedication page containing a royal seal and the following text:

Dedicated to the Lord Emperor Flathead. [text_actor]

The fourth book, Stone of Philosophers, by Hieronimus Reusner reads:

Pandora, that is the most worthy Gift of the All Powerful, Or the noble and healing Stone of the Philosophers, with which the ancient Philosophers, including also Theophrastus Paracelsus, improved the imperfect metals through the power of Fire.

The fifth book is laid our more like a book of poetry. It is by George Ripley and is entitled Compound of Alchymy (sic).

As the One from earth to heaven ascend,
In cloudes of clearnes up to his throne,
And raigneth there shining without end,
Right so our Sunne, now made our Stone,
Unto his glory againe is gone,
His fire possessing here in the South,
With power to heale leapers and renewe youth.

The second book is A Light in Darkness by Thomas Tymme. In it, the player reads:

The philosophers have called that the Body which, according the natural) power, may be fixed and, with continuall perseverance, can constantly abide the tryall of fire. And they have called that soule, which according to her naturall power hath no stedfastness or perseverance to abyde the trial of fire. Also they have called that Spirit which, being subtiled, dissolved, or moulten with fire, according to the naturall power thereof, hath ability to resoule the body with the soule into vapour or of retayning the soule with the body to the fiery tryall, if it vapour not. [text_actor]

The third book is by Giordano Bruno. Opening De Umbris Idearum, reveals the dedication page containing a royal seal and the following text:

Dedicated to the Lord Emperor Flathead. [text_actor]

The fourth book, Stone of Philosophers, by Hieronimus Reusner reads:

The fifth book is laid our more like a book of poetry. It is by George Ripley and is entitled Compound of Alchymy (sic).

Alchemy book cover
Maps of the ancient temple

The first book is by George Ripley and is entitled Compound of Alchymy (sic).

As the One from earth to heaven ascend,
In cloudes of clearnes up to his throne,
And raigneth there shining without end,
Right so our Sunne, now made our Stone,
Unto his glory againe is gone,
His fire possessing here in the South,
With power to heale leapers and renewe youth.

LOVE ALCHEMY
C. AGRIPPA’S THE ALCHEMICAL WEDDING: LOVE AS THE FIFTH ELEMENT

Study me then, you who shall lovers bee,
At the next world, that is at the next Spring,
For I am every dead thing
In whom Love wrought new Alchimie.
-- J. Donne

Sun and Moon, fixed and volatile, male and female, gold and silver, king and queen: the endless battle of opposites, yet not the One can exist without the Other. This is Love, consecrating the mystical marriage of Alchemy. The union of opposites results in Harmony -- the Harmony which begets Harmony. Without Love -- no fertility, no unity, no Quintessence. Though my newer colleagues dispute this

[cont]

Alchemical Wedding Painting
Sun and moon, male and female, gold and silver: the union of the two is the power of the universe.

The alchemy texts are great, and probably should not be tampered with, although we should keep in mind for what it is worth that neither the authors or the content are really Zorkish. Unfortunately, I suspect that making them so would ruin them.

11.23.02 The Temple Illustrations
A series of pictures are displayed along one of the curves of the cave wall. They depict various parts of the Temple, which is also the caption under the set of diagrams [text_actor]. The pictures show the outside surround by fog, the main dome space, an illustration of the Temple under construction (the word Locksmoore is visible as the illustrator [text_actor]) and the altar.

11.24 The Return to the Temple
The player now sees a part of the ring morphing visions. When that ends, the player stands before the Altar; the lead metal is hovering above the compass. Clicking lowers the lead piece into place with a clunk [qt_actor].

11.24 The Return to the Temple
The player now sees a part of the ring-morphing visions. When that ends, the player stands before the Altar; the lead metal is hovering above the compass. Clicking lowers the lead piece into place with a clunk [qt_actor].

11.25.01 Malveaux Flashback
As the player places the lead object on the altar, it seeps blood, which flows quickly into a central pool. If the player clicks on the pool she gets a close-up of the pool. If the player clicks on this close-up it dissolves to the flashback scene of the murder of Malveaux from Nemesis' POV.

The player's POV is that of the Nemesis as he kills Malveaux. Malveaux turns the sacrificial knife on us. He slashes at the player. The player grabs a candle and flings it at Malveaux's face. Malveaux erupts in flames.

The scene dissolves to the player's original POV of the altar with the metal object in place and the blood gone. A brilliant beam lights up Malveaux's sarcophagus.

11.26 Malveaux's Metal Response
If the player clicks on the highlighted sarcophagus, she is transported to a view of Malveaux in the medallion portion of his sarcophagus.

Though of course he's still a spirit, he's stronger, almost vigorous; his voice is clear. He responds to the placement of the metal like a starving man to the person who just fed him.

MALVEAUX

Ah, thank you, bless you.

(beat)

Your wanderings in my world have stirred my memories. You must understand -- the player meant no harm. Alexandria was like, she was... my child. I needed her. The Nemesis learned of our secret but the player didn't take him seriously. I didn't think he would hurt her. I thought I was protecting her from Lucien and a hasty marriage. In the end I was wrong. I never said good-bye to her. Surely, this must be hell. I believe I can bring her back. But I need the four elements. Please, let me have one more chance.

11.26 Malveaux's Metal Response.
If the player clicks on the highlighted sarcophagus, she is transported to a view of Malveaux in the medallion portion of his sarcophagus.

Though of course he's still a spirit, he's stronger, almost vigorous; his voice is clear. He responds to the placement of the metal like a starving man to the person who just fed him.

MALVEAUX

Ah, thank you, bless you.

(beat)

It is probably a mistake to use thephrase "the player" in the midst of Malveaux's speech, but I am uncertain about the true intended meaning. If the player in question is
the player of the Zork trilogy, then perhaps Malveaux means to say "the second Dungeon Master"?

11.26.01 Malveaux "No Metal" Response
If the player has returned from the Monastery without finding the metal object, she transported back to the Orrery Room. If the player goes directly to Malveaux's sarcophagus after her return, she sees Malveaux in the glass case at the foot of his sarcophagus very much like she first met him. But now he is in torment. The flames wrap around him. His face contorts with agony.

If this is the first portal completed, Malveaux will warn the player that she has seen some untruths [video_actor]. He will also tell her of his love for Alexandria.

MALVEAUX

Now you see. She was ... my daughter. He murdered her — then he killed us. I do not want revenge though. I want freedom from hell. Help us all and the player will all get out.

The player now either advances on to another portal world in search of another metal or, if this is the last element the player returns, the endgame begins.

11.26.01 Malveaux "No Metal" Response
If the player has returned from the Monastery without finding the metal object, she transported back to the Orrery Room. If the player goes directly to Malveaux's sarcophagus after her return, she sees 'Malveaux in the glass case at the foot of his sarcophagus very much like she first met him. But now he is in torment. The flames wrap around him. His face contorts with agony.

If this is the first portal completed, Malveaux will warn the player that she has seen some untruths [video_actor]. He will also tell her of his love for Alexandria.

MALVEAUX

Now you see. She was ... my daughter. He murdered her — then he killed us. I do not want revenge though. I want freedom from hell. Help us all and the player will all get out.

The player now either advances on to another portal world in search of another metal or, if this is the last element the player returns, the endgame begins.

Perhaps I am consistently misunderstanding this one crucial angle, but for Malveaux to say "He killed her" isn't really true, is it?