__        ___              ___       ___     __        __
 /\  |    /  \ |\ | |__     | |\ |     |  |__| |__     |  \  /\  |__) |__/
/~~\ |___ \__/ | \| |___    | | \|     |  |  | |___    |__/ /~~\ |  \ |  \

(1992 game)


- COMPLETE WALKTHROUGH -


- Written by ManiacMansionFan -
- Contact: [email protected] -



Alone in the Dark is a game developed by Infogrames and released primarily for
the PC in 1992.

This game has spawned several (inferior) sequels, and at least one of them was
also called simply �Alone in the Dark�, released in 2008. Please do not confuse
the two: they have nothing in common and this guide solely refers to the 1992
game.

Alone in the Dark was a very innovative game for its time, probably the first
in the survival horror genre. The 3D polygonal graphics were also ahead of
their time. If you like games such as Silent Hill or Resident Evil, this is
where it all started! While the graphics and the controls will seem dated
today, it is still a great game despite these flaws, and none of its sequels
have so far been anywhere near as interesting or groundbreaking.



*********** IMPORTANT INFO ***********

Please do not distribute or reproduce the guide anywhere without my
explicit permission. The ONLY websites allowed to host it are:

* http://www.gamefaqs.com
* http://www.neoseeker.com
* http://www.supercheats.com

Please contact me if you see it reproduced anywhere else.



*********** STORY AND BACKGROUND ***********

The story takes place in 1925. Jeremy Hartwood, owner of a reportedly haunted
mansion named Derceto, has hanged himself in his loft under mysterious
circumstances. You assume the role of either Emily Hartwood, Jeremy�s niece who
wants to find out why her uncle really killed himself, or Edward Carnby, a
private investigator hired by an antiques dealer to find an old piano in the
mansion�s loft. As soon as either Emily or Edward enter the mansion, the door
slams shut behind them and they find themselves trapped inside, having no other
option than to investigate Jeremy�s death and vanquish the evil that resides
within Derceto.

If you find and read the many books and letters located within the game, you
will progressively learn more about the story behind Jeremy�s suicide as well
as Derceto�s history. However, reading them is not mandatory to finish the game
so it is theoretically also possible to win without discovering any of the
story. Check out the GAME SCRIPT section for the transcription of all the
written documents you can find. The story is heavily influenced by the likes of
H.P. Lovecraft and Edgar Allan Poe. Some of the creatures found in the game are
directly lifted from Lovecraft�s stories, and some of the books directly quote
him as well.



*********** CHARACTERS ***********

When you start playing, the game lets you choose between the two possible
characters, Emily Hartwood or Edward Carnby. They both have the EXACT same
abilities and controls, so the only difference is how you prefer your character
to look. Pick whichever one you like best. Carnby went on to become the default
protagonist in the sequels, so that would make him the �canon� character.

Check out the GAME SCRIPT section for both characters� introductions.



*********** CONTROLS ***********

Let me start by telling you that the controls for this game unfortunately
haven�t aged well, so be prepared to struggle with them at first.

Use the DIRECTIONAL ARROWS to move. The up arrow makes you move forward and the
back arrow makes you move backwards, while the left and right arrows make your
body rotate in the corresponding direction.

If you want to run, push the up arrow twice in quick succession (keeping it
pushed the second time). This may take you a few tries before you figure out
the correct speed to make it work. Take some time to practice it, because in
certain areas you will definitely need to run, and not walk, if you want to
avoid death.

Push ENTER to access the actions menu and your inventory. Note the number next
to your character (it will be 20 when you start the game): this is your energy,
and you will die if it reaches 0 or less.

Back to the actions menu� With �Actions� highlighted, push ENTER a second time
to choose between �Fight�, �Open/Search�, �Close� or �Push�. Push ENTER again
on your selection.

Now, after having selected the action you want, you will be back in the game.
You can use your selected action by keeping the SPACE BAR pressed. If you want
to �Open� or �Search� something (a door, a chest, a shelf, etc.) just face the
object with your character and keep the space bar pressed. Ditto if you want to
�Close� something. Ditto if you want to �Push� something (you will then push
the object, providing it is possible, in the direction you are facing).

If you want to �Fight�, it is slightly more complex. Keep the SPACE BAR
pressed, like before, to put your character in his fighting stance. Now, while
still pushing the space bar, also keep one of the DIRECTIONAL ARROWS pushed in
order to attack. The attack you perform depends on the arrow you push.

If you push the up or down arrow, you will give a kick. The kick has a great
range, and should be your preferred method of unarmed combat when you are
sufficiently far away from your opponent. However, it is also a slow attack,
and if your opponent has managed to get too close to you, you probably won�t be
able to kick him because his attacks will be faster than yours and he will keep
interrupting your attempts to kick.

When this happens, you will want to use a punch instead, by pushing the left or
right arrow. Punches are faster but have a lot less range than the kick, and
should not be used unless you are cornered. Your right punch has a little more
range than the left one but is a little slower, while your left punch is the
fastest unarmed attack in the game but is also the one with the shortest range.
In general, if you find yourself cornered, the preferred method is to punch
your enemy away as quickly as possible so you can use your more effective
fighting methods again.

If you are holding a sword or a dagger, the controls are similar to kicking and
punching, but instead of choosing between kicks and punches you will strike
with your weapon in a different motion. The differences between the range and
the speed of your different attacks remain the same: the up arrow has the best
range but is the slowest, etc. However, if you are holding a sword (but not a
knife) you will have a decent range no matter what! So unlike punches, which
should be avoided (unless you are cornered) because of their short range, left
or right sword strokes can be great attacks in several situations.

If you are holding a firearm, keep SPACE BAR pushed to ready it, use the left
or right directional arrows to position yourself so you have a good aim, and
push up to fire.

If you want to access your inventory, push ENTER and scroll down to the item
you are interested in. The actions that will then be available will depend on
what the item is.

To access the game menu allowing you to save or load a game, quit, toggle the
music, etc. you will need to push ESC.



*********** GENERAL TIPS ***********

- Save often, save often, save often! Dying is pretty easy to do in this game,
and unpredictable instant deaths are unfortunately common. The game designers
expected you to do a lot of trial and error here, so you can die by simply
opening the wrong door or walking on the wrong spot. Therefore, save as often
as you can.

- Use different saving slots. It is unfortunately also possible to ruin items
you will need later on, although not too often.

- Save your ammo for the more difficult enemies. Ammo is relatively rare, so it
is better to save it if you can easily dispose of your enemies in other ways.

- Speaking of that, several fights can be entirely avoided, as I will explain
in the walkthrough. It is always better for you to avoid a fight if you can.

- If you did not die yet screwed up badly during a fight (either by
unnecessarily wasting a lot of ammo or by losing energy when you didn�t need
to), consider reloading a previous saved game. Both ammo and first aid kits are
quite rare, do not waste them.

- Rifle cartridges are not water proof, but revolver bullets are. There will be
occasions to get wet near the end of the game, which will render your rifle
cartridges unusable. Therefore, it is preferable to use your rifle at first,
saving the revolver for when you are out of ammo for your rifle.

- Whenever you need to drop an item because the game tells you you are carrying
too much, make sure to remember where you drop your items. You can usually
always come back to get them, but don�t forget where they are in case you end
up needing them.

- Speaking of dropping items, the game is sometimes picky about where you can
drop things, and you may be told there is no room even though you can clearly
see there is. If that happens, an easier trick is to just throw the item.
However, make sure not to throw breakable items that you may need later on, and
if you think you may need the item again later, don�t throw it in a place that
you would not be able to access again.

- An instantly recognisable music theme starts when a monster appears. This is
a good hint that should make you get ready for a fight. However, the game also
sometimes likes to give you false alarms by playing the music even though no
monster is going to appear.



*********** WALKTHROUGH ***********

Choose whichever character you want: as explained in the CHARACTERS section,
all it changes is the way your character looks. Watch the introduction (or push
Enter/Esc if you�ve seen it before and don�t want to watch it again).

The game begins when you find yourself in the loft.

~1. LOFT~

1.1. GETTING RID OF TWO MONSTERS

You have no time to waste as two monsters are going to appear here, and the
first one will appear after one mere minute of game time! Getting rid of them
should be your priority before you start exploring the room. There are two ways
to do so: you can either prevent them from entering (see 1.1.A.), or fight them
(see 1.1.B.). The first option is the best as it ensures you will not
needlessly get hurt. However, if this is your first time playing the game, you
might consider waiting for them to show up so you can practice the fighting
controls (which I explained in the CONTROLS section). Afterwards, if you got
hurt, you can just start the game again. It�s your call.

-> 1.1.A. PREVENTING THE MONSTERS FROM ENTERING

If you�ve read Emily�s introduction, you got a hint about the first monster
when she said her uncle blocked the loft window with the old wardrobe. This is
precisely what you need to do, because this monster is going to jump through
the window and attack. Quickly move to the left side of the red coloured
wardrobe you see in the background, and push it forward until it blocks the
window. Now the monster won�t be able to enter.

From the angle of view where you pushed the wardrobe, you should see a trapdoor
on the floor, as well as a red chest nearby. The second monster is going to
come in from the trapdoor, so go behind that chest and push it on top of the
trap. Now this monster won�t be able to enter either.

You will still hear the monster theme when the monsters arrive and you will
hear their attempts to get in, but they won�t be able to.

-> 1.1.B. FIGHTING THE MONSTERS

You might prefer to fight the monsters for some reason. The one that jumps
through the window is a jumping bird-like monster, and those can be rather
annoying because they are quite fast, at least compared to the zombies, and
their irregular jumping movements mean you need a good timing. Time your kicks
so that they land when the bird jumps within range, and push it away with your
punches (preferably the faster left one) if it gets too close to you. The
monster that comes from the trapdoor is a zombie, those on the other hand are
very slow, predictable and easy to kill.

-> 1.1.C. LEAVING THE LOFT IN UNDER A MINUTE
This is for experienced players only. It is entirely possible to quickly find
the three items you need to get in this room (see below) and to exit before one
minute has passed, thus before the first monster appears. But doing it this way
is only recommended for players who are very familiar with the game.

1.2. EXPLORING THE LOFT

Open the wardrobe to find an old Indian cover. Take it. Open the chest to find
a rifle with 4 bullets. This is not much, so save them for now. Get the oil
lantern on the table, you will be offered to take it by simply walking against
it.

Optional items: Search the right side of the piano to find the suicide letter
of Jeremy Hartwood. This is just some background story. Search the library to
find a book: an extract from the Golden Fleece. This gives you a big hint on
how to destroy some monsters you will encounter later on. You can read it, but
don�t bother keeping the book afterwards because it will just encumber you. You
can read the content of both of these documents in the GAME SCRIPT section.

Now, go to the end of the room (near the rocking horse) and go down the
stairway.


~2. STOREROOM~

Take the bow resting against the shelf. Search the shelf it was resting against
to find an oil can. Use the oil can in your inventory to fill up your lamp,
then dispose of the empty can as you no longer need it. Open the door to enter
a hallway.


~3. SECOND FLOOR HALLWAY~

First of all, do you see that odd-looking part of the floor? Don�t step on it,
or you will fall through, and that�s an instant death. You will need to go
through the rooms to reach the other side of the hallway, you cannot just walk
through it or you will die.

Now that you have been warned, open the first door on your left and enter.


~4. CAVALRY SABRE ROOM~

As soon as you walk a little inside the room (more or less when you walk on the
carpet), the door will shut automatically and a zombie will wait for you there
when you attempt to leave. Zombies are very slow, predictable and easy to kill,
so it should not be a problem for you. However, you can avoid this fight if you
keep hugging the walls. If you do this properly, the door will never close and
there will never be any zombie waiting. Now, whether you choose to fight the
zombie or to carefully hug the walls, read on�

Search the desk in the corner to find a key. If you attempt to open the chest,
you will find that it is locked, but you are in luck because the key you�ve
just picked up opens it. So, open the chest with it and take the old cavalry
sabre that you find inside.

This sabre has a particular use that we will find out about later on. It can be
used as a weapon, but it is old and will (very) quickly end up breaking, so I
personally don�t bother using it. If you use it anyway and if you do break it,
don�t fret because it will still have that special use later on, but make sure
you keep both the broken sabre and the sabre blade, as in that case you will
need both items.

Once you have the sabre, you may drop the key as you will no longer need it. Go
through the door and, unless you have been carefully hugging the walls to
prevent the door from closing, a zombie will be there waiting for you when you
open. Kill it to be able to proceed; I suggest to just kick it until it dies,
it�s easy.

Back in the hallway, go through the door directly in front of the one you are
coming from.


~5. DRESSING ROOM~

Within seconds of entering this room, a zombie will try to enter through the
same door as you. There is a very simple trick to prevent this from happening
though: simply close the door as soon as you enter, and the zombie will be
blocked. If you don�t do this, then the zombie will enter and you will have to
get rid of it.

There is nothing interesting in this room, so just exit through the other door,
near the window, to go to the next room. Prepare for a fight that is quite more
difficult than the previous ones; saving your game now is a good idea.


~6. SECOND FLOOR BEDROOM~

6.1. FIGHTING A BIRD MONSTER

A bird-like monster will jump through the window when either A) one minute has
passed since you have entered this room, or B) you have picked up the vase. All
the previous fights could be avoided so far, but this time you have no way to
prevent this monster from entering, so you will have to fight it. You are in a
very cramped space and it will be difficult if you are unprepared, so don�t
explore the room yet, just deal with the monster first. For this fight, I
recommend using your rifle and using the minute of preparation you have to
properly position yourself facing the window (but sufficiently far from it) and
to prepare your aim. When the bird enters, two properly aimed rifle shots will
kill it. If you prefer to attack it without the rifle, go ahead, but I find
this difficult given the space constraints. Hopefully, you will manage to kill
it without getting hurt much. Otherwise, this is why I suggested that you save
your game before entering, so you can retry.

6.2. EXPLORING THE BEDROOM

Now that the monster is disposed of, grab the vase on the left side of the bed.
Throw it so that it will break. Go to the remains of the vase so you can pick
up a key that was hidden inside (don�t bother taking the broken vase). Use this
key to open the dresser with the teddy bear. Take the two small mirrors that
you find inside, and be careful with them: if you break them, your game will
become unwinnable! You will break them if you get hit, so make sure not to get
into any fights for the time being. You may now drop the dresser key.

Go through the door to leave the bedroom. Back in the hallway, enter the room
on the other side.


~7. SECOND FLOOR BATHROOM~

Open the cabinet and you will find a first aid kit. Open it and take the flask
inside. You may now drink the flask to regain 10 energy units. Note that you
may drink it even if you did not get hurt: your energy can go above the initial
20.

You can now get rid of the empty first aid kid and empty flask. Leave the room
and go through the door at the end of the hallway.


~8. SECOND FLOOR LOBBY~

On each side of the stairway, you will see two purple winged monsters blocking
your path. They do not move, but they are invulnerable to normal attacks, so do
not fight them. In fact, do not even get close to them because they could hit
you and break your small mirrors.

Instead, remember the hint you got from the book in the loft. Go to each one of
the small statues in the corners and drop a small mirror on each of them (not
on the floor; if you place it correctly, the mirror will be held by the
statue). Make sure to stay close to the wall while you do it, in order to avoid
being attacked by the monsters.

If done correctly, the first monster will start shrieking and gesticulating.
When you do the second one, both monsters will collapse and die. You are now
free to go down the stairway, so do so (it doesn�t matter which stairway you
use, they both lead to the same place).


~9. FIRST FLOOR LOBBY~

When you arrive, you will get a glimpse of the library room, but the door
automatically shuts and you hear an ominous laugh. There is also a set of
armour that you must not touch. If you do, the armour will start attacking, and
you cannot destroy it yet, so stay clear of it.

Just so you know, the library door is locked. Walk to the passage on the right
and make sure you do not touch the armour while doing so. Go through the door
you see there.


~10. LIVING ROOM~

As you enter, you will see a ghost sitting in a chair. The ghost will not
bother you, but you must not bother it either: if you touch it, it will get up,
transform, and kill you instantly.

Search the cabinet near the door to find a box of cartridges (8 of them). Use
them to reload your rifle. Now walk to the gramophone on the table and take it.
Next, walk to the other side of the room while being extremely careful not to
touch the ghost as you walk around it. Walk to the chimney and you will find a
poker and a matchbox. Leave the poker, which is useless, but take the matchbox.

Optionally, you can search the photo in the corner to see that it is a photo of
Jeremy with his niece Emily.

Now, leave the room to go back to the lobby (being once again careful not to
touch the ghost), and go to the passage left of the library room this time. Go
through the door.


~11. FIRST FLOOR HALLWAY~

You arrive in a hallway. The first door you see leads to a bedroom, but there
is nothing you need to finish the game in there, and you will also have to
fight a bird monster if you enter. You may choose to enter if you wish to read
Jeremy�s notebook, which gives you a lot of background story as well as a hint
that there is a secret passage in the cellar, but that is the only point.

If you are merely trying to finish the game, skip this room and go through the
second door instead to access another bathroom (there is a monster inside and I
would recommend saving your game before you enter it, just so you can avoid
unnecessary injury).


OPTIONAL: FIRST FLOOR BEDROOM

There is nothing in the closet, and searching the curtains (before the bird
appears) only produces a creepy sound. The only think of interest here is the
notebook resting on the chimneypiece; it serves no purpose game-wise but gives
you interesting background story. As soon as you pick it up, a bird monster
which was hiding behind the curtains will attack you. Kill it, and you may read
the lengthy notebook, which is Jeremy Hartwood�s diary (you can find the
transcript in the GAME SCRIPT section as usual). Now, leave the room.

Go through the second door in the hallway to access another bathroom.


~12. FIRST FLOOR BATHROOM~

A squid-like monster is resting in the bathtub. It is invincible, and will
attack you as soon as you enter the room, so you have to ignore it and quickly
do everything you need to do in this room before leaving. The monster cannot
leave the bathtub, but it has long tentacles that can hit you anywhere in the
room.

There are two items to get here: a first aid kit and a jug. The first aid kit
is optional but is a great help, while the jug is not entirely mandatory either
but is still strongly recommended (and it is easy to pick up).

First of all, open the cabinet to find the first aid kit. It works just like
the one you found in the upper bathroom (open it and take the flask inside,
then drink the flask), except this one increases your energy by a whopping 20
units. Drop the empty items afterwards. As mentioned before, your energy can go
above the initial 20, so don�t be afraid to drink up.

Next, pick up the jug resting near the cabinet.

It is pretty difficult to grab both items and escape the room without getting
hit even once, so the best way to avoid getting hit at all is to run inside the
room and grab one of the items, run out, then run back in again and grab the
other one. Getting hit once is entirely acceptable, so you can grab both items
at the same time. However, consider reloading your game if you get hit too many
times. Even though it is not mandatory to complete the game, you should still
grab the first aid kit because it will very likely cover whatever wounds you
sustained while obtaining it, and give you a lot more energy on top of that!

When you are all done, quickly leave the room. Keep walking down the hallway
and go through the next door you see.


~13. DARK ROOM~

You will be in the dark when you enter. Use your matchbox to light your lamp,
which you have previously filled with oil. You can now see inside the room.

Walk to the table and pick up the very heavy statuette. It is very heavy, as
its name implies, and will greatly encumber you. However, if you have followed
my instructions so far, you will be able to carry it without having to drop
anything. You will also find a book, �Diary of a journey�, which you may read
for some background story but which you do not need, so leave it behind.

Next, search the night table to find some revolver bullets (6 of them). You do
not currently have a revolver, but you will find one later. Note that unless
you have placed your lamp on the floor, the room will go dark while you search
the night table since you will then have to select �Open/Search� instead of
holding the lamp. It doesn�t matter, just use the lamp again afterwards.

You may now leave the room, and put that lamp back into your inventory (by
selecting any other action in your menu), because although you have a lot of
oil it still comes in a limited supply, so you don�t want to run out of it by
holding out your lamp when you don�t need to. You will need it again later!

There is one other door at the end of the hallway, but it is not yet time to go
there, so backtrack and go back to the lobby.


~14. FIRST FLOOR LOBBY~

You can now destroy the set of armour by throwing the very heavy statuette at
it. Face the armour and just throw your statuette. The armour will disappear
and leave its sword behind, which is a good weapon for you. It works exactly
like the old cavalry sabre, except it will not break. Pick up the sword, and
leave the statuette there.

Go through either of the dark openings in the passages left or right of the
library room to climb down a stairway leading to the ground floor.


~15. GROUND FLOOR LOBBY~

Turn left and you will see two closed doors. The left one leads to the cellar,
but it is locked. Go through the right one instead.


~16. STATUE ROOM~

Go to the statue (it is a statue of Artemis, Greek goddess of the hunt) and
search it. You will find three arrows. Take them all. They can be used with
your bow, but you need them for a specific encounter later on, so do not shoot
any of them right now.

As soon as you take the arrows, spiders will fall down from the ceiling. They
are weak but they are also impossible to kill, so just quickly go back through
the door where you came from (ignoring the double doors). The spiders will not
pursue you outside of this room, but they will still be there if you come back
and will prevent you from going further. Thankfully, we will never need to come
back to this room, and we will find another way to that room we didn�t visit.


~17. GROUND FLOOR LOBBY~

You are back to the lobby. This time, go to the other side of the stairway.
There, you will see an open passage and a closed door. Go through the door to
enter the kitchen.


~18. KITCHEN~

If you want to avoid a fight later on, grab the pot of soup in the chimney. You
cannot eat it as it is human flesh, but you will soon find people who will
enjoy that. I recommend that you pick it up.

The smaller cupboard here contains another matchbox, but you already have one,
so there is no point in taking this one. The larger cupboard contains two
knives, which can be used as weapons, but you already have a sword which is
much better, so there is no need to take them either.

Go through the small dark brown door next to the door you used to come in here.

18.1. KITCHEN STORAGE ROOM

You enter a small storage room. You will find a key hung on the wall there,
take it. Still in this room, search the shelf to find a biscuit box. Eat the
biscuits to gain 5 energy points, it�s not much but it�s still appreciated.
Drop the empty box afterwards.

Now, go back to the kitchen proper. On the other side of the room is another
one of these small dark brown doors. Go through it to access a coal room.

18.2. COAL ROOM

Immediately as you enter the coal room, a zombie will enter through the door
you just used to come in, and attack you. Move to the back of the room so you
have some space, and then fight it and kill it. I recommend you use your sword
here, it will do wonders.

You will see another oil can here, take it and use it to fill your lamp some
more, then drop the empty can.

Use the jug you collected earlier with the water barrel. You now have a jug
filled with water.

Next, search the coal pile to find a shoe box. Open the box and you will find a
revolver inside, loaded with 6 bullets. You can throw the empty box away
afterwards. Reload your revolver with the bullets you found in the living room
so that it now carries 12. Note that the revolver bullets are water proof, but
the rifle cartridges are not, and you will get a chance to get wet at some
point. Therefore, if you are going to use a firearm, start by using your rifle
and save the revolver for when you are out of ammo for your rifle.

Now, leave the coal room and exit the kitchen through the normal door right
next to the coal room�s door. You will arrive in a hallway. Go through the door
immediately in front of you.


~19. DINING ROOM~

You will enter a dining room with five hungry zombies, and the door will close
as soon as you enter the room a little bit. You can either avoid this fight
thanks to the pot of soup you picked up from the kitchen, or you can just fight
and kill all the zombies. The first option is preferable as it makes you avoid
fighting.

-> 19.A. FEED THE ZOMBIES

Go to the table and put the pot of soup on it. The zombie who had started
moving will just grab a seat and sit down. The other zombies will not move.
That is all there is to it, you are now free to go. The zombies will still
react if you attack them, but if you don�t, they will just remain sitting
quietly and will not bother you.

-> 19.B. FIGHT THE ZOMBIES

If for some reason you prefer to fight, zombies are easy to get rid of anyway.
They will get up and attack you one by one. Dispose of them any way you see
fit. The sword is a good choice. If you don�t mind using bullets here, it is
worth noting that if you shoot a zombie that had not yet stood up, it will die
immediately, whereas a moving zombie will take two shots to go down. Therefore,
if you are going to shoot them, save some bullets by shooting the zombies that
are still sitting.

Once you have gotten rid of the zombies, either by feeding them or by killing
them, you will be able to leave through the doors normally. Go through the door
located to the right of the shelf (the normal door, not the double doors) and
be prepared to act quickly.


~20. SMOKING ROOM~

A lit cigar is resting in an ashtray on the table, and the smoke will gradually
fill up the room. The smoke is harmless at first, but you will cough and lose
energy if you get exposed to it for too long. Run to the table, face the cigar,
and use the jug filled with water to extinguish it. The cigar will then
disappear and the room will become safe. If you don�t have the water jug, you
will have to be very quick every time you come into this room in order to avoid
getting hurt; this is why picking up the jug was strongly recommended.

Grab the lighter from the table. It has the same use as the matchbox (to light
up the oil lamp) but, unlike the matches, it will still be usable after getting
wet. You will need that later on.

Optionally, you can search the small cupboard in the corner to find a record
(Chopin�s Posthumous Opus 69 Nr 1) and a book, �Memories�. The book just
contains some more background story, and you can play the record on the
gramophone to hear a nice piece of music, but neither of these have any use
game-wise.

Exit through the double doors next to that small cupboard (the other set of
double doors is locked). You will arrive in the mansion�s hallway.


~21. GROUND FLOOR HALLWAY~

Stay away from the mansion�s entrance door, as it will open to a giant tentacle
that will stab you, and that�s an instant death.

Leave all the doors alone for now and go through the hallway to find yourself
in front of the stairway you used to come down here. Climb it back up.


~22. FIRST FLOOR HALLWAY~

Go back through the passage on the left of the library room, and walk down the
hallway until you reach the last door. Go through it.


~23. PAINTINGS ROOM~

As soon as you enter, you will see the painting of a man holding an axe. If you
keep walking into the room, the painting will come alive and throw the axe at
you. To prevent it from doing that, face it and put the old Indian cover on it.

There is another aggressive painting we need to get rid of before the room will
be safe. You should save your game now in case you screw up.

On the other side of the room is the painting of an Indian that will shoot
arrows at you when you approach it. Walk up the room until you are standing
near the green painting. From this distance, the Indian will not shoot yet but
you will be able to attack him.

-> 23.A. TAKING OUT THE INDIAN WITH THE BOW
Take your bow and shoot an arrow at him (the controls are the same as if you
were holding a firearm). If you successfully hit him, he will disappear in a
cloud of smoke. You can use the three arrows in your inventory to succeed, but
if you miss with all of them, you will need to reload your game because you
cannot get the arrows back, and you cannot find other arrows anywhere either.

-> 23.B. TAKING OUT THE INDIAN WITHOUT THE BOW
Whether this is a bug or something intended by the programmers will remain a
mystery. It is also possible to destroy the Indian by simply throwing an arrow
at him, without using the bow. The arrows you throw can be picked up again,
unless the arrows you shoot with the bow. However, if you missed and needed to
go pick up your arrows to try again, you would need to approach the Indian from
up close and be exposed to his deadly fire, so missing is still not a good idea.

Once that painting has been dealt with, you no longer need the bow or any
remaining arrows you may have, so you may as well drop them (the bow and arrows
may be used as a weapon, but you should have enough fire power with your rifle
and your revolver). Go to the end of the room and go through the door there.


~24. JEREMY�S BEDROOM~

Walk to the table and pick up that odd-looking book. It is a false book, so you
cannot read it, but it will have a purpose later. Push the clock to reveal a
hiding place. Search this hole to find a key as well as a parchment. Take the
key. The parchment reveals some background story and a vague hint about the
monster you will soon meet in the library.

Now, exit this room and go back to the middle of the paintings room. There is a
double door there, which leads to the library. It is possible to die in there
so you may want to save your game just in case. Go through the door.


~25. LIBRARY~

It is dark in here, so use your oil lamp to have some light. You will need to
use other items here while still being able to see, so drop your lamp on the
floor. This way, the room will remain lit but your hands will be free; you will
get your lamp back when you are done. Note that as long as your lamp is sitting
there, it is burning oil! You should have a lot of it by now, but that is no
reason to waste it because you still NEED it for later, so keep that in mind
and try to hurry.

A purple ghost (the �Vagabond� mentioned in the parchment) will chase you here,
and you cannot destroy it by normal means, so quickly run away from it if you
see it.

From the entrance, go to the upper left passage until you cannot go any
further. There, you should see a book shelf that looks a little strange: it is
a secret passage, but you need to find a way to open it. Go to the right of
this passage and search the shelves. If you are standing at the correct place,
you will be told there is a mechanism to trigger. Put the false book you just
picked up in there, and the secret passage will open. Enter it.


~26. LIBRARY�S SECRET ROOM~

Pick up the big talisman on the shelf. Search the bookshelf and pick up the
dagger with the curved blade (the first one you find). You can leave the two
others.

Optionally, there are also two parchments and two books there. The �Signs and
Rituals� parchment just gives you some background info, while the �The
Sacrificial Dagger� parchment indicates which dagger you need to use to get rid
of the Vagabond in the library. The first book, �Reflexions on the power of the
verb� (the one that looks like a normal book) contains a thinly veiled warning
that reading certain books could make you die. The second book, the one that is
golden coloured, is precisely one of the books you are warned about, namely �De
vermis Mysteriis� by Ludwig Prinn. If you read that book, that�s an instant
death for you, so (do I really need to say it?) do not read it.

Now that you have the talisman and the dagger, exit the secret passage and go
back to the library.


~27. LIBRARY~

Hold the dagger you picked up from the secret passage and wait for the purple
monster (the �Vagabond�) to show up, if it isn�t already there. Just hit it
once with the dagger to send it back to its dimension and be rid of it. Note
that disposing of this monster is not mandatory to win the game, but it is so
easy to do that there is no reason not to do it.

Optionally, you can find four books in the different bookcases here, three of
which give you background information, while the fourth one (�Fragments of the
book of Abdul�, identifiable by its red cover) is another of those books that
hurt you just from reading them; this one will not kill you instantly but
instead make you lose some energy after contorting your body in a strange way.
Your lamp is still burning oil while you are searching for books, so game-wise
it is NOT worth the investment. You can read the contents of these books in my
GAME SCRIPT section as usual anyway. If you are curious, the three harmless
books are found within the bookcases near the secret passage, while the fourth
one is found on the other side of the library.

You may now leave the library, after picking up your oil lamp you left on the
floor. Hopefully, like I suggested, you did not take too long and did not end
up burning too much of your oil. Go through the double doors you had not yet
opened here, and you will arrive at the first floor lobby. Climb down the
stairway to go to the ground floor. Alternately, you can also backtrack to the
paintings room, but the way I explained is shorter.

At the bottom of the stairway, take a left. This time, go through the left
door, which you can unlock with the key you found in the kitchen earlier. This
door leads to the cellar.


~28. CELLAR~

There are rats in there, and although the monster theme starts playing when
they show up as though they were scary enemies, they are extremely weak and not
a real threat to you unless you are already near-dead (their bite only removes
1 energy point at a time). They are invincible though, so just stay away from
them.

When you first get to the cellar, you should notice a small item on top of a
shelf almost under the stairway. Go there to find 6 bullets for your revolver,
which you can take and load immediately.

Everything else is optional, so if you want you can leave the cellar already
(and technically, finding the bullets was optional as well, but some extra ammo
is always nice).

OPTIONAL: GETTING AN EARLY GLIMPSE OF THE UNDERGROUND TUNNELS
This is entirely useless and you can get killed trying to do it, so be warned.
Go to the other side of the room until you see two big red barrels. There is a
wooden block on their right side to prevent them from moving. Take that wooden
block, but make sure not to stand in the barrels� way (they will roll to the
right) or they will crush you and you will possibly die as they really cause a
lot of damage! It would be a good idea to save your game before you take the
block to avoid any accidental crushing. Once the barrels have moved, you can
drop the block. A secret passage has been revealed, but you will only be able
to visit it briefly as you will soon come face to face with a deadly worm
creature. Run away from it immediately or it will kill you. What was the point
of all this? There was absolutely none, as previously mentioned. Contrary to
popular belief, you will be able to escape the underground caves later on even
if you have not removed the wooden block beforehand.

Optionally, you can also search the shelf next to the barrels to find a book
containing some lengthy background information.

When you are done, leave the cellar by taking the stairway back up, and head
back to the smoking room.


~29. SMOKING ROOM~

You can now open the double doors that were previously locked, with the key you
found in Jeremy�s bedroom. Do so to enter Jeremy�s study.


~30. JEREMY�S STUDY~

The shield with a single sword hung on the wall there should attract your
attention. Searching it reveals there is a mechanism to trigger. You can
activate this mechanism by putting the old cavalry sabre there (or both pieces
of it if you broke it), but you don�t have to do it yet as it is not yet time.

Instead, search the shelf to the right of the portrait to find a record (Saint
Sa�ns� �Dance of Death�) and a book. Take the record. The book, as is often the
case, simply contains some background story.

Now, go back to the hallway and enter the door immediately facing the smoking
room�s door. You should probably save your game because there is a fight coming.


~31. PIRATE�S ROOM~

When you enter, a pirate will approach you and attack you with his sword. His
movements are quite slow, but he is invulnerable to anything other than your
own sword (and the old cavalry sabre, but as I have told you before, that will
break after only a few hits, and is thus extremely inconvenient to use here).
Shooting the pirate or throwing things at him just makes him do a back flip.
So, pull out your sword and attack him with it.

The key here is to push him back and to use different swinging motions, because
if you keep using the same one the pirate will probably repeatedly block your
blows. I recommend you try to push him into a corner, then just use different
kinds of attacks and you should end up killing him rather quickly. You will
probably get hit a few times yourself during the process and that is entirely
acceptable, if you�ve been following my walkthrough and if you�ve been careful,
you should have plenty of energy left.

Take the key he leaves behind him. Optionally, you can also find a book on the
floor, containing background info.

Go through the closed double doors here, which you can unlock with the key you
have just found.


~32. DANCE HALL~

Dancing ghosts are standing there motionless. Do not, at any time, touch them,
or you will die!

In the corner, you can find a record (Strauss�s �Blue Danube�) but just like
the Chopin record, it is a nice piece of music that you can play on your
gramophone but that doesn�t have any use game-wise.

You can probably see a big key resting on the chimneypiece, but you cannot
reach it because the ghosts are in the way, and as I have just mentioned, you
will die if you touch them. What you will need to do is play a record that they
like on your gramophone: the �Dance of Death� record you have found in Jeremy�s
study. You MUST save your game before you play it, as it is VERY easy to die
here!

Once you play the �Dance of Death�, the ghosts will start dancing. They will
still kill you if you touch them, and this time they will be moving, making
them a lot more dangerous and quite difficult to avoid. Wait for an opening and
go grab the key on the chimneypiece. Then, leave through the door you came
from. The ghosts are unpredictable so there is no perfect movement strategy. Do
not bother picking up the gramophone again as you will no longer need it. Don�t
worry if you die a few times here, I find it to be one of the most deadly
places in the game.

Once you have managed to safely escape the room (but only if you took the key),
the ghosts will disappear, but that is of no interest to you since you no
longer need to go back to this room. Head back to Jeremy�s study.


~33. JEREMY�S STUDY~

Now is the time to activate the secret mechanism. Put the old cavalry sabre on
the shield hung on the wall (or both pieces of it if you broke it), and the
desk will rotate, revealing an underground passage.

Make sure you have all the items I told you to get before you go down, because
you will NOT be able to come back.

When you are ready, go down the stairway.


~34. FALLING BRIDGE~

You are now entering the underground caves, which are a lot more action
oriented than the rest of the game so far. You can die a lot, in pretty much
every room you will visit. From this point on, remember to SAVE often. I will
trust you to remember it.

When you arrive, you will be facing a wooden bridge, which will crumble as soon
as you step on it. You need to RUN (not walk) to the other side. If you walk,
you will fall down and die.


~35. RED TUNNELS #1~

There is only one path you can take, so take it, and make sure you are still
running and not walking. At one point, you will see a giant worm behind you.
Ignore it and run away from it, because it can kill you extremely quickly (this
is why I told you to keep running, if you just walk the worm will catch you).
Just keep running through the only path you can take.

You will soon arrive in an area where there is a tunnel to the left and another
to the right, but the left one is blocked by a rock, so take the right one.

There, one of those annoying bird monsters will be waiting for you. Dispatch it
any way you like. I recommend you shoot it with your rifle. You are safe from
the worm in this area, because it went through the left tunnel, destroying the
rock in the process.

Once the bird monster is taken care of, go through the bottom of the screen
twice, and you will probably face the worm again (if you don�t, then you were
REALLY fast, and you can proceed further; but chances are the worm will be
there!).

Immediately run away from it and go back to the intersection where the left
tunnel was previously blocked by the rock. If you did everything like I
instructed you to, the path will be cleared and the worm should no longer be
there (if it is still there, come down to face it again and turn back).

Go through the empty left tunnel until you arrive in a cave with a wooden dock.
Drop down to the dock.


~36. UNDERGROUND CAVE #1~

A monster is in the water, and although it will not climb out, it can still
hurt you with its attacks even if you are staying on the dock. Run around the
dock quickly, there is only one path you can take. If the monster is getting
too close and is impeding your progress, go away so that it follows you, then
quickly run back to the desired direction. It is moving slower than you so you
can easily trick it that way.

If you fall into the water, you can climb back up, but your rifle cartridges
will be wet and unusable if you still have any, not to mention you will become
an easier target for the monster. Therefore, don�t fall.

At one point you will be facing some sort of bridge in a lighter shade of
brown. Do not walk on it as it will break down, instead JUMP over it (since you
have entered the underground, the �Jump� command has been added to your list of
possible actions).

Climb up to the other side to reach a brown tunnel.

NB: Instead of doing things as I explained, experienced players may want to
jump right away into the water and use two more or less hidden underwater
passages to quickly reach Underground Cave #3 and find a spot to climb back up
from there. This is the fastest way but should only be attempted if you are
already very familiar with the game.


~37. BROWN TUNNEL~

You will face a grey spider/rat-like monster. Just shoot it until it dies, and
go through the passage.


~38. UNDERGROUND CAVE #2~

As you can see, you will need to perform a lot of jumps. This room is tricky,
so the save and reload function will be your friend here.

Before you do any jumps, shoot the flying monster that is hovering around until
it dies. Otherwise, it will make things even more difficult for you.

Now, jump from pillar to pillar, preferably saving after each jump. Falling
down into the water is not the end of the world because you can then swim to a
passage taking you to the other caves, but you will have to avoid the attacks
of watery monsters AND your rifle cartridges will be wet and unusable if you
still have any. For these reasons, it is a lot better not to fall down!
Therefore I recommend saving/reloading in case you miss a jump.

The pillars you have to jump on are pretty obvious, but in case you are unsure,
jump on the left ones at first, then when the angle of view changes, jump on
the right ones.


~39. RED TUNNELS #2~

You will arrive in some red tunnels again. Follow the path and, when you reach
a fork, take the upper path (the lower path just takes you to a dead-end with a
spider). Keep going until you reach yet another underground cave.


~40. UNDERGROUND CAVE #3~

This is another tricky room, so keep your save/reload function at hand and
avoid falling into the water.

There will be another flying monster hovering around here (you will not see it
immediately, but it will appear in time). You may want to shoot it and kill it
so that it doesn�t bother you while you are finding your way, although this one
is less bothersome than the previous one.

There are different paths you can take here, but some are easier than others,
especially as some planks will fall down if you take some of the harder paths.
Let me guide you through the easiest path.

Take the left path and keep going until the angle of view changes. Follow the
only path you can take, then when you reach an intersection, climb up to the
skull. Go towards the sword you can see at the same level at the other end of
the screen. Once you are there, drop down twice, making sure you do not fall
into the water. On your left, you will be able to climb up twice. All you have
to do now is to follow the path to the chest.

Open the chest using the key you found in the dance hall. The chest contains a
gem and a book. Take the gem. The book tells you some particularly revealing
background story.

Now, push the big rock behind the chest to the side. Enter the passage it
reveals.


~41. ROCKY TUNNEL~

Just follow the path here. At some point, you will find a doorway that you
cannot go through as there is a mechanism to trigger. Just follow the other
path.


~42. DARK MAZE~

You will arrive into a dark place. Use your lantern and you will see that you
are in a maze.

The maze is not that difficult and it is hard to explain without a map, but
I�ll try anyway. Go up and go to the passage to the left. Keep going left (you
will at times have to go up or down accordingly) until you cannot go left any
further. Then, follow the path down (you will have to go left or right at times
to follow, but the only thing that matters is that you keep going down). When
you reach the end of that path, you will be at a roundabout with no other way
to go. Take the closest path to the right and keep going right. When you reach
a dead end, go back to the closest path going up. Now, keep going right, and
when you get to choose between going up or down, go down, while still keeping
going right as your priority.

If all went well, you will be in front of a door. Put the gem you have just
found into the door, and it will open.


~43. FINAL ROOM~

Save your game! This is the final showdown against Pregzt/Pickford, who is
staying there in a tree-like form. Go down the rock steps until you get into
the water.

A monster will come after you in the water, and the tree will shoot fireballs
at you, but ignore all of this and focus on getting to the stone altar in front
of the tree.

There, you will find a hook. Take it.

Put the talisman you picked up from the library on the altar. This will stop
the fireballs. However, Pregzt/Pickford is weakened but he is not dead yet.

Your oil lamp is off after stepping into the water, so light it again with the
lighter (the matchbox will not work as matches get wet). Once it is lit, throw
the lamp towards the tree and it will catch fire. Pregzt/Pickford is now
vanquished, and the monster in the water will disappear as well.

All you need to do to win the game now is to escape! The escape part is not
difficult although it does not make much sense.


~44. ESCAPE~

Go to the left side of the room and climb up. You will be in front of a stone
door (the one you usually see in the �game over� cinematic when you get
killed). Use the hook on it to open it and go through the passage.

Go to the lower part of the screen and you will somehow appear back at the
entrance of the maze. Go immediately up and use the hook again to open this
door.

Now, the fastest way to escape is to go back through the doorway you have just
come from. Although it does not make sense, you will be back at the first
underground cave.

Go to the other side of the cave and climb up. It doesn�t matter if you fall
into the water this time as the monster will be gone and you no longer need any
ammo.

Go through the red tunnels. Keep going forward and, when you get to choose
between the left or right tunnel, take the right one.

Keep going and, after going through a narrow passage, you will appear in the
cellar. As I previously mentioned, contrary to popular belief, you can use this
escape route whether you had previously removed the wooden block under the
barrels or not.

Go to the stairway and go up. You will be back in the mansion�s ground floor
hallway. Go to the mansion�s main doors. This time, you can open them safely.
Go through them to win the game.

Congratulations, you have beaten Alone in the Dark!



















*********** GAME SCRIPT ***********

+ INTRO: Emily Hartwood�s introduction

�The attorney�s letter came as a deep shock to me. My uncle Jeremy had died by
his own hand! The coroner�s report was unequivocal: he hanged himself in the
loft. My initial surprise and distress past, I considered the news; it seemed
clear that Derceto had exercised a thoroughly morbid influence on my uncle�s
mind. That creaking old mansion, with its unusual tales, its secret library
door, the ancient upstairs clock, all those occult books that my uncle could
not resist reading, in spite of his fragile nerves� Fate had pointed its
finger. Derceto had trapped its prey. Mr MacCarfey, the family lawyer,
suggested selling the old house; I immediately opposed the idea. My duty is
clear: I must go to Derceto. I tremble at the thought of those dark corridors,
those brooding portraits. Yet I am convinced that uncle Jeremy left a note, a
letter of some kind, explaining his fateful decision. I remember his voice
saying, �Look at the piano, Emily� Look harder.� Maybe the secret drawer will
yield up an explanation. I have the feeling things will not be so simple. Life
is a mystery, containing more mysteries. Jeremy taught me that much. Now is the
time to confront the mysteries. Derceto is waiting for me. I pray that my fear
is nothing more than the fruit of my imagination. Nothing will ever persuade me
that my uncle was insane. But why did he, according to the police report, block
the loft window with the old wardrobe?�


+ INTRO: Edward Carnby�s introduction

�On my door, a dull brass plate says �Private detective�. The few friends I
have call me Carnby; the others call me the Reptile. I don�t care to think what
my banker calls me. These days, I leave my letters unopened; bills and threats
to send in the receivers just ruin my day. When an antique dealer called Gloria
Allen contacted me, I slipped into my best shirt, holstered my .38, and got to
her shop as fast as I could. I was expecting something sordid: blackmail
probably. Boy, was I wrong! What I was asked to do was visit a property called
Derceto and find a piano in the loft. It was an old piano, with secret drawers;
the kind people who buy stuff in antique stores go crazy over. The Derceto
house is supposed to be piled high with classy junk: furniture, books,
paintings. It looked like whoever owned Derceto was about to get cleaned out. I
was going to bring up the subject of money when Gloria Allen handed me $150 and
a key. I kept myself from grinning at the thought of my banker�s surprise. He
doesn�t like his victims getting away. I looked over a copy of the police
report. The former owner of Derceto, a guy called J. Hartwood, had hanged
himself in the loft. The coroner concluded it was a clear-cut case of suicide.
I promised Gloria Allen I�d give the place a look-over. My report will be ready
in a couple of days. I�ve been reading up on the history of the old house; it�s
the kind of place ghosts run away from in terror. Grisly murders, curses,
lunacy� Luckily, devil-worship makes me smile, so this is my idea of a paid
vacation.�


+ LOFT: Jeremy Hartwood�s suicide letter

�They are coming. I have freed hellish forces and now the price must be paid.
Derceto is the prey of evil. The sun has set. They will find my body but will
not have my soul. I can imagine the master�s fury and the terror in the hearts
of his slaves. I hear their footsteps. Some may understand what I have done.
May God forgive me. Farewell. Jeremy Hartwood.�


+ LOFT: Extract from the Golden Fleece

�Fragment of the Myth of the Golden Fleece. Translation: Edouard de Vielban.
Hesperides Publications.
Then Perseus came across Ichios, who had been turned into stone. He spoke to
his companions and said, �Beware of the Medusa. He who looks into their eyes is
doomed to the same fate as that which befell poor Ichios and will never more
set eyes on Seriphos.� �Must we go blindfolded?� asked Ymelops. �Take up your
bronze shields and polish them until they flash in the sun,� answered Perseus.
�Fill your hearts with courage. May Artemis guide us as though we were an arrow
from her quiver.� But Ymelops was not satisfied. �Why do that, Perseus? Is
three inches of sharpened metal not enough to destroy these accursed
creatures?� The(n) Perseus drew his sword, which shone and glittered in the
sun, and with it he dazzled Ymelops. �Now what can you see?� The companions of
Zeus� son laughed. �Let us set to work, so that our shields may shine like
mirrors.��


+ FIRST FLOOR BEDROOM: Jeremy Hartwood�s notebook

�Diary of J. Hartwood
September 27, 1924. I have decided to keep this diary. Too many inexplicable
events have taken place recently. Never have dreams so haunted my very waking
moment. Perhaps my romantic mind was too dull, and has only now woken up to
these new paths and visions. Some, seeing my recent paintings, may question my
sanity. I can only ask them, �What is sanity? Where does madness begin?�
September 28, 1924. The night is pitch black. I am again drenched in sweat. I
was wandering in dunes, among giant standing stones. They were arranged in a
circle and the wind whistled about them. I plunged my hand into the soil, and
felt that repulsive thing which was trying to catch me. It seized me. I
struggled to break free of its loathsome embrace, and managed to tear my hand
away; it was covered in sticky substance. I was gripping a knife�
October 5, 1924. The stone circle is a pentacle. Derceto�s library is filled
with books on the occult. I will study those books until I find some
explanation for the dreams. The visions that haunt me must be connected to my
discoveries. I shall have to undertake a profound exploration of my dreams.
December 16. Dear God! I have found the knife. It was hidden here and what I
have learned fills me with apprehension. It is a sacrificial dagger, belonging
to some unholy cult. The thought of that blade tearing through human flesh
horrifies me. Yet I must continue my research. Derceto is a storehouse of
treasures. Was my father right after all?
January 23. I spend all my days plunged in dusty books. The servants are
convinced I am mad. At night, I wake them with my screams. The dreams are
draining what sanity I still have. I have tried staying awake, but in vain. My
visions have changed, no doubt the influence of my father�s research.
February 7, 1925. The dark man (that is what I call him) has revealed his true
face to me. He appeared, as usual, near the fireplace; but this time, he
approached me. His terrible smile will haunt me to my dying day. His breath was
ice and his burning eyes froze me: I could not move! I know, as surely as I
have ever known anything, that the face I saw, the face that has turned my
nights into hellish torture, is the mask of death.
March 10. My exhaustion is beyond description. The endless reading burns my
eyes. It seems that pirates frequented the area. Doctor Herbert insists I keep
to my bed. I have moved to another bedroom and sleep much better now. The dark
man has not gone, however. I know it. He will wait for as long as he must�
Unless I, Jeremy Hartwood, can find a way to send him back to whatever hell he
comes from.
March 11. My poor knowledge of Greek and Latin are a serious handicap to my
reading. I have nevertheless made a great step forward. I drew the symbol on
the floor: he can no longer go there. I want him to understand that I can do
the same thing in my bedroom. I can imagine his rage and frustration: only last
night he found his way back into my dreams.
March 13. The translation will seriously dent what money I have left. I cannot
paint! My pictures are clearly the work of a lunatic. The collector Thornhill�s
embarrassed smile was proof of that�
March 29. He has come back� He found the door to my dreams. I am too weary to
attempt any defense. I have no strength left to fight and he knows it. He
considers me dead already. Could I possibly�
March 30. How ironic� The cave my father sought for so many years is here�
beneath the house. Waites the butler discovered a crack in the cellar wall. A
breeze blows in through it, icy and repugnant, � I am filled with horror at the
thought of my father dying in this place. I will carry to my grave the vision
of his face contorted in the agony of that fatal heart attack. His body was
twisted. He had wept� His finger nails were torn and bloody from scrabbling at
the floor. Doctor Gray concluded that death had been due to a heart attack. It
was Waites who, sometime later, informed that my poor father had in fact bitten
off his tongue and choked on his own blood.
March 31. I explored the caverns in a dream. The dark man came with me.
Strangely, I felt almost well. How can I describe what I saw? No. What words
are capable of explaining such evil? I realized that my death was of no
interest to him. The dark man wants something else; he seeks a body. His avid
servants are now free� I am the cause. It is almost funny. A curse is on
Derceto, from the foundations to the very roof-top. I can no longer struggle,
let alone eradicate the evil that grips the house. The end is very near. I can
feel it. I have taken the decision to� May he who finds this diary pray for my
soul.�


+ DARK ROOM: Diary of a journey

�A Brightness From Afar, By Lord Boleskine. An account of his celebrated voyage
to New England. 1824. Aleister Publications. Cambridge.
Following a splendid journey, the sunny harbour came into sight. The locals
were much impressed with one�s arrival in their midst. One had time to sketch
several of them and notice signs of degeneracy. Some children showed one their
queer hands that would inspire uneasiness. Upon the promise of a few coins, a
child had undertaken to reveal to one a most �prodigious phenomenon� of a
natural order. One admits to being sceptical as to the prodigiousness of the
marvel, whatever it may be; indeed, one suspects it to be little more than an
evening stroll to some charming wooden hut situated in the forest hereabouts.
One will nonetheless go, for it is always well to submit to such local
enthusiasms. One admits to being somewhat flabbergasted! The Milky Way shone
like the fires of the Apocalypse from the inky celestial vault. Certain distant
stars, normally naked to the invisible eye, were clearly visible, glittered
indeed with a strange intensity. The heavy clouds that had settled above the
village had no hold over that place. It would be pointless to offer here the
names of the constellations one perceived in utter clarity; apart from the
interminable length of such a list, one might conceivably risk being charged
with exaggeration! The cross cast its shadow on the ground. The sea, in the
distance, was dead calm. Tonight one will return to that spot and draw those
stars. Tomorrow night, one will at last see Halley�s comet in all its
brilliance. The youngster will carry torches. Despite one�s developed sense of
direction, honed by years of travel, one feels incapable of finding one�s way
through the dark forest unaided. The drawings will, one is convinced, set light
to the souls of men! Such a moon! One lost count of the craters, so sharply was
their definition. Loath as one is to seem excessive in one�s appraisal, one
cannot but feel that the forest clearing is indeed a place outside the common
laws of time and space. Surely it is not an hallucination! How strange to
consider that idle conversation, some research in the British Museum and a
voyage to this backward village should culminate in so astounding a discovery.
It may be that others have noticed the extraordinary nature of that place; how
else may one explain the presence of that cross?�


+ SMOKING ROOM: Memories

�Memories, By Alistair Boleskine, Printed in London, A. Machen editor. 1833.
It was during a conversation with G� that one first heard of the New England
fishing village in I� The area was apparently the ideal place from which to
witness unusual phenomena in space. The quality of the air, along with the
conjunction of several favourable factors made one impatient to get started.
Having gleaned what information one could from the British Museum, one set off
with all haste. One�s work on space and comets in particular had met with a
warm response and one thought it judicious to include several original sketches
of the phenomenon, sketches which one felt were sure to arouse a great deal of
keen interest in the scientific circles of 1834� One refers naturally to the
passage (of) Halley�s comet.
Editor�s note. Lord Boleskine�s Memoirs end at this point. Who knows what
extraordinary contributions he might still have made had he not succumbed,
during his visit to New England, to dementia, followed by an early death in St.
Andrew�s Hospital?�


+ JEREMY�S BEDROOM: The Creatures of the Night

�The Creatures of Night, By Hubertus the Bald, translated from latin by his
brother in prayer Fratre Johan Markus.
Of Monstrosity. You who read me, know that night engenders monsters and that
night creatures exist. The accursed book of Abdul Al Azred is clear on this
matter: �That is not dead which can eternal lie�. Unhappy he who knows that
book. Unhappy he whose eyes alight upon that foulest of texts. Unhappy he who
implores the standing stones. For he will free the powers of darkness.
Of the Pit. Stagnant waters are like the memory of men. Beneath the surface
calm, clawed beasts await and are known to initiates as the Deep Ones. Awaiting
his prey, the Deep One seizes him and drags him down the abyss where Dagon the
cruel god swims and reveres him whose name may not be pronounced.
Of libraries. Unhappy he who frees the prowler. Unhappy he who meets the
prowler erring among the books. He generates the vagabond that comes from other
spheres. He believes the vagabond does not exist. He will feel the embrace of
death for, in the eyes of the vagabond, books are no more than dreams, stone no
more than wind. The vagabond knows how to take the breath of the reckless.
Of strife. He who speaks does not know and believes he is able to kill the
creatures of the night. Folly. Evil is conjured up by science and secrecy. He
who prowls among books will perish by the blade. He who flies in the dark
caverns will scream in fear. He who swims in the depths will evaporate. But he
who believes he knows knows nothing. He who knows says nothing. P#T#T
Of death. There are domains more terrible than death. That is not dead which
can eternal lie. Each creature is conjured up and is not dead but returns to
the origins. A monster, a science. Steel kills the vagabond who never dies.
Translator�s note. Here ends the manuscript of Hubertus, who died in the
library of the convent of Taroella in the year of Our Lord 1666. Requiescat in
pace.�


+ LIBRARY�S SECRET ROOM: Signs and Rituals

�The Book of Yael. Signs of Stone. Eucharistic Rituals of Forbidden Cults.
Texts collated by Monsignor Vachey. Legate in the Curia of the Vatican.
Numerous devilish cults speak of monstrous creatures called the Old Ones. These
supernatural beings are believed to be possessed of powers equivalent to those
of the gods of antique religions. Adepts of such cults refer to forbidden
literature in order to cause these frightful entities to appear before them.
What serious student of folk myths has not come across the names of Cthulhu and
Shub Niggurath? It must be said that these creatures wield tremendous power and
are difficult to control once they have been unleashed into the world. Those
who serve �He who goes in shadows� protect themselves with signs of stone,
carved into the walls of houses or engraved on various objects. For these
misguided servants of evil, the best protection appears to be that afforded by
�the sign of the most ancient gods�, engraved in MNAR stone, a heavy material,
said to be disagreeable to the touch. The sinful practises of those who fall
into such errors can only lead to the darkest of despair and are a mortal
danger to the soul. Such monsters as those invoked by these foolhardy
individuals are engendered when reason drops its guard. Man is easily tempted
into perversion. It is why we must forever remain alert and renounce Satan with
each breath we take. His ways are infinite in number.�


+ LIBRARY�S SECRET ROOM: The Sacrificial Dagger

�The Sacrificial Dagger. Otto Stern. Lumina Books.
The importance placed on ritual sacrifice is constant in religious cult
practice. Propitiating the gods is a theme common to many religions; the Old
Testament affords many examples. Primitive polytheistic belief systems
integrate sacrifice in their rituals as part of the recurrent process of
reaffirmation and, naturally enough, group cohesion. The members of the social
and religious community come together in an act of purification and atonement.
It would be erroneous to imagine the act of human sacrifice, linking priest,
offering and god (cf Manzetti, �Stone Cults�), as anything less than a vital
focussing of the group�s faith. The act also ensures the continuing appeasement
of the god, but only if practised by a recognised officiating priest using the
appropriate instrument. Studies made concerning primitive religious groups bear
witness to the central role of sacrifice in living ritual. My own work in the
field of ethno-psychology brought me into contact with a sorcerer living in the
region of Arkham. He introduced me to the �rite of steel�, linked to a ceremony
known as �Adoring the Black Goat of the Woods with a thousand youngs.� The god
being adored is known as the Vagabond. Here, the dagger�s role, which allows
the life-breath to pass from one dimension to another, is essential. The
Vagabond is a frightening figure, being able to move where he wants and to kill
those who have displeased the goat-god for whom he acts as go-between. The goat
is clearly a fertility god. The priest, having spoken the invocation, must
choose the appropriate dagger for the sacrifice. The knife with the sinusoidal
blade that must be dipped seven times, on nights when the moon is full, in
water that has been distilled a hundred times, will be laid aside, since it
would send the Vagabond into his own dimension (see illustration). The priest
will rather choose the dagger with the curved blade that is more appropriate
for slitting of the lamb�s throat. This act transfigures the sorcerer-priest
and plunges the assembled worshippers into a divine trance.�


+ LIBRARY�S SECRET ROOM: Reflexions on the power of the verb

�Juan Luis Jorge. De bibliotheca. Reflexions on the power of the verb in
certain texts. Archaos Publications. 1919 Stafford.
Translation does not alter the occult power contained within such forbidden
texts. The malevolent energy is in no way diminished. The spell must be cast
aloud and clearly, in certain languages or little-known dialects� M�ghlafg
fthang� The reader will understand that, in the light of these revelations, I
would be foolhardy to continue quoting from the text I have before me. If
spoken aloud in its entirety, it would surely awaken powerful and malignant
forces. I will go further and say that the simple reading of some of the more
technical passages, describing specific practices, is in itself a perilous
exercise: the ill-prepared reader can easily fall prey to attacks of demented
hysteria not unlike those described in cases of individuals said to be
possessed by evil spirits*.
* I recommend the study made by Zempf: �Urbain Grandier and Loudun� and the
reports made by the Reverend Richard Price concerning a number of astonishing
(to say the least) exorcisms carried out in a parish near Providence.
*** Given what I have written, we must be grateful to the librarians of the
British Museum who have never allowed consultation of the work of Al Azif�s
startling work, the infamous Necronomicon. Copies of that work do exist, in
spite of the zeal of book-burning inquisitors. For proof, we need look no
further than the British Museum, of course, and the sealed archives of the
Miskatonic University in Arkham. Other examples of books whose evil can be
unleashed by any thoughtless reader are Von Junzt�s Von unaussprechlichen
Kulten and the abominable De Vermis Mysteriis by Ludwig Prinn, whose sordid
death should be a lesson to all those tempted by a study of the occult.�


+ LIBRARY�S SECRET ROOM: De vermis Mysteriis

�Ludwig Prinn. De vermis Mysteriis.
In nomine invocatoris, si non sanctificatus es, cave. De vermis mysteriis non
absolvo follem legendum fatum et eum versus: ��tibi, magnum innominandum signa
stellarum nigrarum et���
(NB: You die after reading this book)


+ LIBRARY: Story of a Louis(i)ana plantation

�If Rocks Could Talk, or The Story of a Louis(i)ana Plantation, by The Marquis
of Champfrey.
After the criminal selling off of Florida by the foul usurper, my father
elected to remain in this inhospitable land where we were free at least to
express our royalist feelings and hope our country would come to its sense. In
1818, a certain Pickford bought up Ledoux�s land, after the poor fellow had
ruined himself in unfortunate speculation. Pickford soon turned out to be the
most loathsome human we had ever encountered. He was an adventurer of the worst
kind, nouveau riche and bloated with a grotesque sense of self-importance.
First came the incessant army of men with shovels, digging into the mountain of
earth that was to fill in the surrounding swamp. The undertaking was quite
stupendous. We learned from a slave that the final objective was to connect the
existing caves with another one, of gigantic proportions. Wracked by a mania of
persecution, Eliah Pickford constantly fired his workers and hired new ones. He
did all he could to keep anyone from learning about his plans. My father was
amused, and said: �The poor fool will end up getting lost in his own cave!� The
walls went up and tongues started wagging. Our detestable neighbour had been a
sailor; a ruffian grown rich on questionable trade. Distasteful stories were
told of him. When the work was finished, Pickford invited us to the opening of
his rambling mansion, which he named �Derceto�. My father asked what the
strange name meant. Pickford answered: �Derceto reminds me of Astarte, the
fertility goddess. Around here, the name is Shub-Niggurath, I believe�. That a
name so steeped in evil should be said aloud came as not such a shock to my
father, as he himself confided in me some while later. We left immediately. In
June of 1862, Derceto was burned down in unexplained circumstances; it was
undoubtedly the deed of some jealous Yankee or another. It was amazing to watch
the servants rushing into the flames to try and save their bullet-riddled
master. After that terrible night, Derceto fell into ruin. Its blackened walls
were soon overgrown, as human-built works always are, by ever-present nature.
In 1875, the property was eventually bought by a gentleman whose name was
Howard Hartwood. I was sorry that my father, who delighted in fine
conversation, was no longer alive to enjoy the company of this new neighbour.
Learned and well-versed in history, he had made a particular study of piracy.
It was Hartwood who told me that Pickford had commanded a ship that flew the
flag of piracy. That explained the scoundrel�s great wealth! Hartwood was
fascinated by Pickford, and undertook a great deal of research in attempt to
find some treasure that he was convinced the pirate had hidden. He went through
the ruins inch by inch. He then had the burnt-out house rebuilt exactly as it
had been, and refurbished the library that had miraculously escaped the flames
on the night of the great fire. Hartwood set about studying every volume in
that library and often talked to me of his research. He was a handsome widower,
deeply attached to his son Jeremy, who was later to become a professional
artist. Hartwood worked incessantly, first from the room I offered him, then
from his own freshly-restored home, which he re-baptized Derceto; I imagine he
hoped to enlist the help of the god of good fortune in his treasure-hunt. As
far as I have ever been able to tell, all his searching came to nothing. There
was no lost treasure to be found at Derceto. I learned of Hartwood�s death
while I was in Paris. But that, as they say, is another story.�


+ LIBRARY: Terra Incognita

�Unfinished chapter of Terra Incognita, by Jacob Van Ostadte. A hitherto
unpublished fragment of the manuscript, unearthed following indications
furnished in the Vatican library�s Expurgatory Index.
In those icy and unwelcoming lands, the rites of wizards and healers are deeply
rooted in ancient legend. Mysterious and cruel beings are thought to have ruled
over the Arctic plains in times past. A cursed city, enclosed by massive walls,
is believed to stand to this day. It contains fabulous treasures and is
inhabited by the degenerate descendants of those who instilled centuries of
terror in the hearts of the people. These people, naturally placid, are seized
with rage and horror at the very mention of the �Prisoners of the Ice�. Were
these dreadful captives to be freed from their frozen cells, they would reap a
horrifying tribute of human flesh. These blood-curdling beings may be invoked
by certain ritual words. They can even be controlled, albeit with the greatest
of difficulty. I admit to being impressed by these tales, repeated to me on
many occasions and in a number of different places during my travels in the
region. I have also seen troubling cult objects, sculpted in a material unknown
to me. Another remarkable fact is that local Eskimos experience great distaste
in pronouncing certain words and invariably avoid saying them. Here is a living
example of the power that words contain. As it is said in the Bible: In the
beginning was the word.�


+ LIBRARY: The Sons of the Sun

�The sons of the sun and of the shadows. Lieutenant Lope de Vega�s account of
his astounding travels to the land of the Aztecs.
�Holy Christ,� cried captain Cortez, astonished by the strange rite we beheld.
We found the savages half-naked. They were throwing balls of silver and gold at
each other. They laughed as if demented, clearly maddened by some heathen drug.
And yet, should one of them fail to catch the ball thrown in his direction, the
poor devil was seized and dragged off to be sacrificed in their temple. As we
discovered, this frightful game was a ritual most holy to them, and symbolised
the movement of the heavenly bodies. The dropping of a ball foretold a
catastrophe. That is what the Aztecs believed, in their godless ignorance.
Their countless deities could only be appeased through endless human
sacrifices. The victim�s heart which was still beating lay in the hand of the
murderous priest. The interior of the temple was surprisingly cool. The weight
of our armours, our exhaustion, even the burden of our suffering� they were all
banished by the sense of awe that the crudely magnificent altar instilled. In
the tomb-like silence, a deep voice chanted an incantation. The majestic statue
of the water goddess Chalchihuitlicue seemed to throb with vitality. This
massive stone, draped in a golden cloak and studded with precious stones, was
coming to life before our very eyes. Horror of horrors! The granite eyes the
statue, empty of life only moments before, were now injected with blood. We
staggered back in amazement. Dom Jos� was taken by a fit of convulsions. He
tried to raise up his crucifix, as if to ward off an attack by demons. The
heathen priest laughed cruelly. The statue�s mouth cracked open in a deathly
grin, baring teeth sharpened to dagger-points. Captain Cortez cried �Attack!�.
But it was no use: we were glued to the spot. Despite our efforts, we were
unable to move. Our armours seemed to be bolted to the temple floor. Our legs
weakened and we collapsed in a thunder of steel. Only Cortez had the presence
of mind to unsheathe his dagger. He hurled it at the cackling priest� 4 inches
of the finest Toledo steel buried themselves in the heathen�s face. His blood
spurted, splashing the now lifeless idol. We picked ourselves up with
difficulty. Never will I forget that terrible moment. My companions, naturally
enough, told tales of devilish enchantments cast upon our armours. Whatever the
truth of that, I could not deny that the supreme god of the fourth universe had
treated us as mere playthings. I am convinced that a terrible energy is yet
contained within that heathen statue; a power strong enough to change a proud
conquistador into a helpless puppets.
Drawing of Chalchihuitlicue by Dom Jos� De La Sierra done before the
destruction of the Aztec temple of Tenochtitlan.�


+ LIBRARY: Fragments of the Book of Abdul

�Fragments of the Book of Abdul. In the antique city of dead R�lyeh, Cthulhu
dreams and waits. In the pit of time the unspeakable lies in wait. That is not
dead which can eternal lie. R�lyeh, your blocks of stone seal the ritual that
gives birth to fear. Cthulhu fhtagn, Cthulhu fhtagn. Iaeeh. Iaeeh. Let he who
knows how to invoke the stones act. It is time. Let the shadow of Cthulhu
darken the sky. May the servitor of the black Goat of the Woods with a thousand
youngs sound his flute in honour of the unspeakable. Cthulhu fhtagn, Cthulhu
fhtagn. Iaeeh. Iaeeh. May he who may not be named cast his withering gaze upon
the unbeliever for he is the door, the key and the guardian of the door and
holds you now in his immense power. May madness strike down he who reads and
thinks he understands. Nobody can pierce the mystery and not pay the price.
Nobody can contemplate the face of gods with impunity. If strength abandons he
who reads me, then may madness overcome him.�
(NB: You lose energy after reading this book)


+ CELLAR: The Trial of Captain Pregzt

�The Trial of Captain Pregzt, As reported by his faithful companion Elishah
Smith, known amongst his fraternity by the awful name of Capt�n Elie Hell.
Transcribed from the log found aboard the wreck of the frigate Astarte by H.
Hartwood.
�By all the devils!� roared Pregzt, glaring at William, the judge. �Curse it,
Will, it would take much more than every cannon in the blasted Navy to make me
change my mind! You�re the greatest blackguard that ever joined our fraternity.
Am I not Pregzt, captain of the Astarte and bloodiest villain in all the seven
seas? Bloody Ezech, they call me. And you think I�ll tell you where I hid my
treasure?� The tribunal of the corsair�s fraternity murmured at this. Pregzt
was indeed all he claimed. The judge, One-eyed William, slammed his fist on the
table and silence was restored. �Shut your mouth, Pregzt. You didn�t pay the
Fraternity its rightful share, and that means only one thing: you�ll hang by
the neck from a yard-arm, you scurvy cur. Here�s the rope, twisted by Satan
himself!� �You threaten me, Will? Many a man better than yourself has lived to
regret holding a cutlass in my face. You�ll be begging for mercy, mark my
words!� That shook One-eyed William and no mistake. Danny waved his hook in the
air and shouted, �Pregzt always was a loud-mouth! The law says we hang him!�
The jurors took up the cry, �Hang him!� It was Pregzt�s turn to slam his fist
on the table. He threw back his head and roared with laughter. �You fools. You
want to kill what will never die? Try it!� Once more, the assembled corsairs
murmured. There was unease in the air. They remembered what happened to Chuck
the Gizzard-Slitter, the man who opened his mouth once too often� It was night
and a bitter wind whipped the New England coast. Snug inside the Dead Horse
Inn, one of the Astarte�s men was talking. His name was Chuck and his subject
was black magic. He told stories of human sacrifices, voodoo rites and zombies.
He told a tale of a time when their luck was down and they were holed up in a
Florida swamp. Pregzt went missing. When he returned, he shouted ��Tis the
Devil that guides us now, me hearties!� Whether that was true or not, the
Astarte began taking loot after juicy loot. The favourite song of the Astarte�s
men, �Crash the bones�, was replaced by a new one: �A skull! Go to port; Sabre!
To starboard! Pass over that will; And with death you�ll deal. If you cut a
rope, Cut the right I hope, Or then, I don�t mind; The death you will find.�
The next day, as you may have guessed, Chuck�s body was found with a dagger
plunged between his shoulder blades. Chuck�s face was fixed in a ghastly grin�
Molten lead had been poured down his throat. Whatever way things happened next,
and I don�t have the details, Pregzt was with us again and we set sail for
Florida. We anchored the frigate not far from New Orleans. Taking a few trusted
companions with him, Pregzt set off into the swamp. They carried large wooden
chests with them. Two days later, we heard shots being fired and screams.
Pregzt arrived soon after that and claimed they�d been attacked by alligators.
He alone managed to escape with his life. He went on to say that the time had
come to share out the spoils of our many loots. I was given command of the
Astarte, while Pregzt handed three chests over the crew; the chests were full
of gold and precious gemstones. The rum flowed that night and the stars shone
bright. All at once I noticed a tall man dressed in black. Pregzt introduced
him to me: �Here�s a hearty mate! You can call him Keith. Many a tale he could
tell!� Pregzt laughed loudly and held up a roll of parchment� �And his
hide-out; none-better!� The parchment fell to the ground, partly unrolling. I
noticed what seemed to be a map of underground tunnels, a veritable maze of
caverns. Pregzt continued, �I�m giving up the pirate�s life. The Astarte�s in
your hands now, my lad. She�s a fine ship and my reputation goes with her.
Should any man call me coward, then break his head for me. I�m leaving you only
because I�ve found a treasure more precious than the purest of gold! Har har
har!� Keith spoke to him then, �It is midnight. They are ready and we must go.�
The stranger turned his cold eyes on me and said in a soft, chilling voice,
�Sometimes Pregzt talks too much. Forget what he just said, and maybe you�ll
live!� The fellow�s words froze the marrow in my bones and it was all I could
do to mumble �I�ll not breathe a word�. The canoe slid away into the night.
Their torches disappeared in the distance of the swamp. My snoring companions
didn�t hear the insidious rhythm of far-off drums.�


+ JEREMY�S STUDY: The Tale of Captain Norton

�THE TALE OF CAPTAIN J.W. NORTON, of the Army, of the Union.
June 17, 1862. The South was in collapse. Louisiana was open to us. I had, each
day, to requisition victuals for our troops, and was aided in this endeavour by
a score of brave men. The rebels were not yet ready to lay down their arms. The
region was far from safe. I headed further and further west and questioned many
freed slaves. From them I learned of a plantation on the coast. Its name was
Derceto. We received a less than hearty welcome. Only Pickford, the owner,
behaved in a friendly manner. While my men counted cattle and grain reserves, I
learned what I could from him. The man was most unusual and possessed an
extraordinarily cultured mind. At nightfall, I gave orders for the men to
bivouac at Derceto. Pickford invited my second in command, lieutenant
Patterson, and myself to dine. The evening was splendid and our host proved a
most entertaining conversationalist. While coffee was being served, Patterson
went to inspect the men�s camp. The cigar Pickford offered me was so acrid that
my head began to spin. I remembered camp-fire tales of fellow officers trapped
by devilish Confederate tricks. My mind floated in a foul and dense fog, from
which emerged the enlarged and deformed face of Pickford. He grinned at me.
Patterson�s return chased off the nightmare. I heard shouts and firing from
outside and found the strength to take out my revolver. I fired three shots.
Pickford fell to the floor. Patterson then helped me out of the burning house.
The air was filled with smoke. We resembled a company in disorderly retreat. I
saw slaves leaping into the flames of that inferno. They were trying to save
Pickford�s life.�


+ PIRATE�S ROOM: Demonia Particularis

�Demonia Particularis, Signs and Rituals. BY Heinrich Cassel. RING Publications.
The ritual of Invocation demands that the Officiant be pure. We have already
described the complex operations to be followed in order to call those that
sleep in superior dimensions. We shall for the present limit ourselves to the
sign of mutual recognition used amongst their number by adepts of the cult of
the Old Ones. The sign also serves as protection when in the presence of a
servant of evil. The sign resembles a blessing, save that the first and little
fingers are both folded beneath the thumb, whilst the second and third fingers
are held up. It would appear that this sign has no effect on adepts of a
certain rank with knowledge of particular secrets contained in the Corpus
Demonicus. The use of such signs is not without considerable risk to the user
during any attempt to call upon Those from Without.�


+ UNDERGROUND CAVE: A Pirate�s Log Book

�Memoirs of a Lost Soul. The mask must fall! You who discover this manuscript,
understand this: I am here at your side. I am waiting in the darkness of my
crypt. Soon, you will belong to me. One of my slaves wrote this document. I
have lived for three centuries and my name is Ezechiel Pregzt or Eliah
Pickford� You may choose which to call me. I do not hide out of fear. My power
is immense. I have sailed the seven seas. My ship, the Astarte, spread terror
through all the continents. The corsairs judged me like the Welsh judges of
1620� But they could not destroy me, and neither could the pirates. Now, I am
immobilised� Damned Yankees! Witchcraft, voodoo, the Cthulhu cult� I know them
all. I have reigned and implored the stones. Only the Chthonian haunts the
cavern and resists me; but he dare not attack! I have need of a living body to
regenerate myself. The Hartwoods managed to escape from me. But you who are
reading these words, you will yield to my embrace! I hear your ragged breath
and smell the stench of your fear. I have vanquished death. I built Derceto. I
know what it is to wait. Cthulhu helps me. My servants will lay you upon the
sacrificial stone. My roar will rend the night. You will be mine and I shall
reign once more. Come to me.�










Written by ManiacMansionFan
Contact: [email protected]


Please do not distribute or reproduce this walkthrough anywhere without my
explicit permission. The ONLY websites allowed to host this walkthrough are:

* http://www.gamefaqs.com
* http://www.neoseeker.com
* http://www.supercheats.com

Please contact me if you see it reproduced anywhere else.