S C A P E G H O S T (Level 9) PART THREE: POLTERGEIST You awake at the start of the third night wondering if you are now strong enough to bend metal and manifest to mortals. There is a priest bending over the grave with two members of the gang, preparing to exorcise you. Go west so you aren't exorcised. You can't return to your grave either as a free spirit or by being sent there by light as you will be banished forever. The crooks arrive and say they'll go and get the drugs so follow them. They collect them, get into the van and it leaves. It drives to a farm. They park in a barn and enter the house but you can't because of the light inside. You realise it's their hideout and that you must not only help the police get there without being seen but also save the evidence. You get a hint during the trip about the possibility of power cuts. Near the farm is a shed with a generator and at the back of the farm house, some dangerous-looking connectors with exposed wires. You can't enter the barn as it's the place you died and the pain drives you back. Examine hay to find a sprayer and get it. Go to connectors and "HIT CONNECTORS WITH SPRAYER" to short them out. One crook comes out to start the generator but says it won't give much power. Go into the house and you realise you can charge things with static and manifest yourself. Examine the cupboard in the hall to see a circuit breaker. "PULL BREAKER" so they can't put the lights back on properly. The gang are in the kitchen playing cards. There is a briefcase there containing drugs and you know you'll need it as evidence. John goes up to the attic to act as look-out and Sarah is taken down to the cellar, tied up and gagged. Follow John to the attic. The window looks out over the countryside and you know you must distract John so he doesn't see the police. You also know you must do this five times. Don't distract him till you see movement outside the window and also don't do it straight away as you have to "DRAG" this bit out a bit! If you wait too long, he will spot the police and warn the others so you must time it so you do it just before he gets suspicious. At the right time, get bulb and drop it; the darkness and noise frighten him. Get the broken glass. Go down to the cellar door. You can't carry anything if you float through the door so wait till Weasel arrives to check on Sarah. Go in when he does, drop the glass and go back to the attic. At the right time, distract John again - charge the holder so the static makes his hair stand on end. Go back to the cellar. "MANIFEST" so Sarah can see you and hear you, then "CUT ROPE" using the glass. She goes and puts the hammer on the shelf above the door and goes back to her chair, pretending to still be tied up. Go back to the door and wait till Weasel arrives again. When he enters, "PUSH HAMMER"; it hits him. Sarah comes through. "MANIFEST" again and "SARAH, TIE WEASEL"; she ties him up. Leave and she follows you, bolting the door behind her. Go up to the hall and she looks at the cupboard and says she ought to find somewhere to hide. "SARAH, GO TO TAXI, DEFLATE TYRES, GO TO CUPBOARD, HIDE IN IT, WAIT 20". She goes off to do it. You can't deflate the tyres yourself as the taxi is in the barn where you were killed. Go back towards the attic and on the way you see a creaky stair. "PUSH STAIR" to frighten John so long as it's the right time. Go into the attic and wait for movement outside again, then "BLOW CURTAINS". Wait again until the time is right and "COOL JOHN" to scare him the fifth time. Now "MANIFEST"; he is petrified and fires his gun at you. The others run upstairs to see what's wrong, leaving the briefcase unguarded in the kitchen. Go back to the hall and "MANIFEST". "SARAH, E, GET CASE, W, HIDE IN CUPBOARD, WAIT 20". This is because the case is too heavy for you to carry. She goes, does it and returns. The crooks will now get ready to leave the farm but because the police are now so close, they won't be able to get away, so long as you slow them down a bit more. If you have previously examined John, you know his jacket has a pocket which contains the key to the van. Go out to the van and "LET DOWN TYRES". When the crooks get to the van, they don't have time to inflate the tyres. Wait till John arrives and "BEND KEY". They don't have time to straighten it so they make a dash for it over the fields where the police capture them. Severian and the Professor go to the taxi. When it gets out of the barn, it is going slowly because of the flat tyres so "GET INTO TAXI". Inside, "MANIFEST"; you fight with Severian and because the tyres are flat, the taxi slides and crashes. The police catch the two of them when they run away. The evidence is recovered and Sarah is safe and so can give evidence to clear your name. SCORING (carrying over 600 from Parts 1&2) Go west from grave.......................+10 Follow crooks into van...................+10 Arrive at farm...........................+10 Arrive at connectors.....................+10 Hit connectors with sprayer..............+20 Enter farm house.........................+10 Pull breaker.............................+20 Get to attic.............................+10 (700/1000) Drop bulb at right time..................+20 Enter cellar with glass..................+10 Charge holder at right time..............+20 Cut rope.................................+20 Sarah ties Weasel........................+20 Sarah lets down tyres on taxi............+20 Sarah hides in cupboard..................+20 (820/1000) Push stair at right time.................+20 Blow curtains at right time..............+20 Cool John at right time..................+20 Sarah gets case and hides................+20 Let down tyres on van....................+10 Police get closer to house...............+20 Bend key.................................+20 Fight with Severian and finish...........+50 (1000/1000) (NOTE: Each time you frighten John, you get 10 points for the action and 10 points for the message about the police movements making a total of 20 points.) (PART THREE - and the whole Adventure - COMPLETED!!!) * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *