The Dinner Table

["The Dinner Table" by Alexah, Devon, & Caiya]

Rule for printing the banner text: do nothing

Use American dialect, brief room descriptions, and the serial comma.

[Beginning of Game]
	


Instead of examining player:
	say "You look down at yourself, noticing how your dress flows perfectly, untouched by the tension in the room. Everything seems so normal. . .your hands resting casually in your lap, the fabric of your gown soft against your skin. For a brief moment, you let yourself forget the weight of the stares around you, almost amused by the irony that everything about you is still as beautiful as when you walked down the aisle."


Dining Room is a room. 


Talking to is an action applying to one visible thing. Understand "talk to [someone]", "chat with [someone]", "talk with [someone]", and “converse with [someone]” as talking to.



Understand "leave [door]" or "exit [door]" as entering.


Instead of searching pockets:
	try examining pockets;


Understand "look down at [something]", "look in [something]" and "check [something]" as examining.

Understand "look around", "look at dining room" and "look at room" as looking.


Looking down is an action applying to nothing. Understand "look down" as looking down.

Instead of looking down:
	say "You look down at the dinner table, but nothing seems out of place. An empty plate lies on the tablecloth in front of you. The off-white color and blue florals decorating the borders of the plate are quite beautiful for the occasion. A silver spoon and fork are wrapped neatly in a blue napkin on the left side of the plate, but you notice that your knife is missing. Two brass candelabras stand at each end of the table. Your hands are clasped tightly in your lap; this is your first dinner with your new husband's family."

Instead of looking for the first time: say “[italic type]You are sitting at the dinner table. . .[roman type][paragraph break] [paragraph break] "



[bounceback for violent and deranged players]
KYS is an action applying to nothing. Understand "kill self", "kill yourself", "kill myself", "kill me", "kys", "kms" and “commit suicide” as KYS.

Instead of KYS:
	say "[one of]There's so many things you could do other than that.[or]It would be best to try something else before commiting to that decision.[or]You have so much to live for right now, try something else.[cycling]"



Instead of looking for at least the second time:
	say "You’re sitting at a large, oval dinner table, the surface gleaming under the soft light. Your father, hunched and distant, next to your husband, whose forced smile doesn’t quite mask the tension in his eyes. Your mother-in-law adjusts her napkin, her gaze sharp as she listens, while your father-in-law taps his fingers on the table, his silence heavy. Diagonal from them, your sister-in-law picks at her food, her eyes flicking nervously to the rest of the table. Next to her, your nephew fidgets in his chair, his innocence almost out of place, and Grandmother Deborah watches them all, her eyes unreadable behind a veil of silence. The air is thick with awkwardness, each person carefully navigating the unspoken tension."
	
Instead of examining RoomD:
	try looking;



[THINGS]


Tble is a thing in the Dining Room. Tble is undescribed. Understand "dining table", "dinner table" and "table" as Tble.

Instead of examining Tble:
	If Tble is undescribed:
		say "The dinner table is made from dark chestnut wood. Peeking out from under the tablecloth are the sturdy table legs, and upon closer inspection, they appear riddled with scratches and dents. This table must have been in the Peters family for generations. On the table lies empty plates, cutlery, candelabras, and a table cloth. Food has yet to be served to the guests at the dinner table."


Empty Plate is a thing in the Dining Room. Empty Plate is undescribed. Understand "plate", "plates" and "empty plates" as Empty Plate.

Instead of examining Empty Plate:
	If Empty Plate is undescribed:
		say "There's nothing on the plate. It's so clean that you can see your reflection in it. The off-white color and blue florals decorating the borders are quite beautiful for the occasion. There has been no food served to anyone at the dining table."


Cutlery is a thing in the Dining Room. Cutlery is undescribed. Understand "fork", "silverware", "utensils", and "spoon" as Cutlery.

Instead of examining Cutlery:
	If Cutlery is undescribed:
		say "A silver spoon and fork are wrapped neatly in a blue napkin on the left side of the plate. Your knife is missing."


Chairs is a thing in the Dining Room. Chairs is undescribed. Understand "seat", "chair" and "red chair" as Chairs.

Instead of examining Chairs:
	If Chairs is undescribed:
		say "The chairs at the dining table are carefully adorned with swirls and high backs. The cushy, red, velvet seats look much comfier than they feel."
		

Cloth is a thing in the Dining Room. Cloth is undescribed. Understand "table cloth", "runner", "table runner", "table spread", "cloth" and "tablecloth" as Cloth.

Instead of examining Cloth:
	If Cloth is undescribed:
		say "The table cloth was made to match the plates: off white in color with blue florals dancing about in a simple pattern. It looks as if it has faded with time."


Candelabras is a thing in the Dining Room. Candelabras is undescribed. Understand "candelabra", "candle holder" and "candle stand" as Candelabras.

Instead of examining Candelabras:
	If Candelabras is undescribed:
		say "The brass candelabras stand valiantly at each end of the table. Each holds three pristine candles. They must be brand new."
		

Candles is a thing in the Dining Room. Candles is undescribed. Understand "candle", "candlestick" and "candlesticks" as Candles.

Instead of examining Candles:
	If Candles is undescribed:
		say "The tall, white candles are lit, creating an elegant ambiance. There must be a draft, as the small flames are swaying from left to right."


Glass is a thing in the Dining Room. Glass is undescribed. Understand "wine glass", "cup" and "wine cup" as Glass.

Instead of examining Glass:
	If Glass is undescribed:
		say "The glass is crystal with a gold rim at the top. It looks to be half full with a stunning red wine."
		

Bottle is a thing in the Dining Room. Bottle is undescribed. Understand "wine bottle", "Henri Jayer Cros Parantoux", "Parantoux", "wine" and "bottle of wine" as Bottle.

Instead of examining Bottle:
	If Bottle is undescribed:
		say "The bottle reads ‘Henri Jayer Cros Parantoux.’ It's your dad's favorite, but it's very expensive. It appears to be full, but the seal on the cap is broken."


Knife is a thing in the Dining Room. Knife is undescribed. Understand "steak knife" and "blade" as Knife.

Instead of examining Knife:
	If Knife is undescribed:
		say "A sharp steak knife lies on the ground near your foot. It must have fallen down when the waitstaff were setting the table. . .how odd."
		

Napkins is a thing in the Dining Room. Napkins is undescribed. Understand "handkerchief" and "napkin" as Napkins.

Instead of examining Napkins:
	If Napkins is undescribed:
		say "Dark blue napkins in the shape of a rose sit to the right of the plates. The cloth is folded with precision."




Lounge is enterable supporter in the Dining Room. Lounge is undescribed. Understand "lounge chair" as Lounge.

Instead of examining Lounge:
	If Lounge is undescribed:
		say "A deep blue lounge chair sits at an angle near the door. I bet it’s much more comfortable than those dining chairs."


Curtains is a thing in the Dining Room. Curtains is undescribed. Understand "dusty curtains", "dusty curtain" and "curtain" as Curtains.

Instead of examining Curtains:
	If Curtains is undescribed:
		say "Vibrant red curtains hang from the floor to ceiling. They're drawn, presumably covering large windows. The staff must’ve missed a spot, as they’re collecting quite a decent amount of dust."


Paintings is a thing in the Dining Room. Paintings is undescribed. Understand "oil paintings", "painting" and "wall paintings" as Paintings.

Instead of examining Paintings:
	If Paintings is undescribed:
		say "Oil paintings depicting scenes of human sacrifice hang on the walls. A little morbid for a celebratory dinner, but you didn’t get to pick the decor"




[SCENERY]


Fireplace is scenery in the Dining Room. "The fireplace must be decorative, as there’s not a speck of ash at the bottom. A nice, roaring fire would take away the awkward silence inbetween small talk." Understand "mantel" as Fireplace.


Armoire is scenery in the Dining Room. "A large armoire stands to the left of the fireplace. Family crests with lions, swords, and latin words are carved into each of the doors. Quite the family heirloom." Understand "dresser" as Armoire.


Decorative Ts is scenery in the Dining Room. "Tall, circular tables stand in each of the corners of the dining room. They’re simple; decorated only with candles. You're surprised there aren't any trinkets displayed on them from the Peters' many travels." Understand "small tables", "decorative tables", "small table", "decorative table", "circular table" and "circular tables" as Decorative Ts.


Decorative Cs is scenery in the Dining Room. "Candles of varying sizes are lit on the decorative tables. They must be unscented, as there’s a prevalent musty smell lingering in the Peters Manor. Good thing you won’t be living here with your newly-wed husband." Understand "decorative candles" as Decorative Cs.


RoomD is scenery in the Dining Room. Understand "dining room" and "room" as RoomD.


Hands is scenery in the Dining Room. "Your hands are slightly sweaty, but soft. Your nails are freshly painted white to match your dress. You keep your hands clasped tightly in your lap; this is your first dinner with your new husband's family, and they're quite intimidating." Understand "palms", "hand" and "clasped hands" as Hands.


Pockets is scenery in the Dining Room. Understand "pocket", "wedding dress" and "dress" as Pockets.

Instead of examining pockets:
	say "You reach into the pockets of your dress, an unusual and charming feature that had delighted you when you first discovered it. Pockets on a wedding dress, you’d thought, were so practical, so effortlessly cool, like carrying a secret with you down the aisle. Your fingers brush against something unfamiliar, something that wasn’t there before. It’s smooth and cold, and as you pull it free, the weight of it sends a chill up your spine.[paragraph break]A small vial, half-filled with an amber liquid, sits in your palm. Silence falls over the table, the clink of silverware ceasing as all eyes fix on you. Your husband’s smile freezes, his hand tightening on the edge of the table. 'What’s that?' he asks, his voice carefully measured. Your mother-in-law stills, her gaze narrowing like a hawk’s.[paragraph break]'I don’t know,' you whisper, your voice barely audible as dread pools in your stomach. Then, a sharp sound breaks the tension. . .your father-in-law standing abruptly, his chair scraping back. 'You weren’t supposed to find that,' he says, his tone devoid of pretense. The family rises as one, their movements deliberate, the room closing in. Before you can react, your husband snatches the vial from your hand, the force knocking it to the floor. Glass shatters, and the amber liquid hisses against the tile, releasing a pungent, acrid smell.[paragraph break]Your breath catches as your vision blurs, your lungs burning with every inhale. Pockets may have been cool, but this time, they’ve carried your doom. You collapse as the family stands over you, their expressions calm, their plan unfolding perfectly.[paragraph break] [paragraph break][bold type]***You died from poisoning***[roman type]";
	end the story;





[NPCs]



Marcelo is a man. Marcelo is in the dining room. Marcelo is undescribed. Understand "Marcelo Peters", "husband" and "my husband" as Marcelo.

Instead of examining Marcelo:
	If Marcelo is undescribed:
		say "Sitting at the end of the table to your left is your husband, Marcelo. You married him for his great personality—his warmth, his wit, and the way he makes everyone feel at ease—but not necessarily for his looks, which leaves you uncertain about the future. You sometimes catch yourself wondering if your children will inherit his awkward, unremarkable features, or if they’ll take after you. Despite your doubts, his easy smile and gentle demeanor make you question why such thoughts even matter."



Brice is a man. Brice is in the dining room. Brice is undescribed. Understand "Brice Peters", "Mr Peters", "father in-law" and "father in law" as Brice.

Instead of examining Brice:
	If Brice is undescribed:
		say "Sitting at the head of the table to your right is your father-in-law, Brice. He’s the kind of man who commands attention without trying, his presence filling the space with a quiet authority. His weathered face shows years of hard work and little patience for small talk, yet there’s something oddly comforting about his steady, no-nonsense demeanor. You’ve never been sure whether he genuinely likes you, or if he’s simply tolerating you as part of the package deal with his son, but you’ve learned to navigate his silence with care."



Krystal is a woman. Krystal is in the dining room. Krystal is undescribed. Understand "Krystal Peters", "Mrs Peters", "mother in-law" and "mother in law" as Krystal.

Instead of examining Krystal:
	If Krystal is undescribed:
		say "Sitting to your right is your mother-in-law, Krystal. Her presence is as sharp as her words, always tinged with biting sarcasm and an air of superiority. She surveys the room with a quiet, critical eye, her smile thin and calculating. Krystal is never one to hide her feelings, and her comments are often laced with a mix of condescension and subtle disdain. From the moment you married Marcelo, you’ve felt her cold judgment, and every family dinner is another opportunity for her to remind you of her dominance in the room. Despite her biting remarks, there’s something undeniably magnetic about her. . .an ability to control the mood with a single glance or a well-timed barb."



Deborah is a woman. Deborah is in the dining room. Deborah is undescribed. Understand "Deborah Peters", "Grammy", "gran","mamaw", "old woman", "old lady", "grandmother", "husband's grandmother", "grandma", "Grandma Peters", "Grandmother Peters","grandmother in-law" and "grandmother in law" as Deborah.

Instead of examining Deborah:
	If Deborah is undescribed:
		say "Sitting diagonally to your right is your husband’s grandmother, Deborah, or 'Mamaw' as the family lovingly calls her. With her age comes a certain grace, but also an unfiltered honesty that leaves an impression. Her words are wrapped in nostalgia and subtle critiques, as if she’s the keeper of both the family’s history and its secrets. Mamaw has a knack for making everything she owns sound more valuable than it probably is, from her expensive old house to her carefully curated collection of dresses. Despite her charming façade, she isn’t shy about sharing her true thoughts, like her thinly veiled dislike for Krystal, which she delivers with a smile that never quite reaches her eyes."



Hanna is a woman. Hanna is in the dining room. Hanna is undescribed. Understand "Hanna Peters", "sister in-law" and "sister in law" as Hanna.

Instead of examining Hanna:
	If Hanna is undescribed:
		say "Sitting diagonally to your left is your husband’s sister, Hanna. She’s effortlessly laid-back, often using humor to mask any awkwardness, and seems to have an unspoken understanding of the family dynamics. Her teasing remarks about Marcelo are delivered with a smirk, a mix of fondness and playful sarcasm. Hanna’s seen it all with her brother, and she’s not afraid to share the embarrassing details, as if it’s her personal mission to keep things light and slightly irreverent. Despite her easygoing attitude, there’s a sharpness in her advice, especially when it comes to navigating the family’s strange ways—no questions asked, and it’s all smoother that way."



Jackie is a man. Jackie is in the dining room. Jackie is undescribed. Understand "Jackie Peters", "Jackson Peters", "nephew" and "child" as Jackie.

Instead of examining Jackie:
	If Jackie is undescribed:
		say "Sitting directly across from you is your new nephew. He is the son of your husband's older sister, and he doesn't seem happy to be here. His arms are folded over his chest, and he's staring at you with a grumpy frown on his face. He reminds you of a disgruntled cabbage patch doll."




Richard is a man. Richard is in the dining room. Richard is undescribed. Understand "Richard Lutz", "Mr Lutz", "papa", "my dad", "my papa", "my father", "father" and "dad" as Richard.

Instead of examining Richard:
	If Richard is undescribed:
		say "Sitting to your left is your father, Richard Lutz. With his dry humor and no-nonsense attitude, he’s the kind of guy who always sees the silver lining, even if it’s buried under layers of awkward small talk."



[DIALOGUE]



Check talking to Marcelo:
	say "[one of]You turn to talk to your husband. 'Honey,' says Marcelo, 'have you ever considered a life insurance policy? Just in case anything were to happen, you know? Life is very unpredictable these days!' His statement has such curious timing. . .[or]As you turn to talk to Marcelo, he says, 'I've been thinking about that old family recipe I’ve been telling you about. If I could just remember that secret ingredient. . .' Your stomach grumbles at the thought of food.[or]You look at your husband, who turns to you and smiles, 'Who would’ve thought I’d end up here after all those bumps in the road. It was tough growing up. . .tough having to choose between a yacht and summer home for my 16th birthday!' Life must be so hard for you, honey.[cycling]";
	rule succeeds.



Check talking to Brice:
	say "[one of]Your father-in-law announces to the dinner table, 'The food should be out very soon! We hired the best chef in town to prepare a 13 course meal for this evening, my absolute favorite number.' Finally, some good food.[or]You glance over at your father-in-law, and he leans in to say, 'I've always said it's wise to have a solid financial plan. It’s never too early to set up a will. Really, anything can happen!' You feel a bit pressured by his advice.[or]Mr. Peters leans in towards his son, ignoring you in the process, 'Remember that old family cabin upstate, son? It's a bit isolated, but it's perfect for a quiet retreat.' Judging from the look he gives your husband, seems like they know something you don't.[cycling]";
	rule succeeds.
	


Check talking to Krystal:
	say "[one of]Mrs Peters looks down at your plate, 'Oh drat, did the staff forget your knife? That's too bad. . .I’m sure it has to be lying around here somewhere. Or maybe you just aren't important enough to get one.' Knife or not, there's no food to eat right now anyways.[or]Your mother-in-law sneers at you, 'Of [italic type]course[roman type] I get to sit next to [italic type]you.[roman type] This is the last time I’ll come to one of these 'celebratory dinners,' assuming you stay married to my son. Then we’ll throw a divorce party!' You really picked a winner with this family, huh?[or]You attempt to start a conversation with your mother-in-law, but she cuts you off, 'It’s quite rude your mother couldn’t join us, or maybe she’s here right now, in spirit.' What did you do to this woman that's made her so cruel?[cycling]";
	rule succeeds.



Check talking to Deborah:
	say "[one of]Grandma Peters beckons to you, and as you lean across the table, she says in a hushed voice, 'It's so expensive to keep up this old house, but it's full of so many memories. We simply could never part with it, unless you wanted to put in an offer!' Respectfully, you'll be passing on that offer.[or]Grandma Peters calls out to you, 'The dress you picked this evening is stunning! You must have so many to choose from. I’ve decided to slim down my collection over the years. No need to hoard my timeless taste when I can share it with the world!' Timeless isn't the word you would use, but you certainly won't be telling Deborah that.[or]You face Grandma Peters, and she sighs, 'It’s awfully dreadful that Krystal comes to these events. Sure she’s family, but she’s such a drag!' You look over at your sister-in-law, who has been listening to every word with her brow furrowed.[cycling]";
	rule succeeds.




Check talking to Hanna:
	say "[one of]Your new sister-in-law takes your hand from across the table and consoles you, 'Seriously, if you ever need a break from my brother, just call me. I’ve had years of experience handling this guy.' At least someone at this table is looking out for you.[or]Hanna rests her head in her hand and laughs, 'You know, it’s funny seeing Marcelo here all cleaned up and civilized. This is the same guy who once ate spaghetti with his bare hands because he was too lazy to get a fork from the kitchen.' That new bit of information slightly gives you the ick.[or]Looking down at her empty plate, Hanna confesses, 'This family’s always been a little strange; just don’t question it too much. Honestly, the fewer questions you ask, the fewer awkward answers you’ll get. It’s easier that way.' Sounds like a great way to never get closer with your in-laws.[cycling]";
	rule succeeds.



Check talking to Jackie:
	say "[one of]The little boy sighs with annoyance, 'How much longer do you think this’ll take? I’m pretty sure my tummy just made a noise. If it growls again, everyone’s gonna hear it, and I’ll [italic type]die.[roman type]' You're saying what we're all thinking, little guy.[or]Your nephew explains, 'Mom says I need to work on my manners. . .so I’m working on it. I just need to figure out when it’s okay to talk about killing people and when it’s not.[or]Jackie complains, 'I don't know why I’m expected to dress [italic type]so[roman type] fancy. I’m only 10! And I'm wearing a tie![cycling]";
	rule succeeds.
	


Check talking to Richard:
	say "[one of]Your dad nudges your left shoulder, 'Quite the setup they’ve got here, huh? You holding up okay, kid? These in-law gatherings can be. . .an experience, to say the least. It’s like speed dating, but instead of figuring out who you like, you’re figuring out who you can tolerate.' It's starting to feel like you're figuring out how much hunger you can tolerate instead.[or]Your father resumes the previous conversation, 'But hey, if you can sit through the talk about the weather, the latest home renovations, and your Uncle Bob’s obsession with birdwatching without running for the door, I’d say you’re doing great. The bar’s low, but the rewards are. . .well, minimal I suppose.' Way to have a positive mindset, pops.[or]Your dad continues rambling, 'You’ll get used to it eventually. The quirks, the loud opinions, the charming habit of interrupting each other mid-sentence; it’s all part of the package. Think of it as entertainment! Slightly chaotic, occasionally embarrassing, cumbersome entertainment.[cycling]";
	rule succeeds.




[ACTIONS]



The print obituary headline rule is not listed in any rulebook.


Understand "pull back [something]", "tear down [something]", "tear open [something]", "tear [something]" and "pull open [something]" as opening.


Understand "listen" and "tune in" as listening.


Understand "listen to [someone]", "listen for [something]" and "listen to [something]" as listening to.


Dancing is an action applying to nothing. Understand "dance on table", "boogie on dining table", "dance on dining table", "boogie", "dance with the family", "boogie with the family", "dance with family", "boogie with family", "boogie on table", "dance again", "keep dancing", "continue to dance" and "dance" as dancing.


Understand "take [something]", "grab [something]", "pick up [something]", "use [something]" and "hold [something]" as taking.


Understand "smell room", "sniff", "sniff room", "sniff around", "smell", "smell air" and "sniff air" as smelling.


Flipping over is an action applying to one visible thing. Understand "flip over [something]", "flip [something]", "throw [something]", "upturn [something]", "shove [something]" and “push over [something]” as flipping over.


Yelling at is an action applying to one visible thing. Understand "yell at [someone]", "yell [someone]", "shout at [someone]", "scream at [someone]" and "yell towards [someone]" as yelling at.

Yellishing is an action applying to nothing. Understand "yell", "scream", "shout", "yell at anyone", "shout at anyone", "scream at anyone", "yell at someone", "shout at someone", "scream at someone", "yell at everyone", "shout at everyone", and "scream at everyone" as yellishing.

Instead of yelling at someone:
	try yellishing;


	
Instead of entering tble:
	say "The urge to stand on the dining table crosses your mind, but you push it down and out of sight. Better to wait until the food is served."
	
Instead of entering chairs:
	say "The urge to stand on your chair crosses your mind, but you push it down and out of sight. Better to wait until the food is served."
	
	


Leaving is an action applying to nothing. Understand "leave", "exit", "leave room", "exit room", "leave dining room", "leave dining table", "leave table", "go home", "run away", "escape", "escape room", and "escape dining room" as leaving.


Walking is an action applying to nothing. Understand "take a walk", "walk", "stand up", "stand up from chair", "stand up from table", "stand", "walk away" and "walk out" as walking.

Instead of exiting:
	try walking;


Crying is an action applying to nothing. Understand "cry", "start to cry", "shed a tear", "sob", "start crying" and "start sobbing" as crying.



Laughing is an action applying to nothing. Understand "laugh", "giggle", "snicker" and "chuckle" as laughing.


Laughing at is an action applying to one visible thing. Understand "chuckle at [someone]", "chuckle at [something]", "snicker at [someone]", "snicker at [something]", "giggle at [someone]", "giggle at [something]", "laugh at [someone]" and "laugh at [something]" as laughing at.


Instead of laughing at:
	try laughing;



Divorcing is an action applying to one visible thing. Understand "divorce [someone]" and "break up with [someone]" as divorcing.


Instead of divorcing:
	say "You're not married to them, you've just been married to Marcelo. Are you losing your mind?"


Understand "pull [something]", "pull off [something]", "yank [something]", "grab [something]", "pull down [something]", "yank off [something]" and “pull on [something]” as pulling.


Abusing is an action applying to one visible thing. Understand "hit [someone]", "shove [someone]", "smack [someone]", "slap [someone]", "punch [someone]", "strike [someone]", "backhand [someone]" and “assault [someone]” as abusing.

Kicking is an action applying to one visible thing. Understand "kick [someone]" and "knee [someone]" as kicking.

Instead of kicking:
	say "Your legs are stuck in a small space under the table. You won't be able to move them discreetly."


Tossing is an action applying to one visible thing. Understand "toss [something]", "throw [something]", "launch [something]", "break [something]", "destroy [something]" and “crush [something]” as tossing.


Hiding under is an action applying to one visible thing. Understand "hide under [something]", "hide beneath [something]" and "hide underneath [something]" as hiding under.

Hiding is an action applying to nothing. Understand "hide", "go hide" and “run and hide” as hiding.


Instead of hiding:
	try hiding under tble;


Instead of entering lounge:
	try laying down on lounge;


Laying down on is an action applying to one visible thing. Understand "lay down on [something]", "sit on [something]", "sit down on [something]", "rest on [something]", "lie on [something]" and “lay on [something]” as laying down on.


Looking behind is an action applying to one visible thing. Understand "look behind [something]", "lift back [something]" and “take down [something]” as looking behind.


Understand "look under [something]" and "look underneath [something]" as looking under.


Instead of looking behind the paintings:
	try taking the paintings;
	

Instead of taking paintings:
	say "Your wandering mind gets the better of you as the painting hung on the wall across from your seat seems to have completely grasped your attention. It’s not like you to zone out, but there’s just something so odd about the painting. . .likely the gory depictions of women being mercilessly murdered, but who knows. Curiosity kills the cat, they say, and you can’t help but move closer.[paragraph break]The chatter around you fades as you push up from your chair and step away from the table, the air growing heavier with every step. You stand before the painting, mesmerized, unaware of your surroundings. You go to reach for the painting, in hopes of getting a closer look, but you don’t get further than the thought of it.[paragraph break]A cold hand breaks through your ensnarement and grips your neck from behind, tightening rapidly. You gasp, but your air is cut off, and your vision fades as your body goes stiff.[paragraph break]In your final moments, you strain to see the painting more clearly; it wasn’t art. It was a warning.[paragraph break]And now it’s too late.[paragraph break] [paragraph break][bold type]***You died from asphyxiation***[roman type]";
	end the story;
	

Instead of taking:
	say "[one of]Everything is set up so nicely. You should probably leave it alone until dinner begins.[or]You don't need that right now. Best to leave it alone.[or]That's not something you need right now. Just focus on making conversation.[cycling]"

Instead of taking someone:
	say "It wouldn't make any sense to do something like that. Try taking an object, not a person."




Instead of smelling:
	say "The musty scent of the room clings to your skin, familiar and suffocating, like the sterile stench of a hospital room, heavy with loss. Your mind begins to remember that terrible day when your mother left this Earth. The edges of the room fade into a dull haze, the sound of your husband's soft voice growing muffled as if you're underwater. His words reach you, but they're unclear, distant.[paragraph break]'Are you okay my love?' he asks, his tone syrupy sweet. You don't know why, but something about it makes you hesitate. You want to ignore it, to protest, but the dizziness pulls you down deeper into your chair.[paragraph break]He helps you settle in, his hands too firm, too careful, like he's holding you in place. But your chest feels tight, the weight of the room pressing in from all sides. The others at the table don’t speak, their eyes trained on you, all of them silent, waiting, but you don’t understand why. Your heart pounds in your ears as you try to push the nausea away.[paragraph break]You reach for something to drink, but quickly set it down with a trembling hand. You catch sight of your husband again; standing just a little too close now, watching you with a soft, unsettling smile. His hand reaches down to pick up the fork from the table, and for a moment, you don’t understand.[paragraph break]'You're looking a little pale, darling,' he says. 'Let’s get you something more filling.'[paragraph break]Before you can ask what he means, the fork is lifted, its tines glinting coldly in the low light. Your eyes widen in confusion. The sound of your heartbeat, loud in your chest, drowns out everything else, but the movement of his hand is too quick. You don’t even see it coming.[paragraph break]The fork stabs into your side with a sickening crunch. The pain is sharp, and your breath hitches, but it's too late. Your husband’s grip is impossibly strong, and the fork twists, deeper now, slicing through skin, past ribs. His eyes don’t leave yours.[paragraph break]'Just a little something to help you sleep, my love,' he whispers, his breath warm against your ear.[paragraph break]You try to gasp, to scream, but your throat is tight, your body heavy, as the pain surges, a burst of fire radiating through you. Your vision begins to fade, the room growing dimmer and dimmer. The fork remains lodged in your side, the weight of it dragging you down, dragging you into the darkness[paragraph break] [paragraph break][bold type]***You died from stabbing***[roman type]";
	end the story;




Instead of divorcing Marcelo:
	say "'I want a divorce,' you say, your voice trembling but firm, cutting through the quiet like shattered glass. The untouched table sits between you and the family, the weight of your words drawing every pair of eyes to you. Your husband’s smile falters for only a second before he leans back in his chair, his hand flexing against the tablecloth. 'You’re upset,' he says smoothly, his tone a coaxing lie. Your mother-in-law exhales sharply, her napkin clutched tight in her hand. Grandma Deborah watches, silent, her bony fingers brushing over her locket like a talisman.[paragraph break]'No,' you say, louder now. 'I’m done.' You stand, but your chair doesn’t move with you; its legs refuse to budge, secured to the floor.[paragraph break]Your father-in-law leans back in his chair, his movements deliberate. From beneath the tablecloth, he produces something heavy, metallic. . .a revolver. The click of the hammer being cocked slices through the silence, the sound freezing you in place. 'You should sit down,' he says calmly, his tone almost fatherly. You push back your chair instead, the scrape of wood on tile the only defiance you can muster.[paragraph break]Your husband sighs. 'We were hoping this would go more smoothly.' A sharp crack echoes through the room, and your legs falter beneath you. You hit the floor as the family rises, their shadows stretching over you like an unholy congregation. The last thing you see is the grandmother calmly closing her locket, her expression as indifferent as the weapon still smoking in her son’s hand.[paragraph break] [paragraph break][bold type]***You died from internal bleeding***[roman type]";
	end the story;





Instead of crying:
	say "You cry, your shoulders trembling as silent tears streak your face. Your husband leans closer, his hand reaching over to rest on yours, the gesture as hollow as his concerned whisper: 'It’s okay.' To your side, your mother-in-law tilts her head, her lips curving into the faintest smile.[paragraph break]'Don’t upset yourself,' your father-in-law says, his voice calm, but his hand presses subtly against the table’s edge. Beneath you, a soft click resonates: a sound no one acknowledges. Your tears blur your vision as the chair gives way beneath you, its legs collapsing with a sickening crack. Too late, you notice the jagged edge of the broken frame, one sharp shard piercing upward as you fall. A gasp escapes you, cut short by pain and silence. They rise slowly, calmly, as though this, too, was part of the evening’s plan.[paragraph break] [paragraph break][bold type]***You died from impalement***[roman type]";
	end the story;

	



Instead of laughing:
	say "You laugh, bright and unguarded, at your nephew’s awkward joke, your voice ringing in the stillness of the untouched table. Your husband’s hand rests too tightly on his silverware, his smile a fraction too wide. Next to you, your mother-in-law straightens her napkin with clinical precision, her eyes flicking to the empty plates in front of you all. A faint metallic tang pricks the air, unnoticed until your throat tightens mid-laugh.[paragraph break]Your hand flies to your neck as the room starts spinning. 'Are you okay?' your husband Marcelo asks, his tone laced with false concern. The grandmother’s locket dangles open, its powder already in your lungs, seeping through you with every breath. You collapse, the last thing you see a series of cold, satisfied smiles: faces of a family you never truly belonged to.[paragraph break] [paragraph break][bold type]***You died from poisoning***[roman type]";
	end the story;

	



Instead of listening:
	say "You sit still, letting the silence settle as you focus on the sounds around you. At first, there’s only the faint hum of the chandelier and the subtle creak of chairs shifting. But then, you catch it: a quiet, rhythmic tapping, like fingers drumming against wood. It’s your father-in-law. To your right, your mother-in-law whispers something under her breath, her tone clipped, the words indistinct but sharp.[paragraph break]Your husband clears his throat, the sound deliberate, and he reaches his hand over to brushe yours, too firm to feel reassuring. Grandmother Deborah’s locket clicks open and shut in an uneven cadence, the soft metal snap unnervingly precise. Then it hits: a sharp, high-pitched frequency that seems to come from nowhere and everywhere all at once. Your hands fly to your ears as the sound drills deeper, unbearably loud, a pitch so piercing it feels alive.[paragraph break]A sudden, wet pop fills your head as your eardrums burst, blood trickling down your neck. The world is muffled now, but you see their faces; unmoved, calm, waiting. Deborahs’s locket swings closed with a final click, and your vision swims as the pain pulls you under, the soundless room swallowing you whole.[paragraph break] [paragraph break][bold type]***You died from internal bleeding***[roman type]";
	end the story;
	
	


Instead of dancing:
	say "You dance, the fabric of your dress twirling around you as your movements grow bolder, drawing the attention of everyone at the table. Your husband watches, his eyes narrowing with suspicion, but you keep smiling, your steps fluid and carefree. The rhythm gives you space, your body a distraction, a shield between you and the tightening tension in the room. As you spin, you slip your hand into the folds of your dress, feeling the cold handle of the knife you tucked away earlier.[paragraph break]The family’s eyes flick between you and each other, their conversations hushed, but you’ve bought yourself the precious seconds you need. You twirl one last time, stepping closer to your husband, the blade hidden behind your back. He moves to stop you, but you’re faster, slashing the knife in a swift arc. His grip tightens around your wrist, but it’s too late; his blood spills, and in the chaos that erupts around the table, you seize the moment.[paragraph break]With a final, decisive twist, you reach for the door, slipping out of the room just as the last of their plans crumbles. The dance had saved you, not with grace, but with timing, a perfect misdirection that gave you the chance to escape.[paragraph break]You are free.[paragraph break] [paragraph break][bold type]***You survived the dinner table***[roman type]";
	end the story;




Instead of looking under chairs:
	say "A cool breeze sweeps beneath the table and across your ankles. You don’t want to appear odd looking under your chair, but it’d be best to take a look in case a small creature has gotten in instead of the awful draft. You subtly lean over the right arm of your chair and look down. A dinner knife is sat neatly under the seat with a note tied to the handle. It’s handwritten, in black ink that reads ‘Use me wisely.’[paragraph break]A shiver goes down your spine. Looking up, you accidentally make eye contact with your new mother-in-law, Krystal, but quickly realize that her gaze is with intention. Her eyes are pleading for you to take the knife, but you must be ready to do what is necessary soon after.[paragraph break]This family wants to murder you for your money, since their trust fund has run dry. Your husband married you knowing that you inherited your mother's fortune after she passed away, and he has no intentions of sharing it."


Instead of looking under:
	say "[one of]There's nothing important under that.[or]There's nothing to be found.[or]Try looking under something else.[or]There's nothing of interest under that.[cycling]"



Instead of taking knife:
	say "You firmly grasp the knife in your hand and quickly back away from the table. It’s sharp point now angled towards the people who you thought were family. ‘Get away from me!’ you yell. Your eyes well up with tears as they dart between the door and your aggressors.[paragraph break]There’s no one you can trust, except Krystal and your own father. But who’s not to say they’re all in on it? Krystal could be toying with your emotions, giving you false hope that you’ll get out of here alive. Just like a lion playing with its prey.[paragraph break]Could your own father betray you like this? You’re the only family he has left. There’s too many questions and not enough time to find answers. [paragraph break]You back away towards the door, ‘Don’t come near me!’ Everyone standing at the table looks confused, but grabs their dinner knife and begins walking towards you. The only ones still sitting are Krystal and your father.[paragraph break]Your back hits the door. Using your free hand, you grip the handle and shakily turn the knob. It creaks open as Krystal lunges at Hanna, knocking her to the ground. ‘Run, Melba!’ she yells, driving a knife into Hanna’s shoulder.[paragraph break]Nothing crosses your mind but escape and survival. You slam the door and sprint out of the front. There's only forest for miles, but you’d rather take your chances with the bears and wolves than be surrounded by monsters.[paragraph break]You are free.[paragraph break] [paragraph break][bold type]***You survived the dinner table***[roman type]";
	end the story;
	



Instead of yellishing:
	say "The low hum of conversation ceases when you slam your palm down on the table, the sound startling everyone into stillness. [paragraph break]'I've had enough of this fake evening,' you snap, your voice rising with frustration. 'Can anyone just say what they mean for once.'[paragraph break]No one even flinches, but your outburst ripples through the room. Your husband shifts uneasily beside you, but you barely notice. You’re so caught up in the heat of the moment, so sure that your words are justified, that you don't hear the creak of the floorboard behind you.[paragraph break]You only realize it’s too late as a heavy, damp cloth presses over your face, the world tilting sideways as the scent of chloroform clogs your nostrils. Your screams are muffled, your body jerking instinctively as you fight against the grip, but it’s no use. The air grows thicker, darker. Your limbs grow heavier with each passing second, and soon, all that remains is the blackness.[paragraph break]You slump, lifeless, against the table. No one speaks. The dinner continues.[paragraph break] [paragraph break][bold type]***You died from poisoning***[roman type]";
	end the story;





Instead of leaving:
	say "You stand up from the dinner table. The laughter of the family fills the room, but it feels hollow, like they're all pretending. A sense of dread swirls in your stomach, but you dismiss it. It's just nerves—you're a guest in their home, after all.
[paragraph break]'I think I'll head to bed early,' you say, forcing a smile.[paragraph break]Your husband watches you from the end of the table, his eyes distant. His mouth twitches, but he says nothing. The air feels thick, oppressive, and you begin to make your way toward the door.[paragraph break]As you walk past the long dining table, you notice the way the others' eyes follow you; like predators watching their prey. You feel a cold chill creep up your spine, but you press on, clutching the doorframe.[paragraph break]'Leaving already?' his sister asks, her voice unusually sweet. Her eyes glint in a way that makes you pause, just for a moment.[paragraph break]'Yeah, just tired,' you murmur, swallowing hard.[paragraph break]You reach for the door handle, but before you can open it, something heavy slams into the back of your head. The world tilts and blurs, and your knees buckle beneath you. You collapse, barely able to stay conscious, but you hear the shuffle of footsteps.[paragraph break]A loud crash echoes as the door slams shut. You try to push yourself up, but hands grip your arms, pulling you back. The table, still set for dinner, becomes a blur of motion. His father is at your side now, holding something cold and metallic.[paragraph break]Then, the pressure tightens around your neck, and panic surges in your chest. You claw at the hands that are now wrapping around it. Brice’s grip tightens with eerie calmness, and you gasp for air, but there’s nothing left to grasp.[paragraph break]The others stand around you, watching in silence, their faces emotionless. You thrash weakly, but it’s futile. A final, desperate breath escapes your lungs as the last thing you see is your husband’s face, watching you die.[paragraph break]The room is silent again, except for the faint sound of the chair scraping against the floor as his father leans back, satisfied.[paragraph break] [paragraph break][bold type]***You died from stabbing***[roman type]";
	end the story;
	




Instead of walking:
	say "Time seems to crawl as you sit, stomach growling. How is it that no food has been served yet? After what feels like an eternity, you can’t help but feel the urge to get out of your chair. Your legs beg to do anything but sit stagnant. The screech against the floor slices through the dull murmur of conversation as you push back your chair. Heads turn sharply, eyes fix on you.[paragraph break]‘Is it so strange to want to stretch my legs?’ you think, feeling the weight of their unwavering stares. You offer a polite smile and begin to step away from the table, aiming for an exit of some sort. Before you can move any further, a small voice pipes up behind you.[paragraph break]'Auntie, where are you going?' Your nephew stands, now holding a steak knife in his small hand, the light glinting ever so slightly off the blade.[paragraph break]You laugh nervously. 'Just taking a walk.'[paragraph break]'You shouldn’t,' he says, stepping closer. His voice is sweet, but his eyes are cold. 'Mom says guests have to stay seated.'[paragraph break]Before you can react, he lunges at you, the knife striking with surprising force. The room is anything but chaotic, and strangely calm in the midst of events. The last thing you hear is his innocent voice, soft and calm, 'I told you to [italic type]stay.[roman type]'[paragraph break] [paragraph break][bold type]***You died from stabbing***[roman type]";
	end the story;






Instead of drinking bottle:
	say "You pick up your glass, slowly taking a sip of wine. The deep crimson liquid catches the light as you tilt the glass, and for a moment, you almost forget about the awkwardness of the evening. You allow yourself to relax briefly, when you notice an odd, almost [italic type]metallic[roman type], taste is lingering in your mouth a bit too long for comfort. Why did it take you so long to notice the aftertaste?[paragraph break]You do your best to shake off the feeling, but something is definitely off. Trying to swallow makes the feeling worse. A panic starts to rise in your chest despite your efforts to stay calm. But the discomfort spreads quickly, and your breath starts to shallow. The last thing you remember is the laugh from the end of the table, the loud clink of silverware, and then. . .nothing.[paragraph break] [paragraph break][bold type]***You died from poisoning***[roman type]";
	end the story;
	
Instead of taking bottle:
	try drinking bottle;
	



Instead of looking under tble:
	say "The warmth of the room feels almost suffocating as the dinner chat dwindles into uneasy silences. Your instincts tingle. . .something isn’t right. You glance at your husband, whose expression is unreadable, then at Brice, his father, who is nursing his whiskey with a quiet intensity that makes your stomach turn.[paragraph break]'Is everything okay?' you ask, but no one responds. Your napkin slips from your lap. For a moment, you hesitate, but then you lean down to retrieve it. As you bend forward, you notice something strange beneath the table: an envelope taped to the underside, bulging slightly as if it contains something important. Your curiosity gets the better of you. You stretch your arm, fingers brushing the edge of the paper.[paragraph break]The moment you pull it free and sit back up, Brice’s voice booms. ‘What are you doing?’[paragraph break]Before you can reply, a shadow looms over you. Brice has risen from his seat. He’s holding something heavy and metallic; a brass candelabra from the far side of the table. Your heart races as his calm demeanor shatters.[paragraph break]'Some secrets aren’t meant to be uncovered,' he says with a grim finality.[paragraph break]You start, 'Brice, I don’t. . .'[paragraph break]Before you can finish, his hand swings with shocking speed and force. The candlestick collides with your temple, sending a burst of pain shooting through your skull. Your vision blurs. The world tilts as you slump back in your chair, the envelope slipping from your fingers and falling unnoticed to the floor.[paragraph break]Darkness claims you, and the muffled voices of your in-laws fade into silence.[paragraph break] [paragraph break][bold type]***You died from blunt force trauma***[roman type]";
	end the story;
	



Instead of hiding under tble:
	say "Dinner started innocently enough. The laughter feels genuine, with the clink of wine glasses comforting. Your husband smiles at you, and for a moment, you let yourself believe that his family is warming up to you.[paragraph break]The conversations grow stranger. Brice keeps glancing at you, his smile never quite reaching his eyes. Hanna leans over to whisper to your husband, and though you can’t make out the words, you hear your name. Even your mother-in-law, so poised and proper, watches you with an unsettling intensity as she sips her drink.[paragraph break]The room feels smaller now. Tighter. Hotter.[paragraph break]Your chest tightens when you notice they’ve stopped talking. Their gazes fixed on you and laughter fades, replaced by a silence so thick you swear you can hear your heart pounding.[paragraph break]'I. . .I think I’ll head to the powder room,' you stammer, rising from your chair. But as you turn toward the door, your husband blocks your path. His smile has changed. It’s sharper now, cruel in a way you’ve never seen before.[paragraph break]'No need to go,' he says softly. 'We’re just getting started.'[paragraph break]Panic surges through you. You bolt, your chair clattering to the ground behind you. You don’t make it far before hands grab at you; too many to fight off. In the chaos, you spot the long dining table, its heavy cloth brushing the floor. Without thinking, you dive beneath it, your heart racing as you press yourself against the cold wooden legs.[paragraph break]Above, the murmurs start again, low and conspiratorial. You can’t make out their words, but you know they’re talking about you. You hold your breath, straining to hear.[paragraph break]'She’s under the table,' someone says.[paragraph break]You freeze, a chill creeping down your spine. The chairs scrape back in unison, the shadows of their legs encircling you. A hand darts beneath the tablecloth, pulling it away with a sharp flourish. The sudden light blinds you, but what you see next chills your blood: your husband holding a polished serving tray, heavy and shining.[paragraph break]Before you can scramble away, the tray comes crashing down on your shoulder. Pain flares, and you cry out, but there’s no time to recover. A pitcher of water over you, drenching you from head to toe. You blink, disoriented, as Jackie lifts a gleaming glass plate and slams it over your head. The world rings, cutting off your vision and muffling their voices.[paragraph break]Your breaths grow shallow, the metallic taste of fear mixing with the wine lingering on your lips. [paragraph break]'It’s taking too long,' someone says impatiently.[paragraph break]Your sister-in-law leans close. ‘Stop struggling, dear. It’s not very ladylike.’[paragraph break]The final blow comes from above; a crash so sharp and powerful it folds you into darkness. As you slip away, you hear laughter, soft and polite.[paragraph break] [paragraph break][bold type]***You died from blunt force trauma***[roman type]";
	end the story;
	
Instead of hiding under:
	say "There's no guarantee you can hide under that quickly enough before the family members notice. But maybe you could slip under the table without anyone seeing you?"
	




Instead of flipping over tble:
	say "The tension in the room becomes unbearable. Your husband’s family sits around the table, with their eyes darting toward you whenever they think you won’t notice. It’s your first dinner with them since the wedding, and you can feel their judgement sink in like a knife.[paragraph break]'It’s a wonder he married you so quickly,' Krystal remarks. 'Such a bold choice.' [paragraph break]Something inside you snaps. You don’t remember standing. The sound of your chair scraping against the floor barely registers.[paragraph break]'Bold choice?' you spit, your voice trembling with a mix of rage and disbelief. 'You’ve been judging me all night! I’ve had it!' Your hand moves before your mind catches up. The table heaves upward, the fine china and silverware crashing to the floor as you flip it over in a single, furious motion.[paragraph break]The room goes silent, stunned. Standing there you breathe heavily, with the enormity of what you’ve done sinking in.[paragraph break]And then you hear it. The scrape of a chair against the hardwood floor.[paragraph break]You turn toward the sound, your heart hammering. It’s his sister; her eyes blazing with something cold and dark.[paragraph break]'You just don’t belong,' she whispers, almost too softly to hear.[paragraph break]The others don’t move, as she steps toward you. You’re too stunned to react, too disoriented by the sudden shift in her demeanor. Before you can speak or even think to defend yourself, she lunges.[paragraph break]You feel a sharp sting, then warmth spreading through your abdomen. Your knees buckle, the world spinning as you collapse onto the floor.'Well,' Brice says. 'That’s one problem solved.'[paragraph break]Your vision blurs, the edges of the room dimming as the sound of their footsteps fade.[paragraph break] [paragraph break][bold type]***You died from stabbing***[roman type]";
	end the story;
	
Instead of flipping over:
	say "[one of]Nothing good would result from that.[or]You struggle to flip it over, and you are unsuccessful.[or]It slips from your grasp before you can turn it over.[cycling]"


Instead of tossing:
	say "The laughter, the whispered conversations, the glances. . .everything grates on your nerves. You need to break it, need to show them you're not some helpless guest in their game. You grab the closest item, your fingers tightening around its shape. You hurl it across the room, the sound echoing like a warning.[paragraph break]The room falls silent.[paragraph break]Your husband’s face is unreadable as he slowly sets his fork down. His eyes flick to the others around the table, and they all nod in unison, as if a silent agreement has been made.[paragraph break]'That's enough,' your husband says, his voice cold, like a chill running through your veins. 'It’s time.'[paragraph break]Before you can react, they move faster than you ever could’ve imagined. One by one, they rise from their seats, like a predator’s circle tightening.[paragraph break]Your sister-in-law is the first to reach you. She grabs your wrist with surprising strength, pulling you toward her. You try to fight back, but there’s no escape. The others close in, moving as if they’ve rehearsed this moment a thousand times.[paragraph break]Your father-in-law steps forward next, holding a thick, rolled-up cloth. He presses it into your mouth, silencing your scream. You can taste the salt of your own terror as the fabric forces its way deeper, smothering the air from your lungs.[paragraph break]Your husband is the last to approach, his face twisted with something that’s almost pity. Almost.[paragraph break]'Do you really think we’d let you ruin everything?' he asks, his voice dripping with disdain. 'You were never meant to be a part of this family.'[paragraph break]And then, without another word, they all come at you. Your vision fades to black as the weight of their collective presence overwhelms you, suffocating, erasing your very existence.[paragraph break] [paragraph break][bold type]***You died from asphyxiation***[roman type]";
	end the story;

	

Instead of tossing someone:
	say "It wouldn't make any sense to do something like that. Try throwing an object, not a person."
	


Instead of dropping:
	try tossing tble;
	



Instead of pulling cloth:
	say "You stand at the head of the dining table, your hands trembling as you clutch the edge of the tablecloth. Your mother-in-law’s disdain and your husband’s refusal to defend your marriage has turned the conversation into an argument quickly spiraling out of control.[paragraph break]'Enough!' you yell, yanking the tablecloth with all your might.[paragraph break]Dishes crash to the floor. Glass shatters. Candles and wine topple to the floor. The room goes still. All eyes are on you, wide with shock.[paragraph break]For a fleeting moment, you feel vindicated. You’ve broken their perfect, polished facade. You’ve taken back control.[paragraph break]Then, from the far end of the table, you hear the grandmother clear her throat.[paragraph break]'That’s quite enough, dear,' she says softly, her voice calm and measured.[paragraph break]You barely have time to register her words before she lifts her cane, still seated in her chair. For a moment, it looks like she’s using it for balance. Then she presses a small, hidden button on its side. A soft hiss fills the air. You feel a sharp sting in your neck, like a bee sting.[paragraph break]Your hand flies up instinctively, and you pull out a dart. Confusion floods your mind, but before you can speak, your legs give out. Collapsing to the floor, your limbs become heavy and your vision swims.[paragraph break]Grandma Deborah stands, her frailty suddenly replaced by cold purpose. She steps toward you, her cane tapping lightly on the hardwood floor. 'You should’ve stayed in your place,' she murmurs.[paragraph break]Your heart pounds, each beat slower than the last as the poison works its way through your veins. Your husband kneels beside you, but his face is devoid of panic; just resignation. He doesn’t reach for your hand. He doesn’t even look at you.[paragraph break]As your vision fades, you hear Grandmother’s voice, calm and steady. 'We’ve been doing this for generations, my dear. You’re not the first, and you won’t be the last.'[paragraph break]The last thing you see is her wrinkled face smiling down at you.[paragraph break] [paragraph break][bold type]***You died from poison***[roman type]";
	end the story;
	
Instead of taking cloth:
	try pulling cloth;

Instead of pulling:
	say "[one of]Nothing would result from that.[or]You try to pull it but it fails to move.[or]When you try to pull it, it slips from your fingers.[cycling]";



Instead of abusing:
	say "Your new in-laws are scattered around the table, chatting among themselves, but their eyes flicker towards you with an unsettling frequency. You can feel their gazes, sharp and calculating, like they're waiting for something.[paragraph break]Without thinking, you push back your chair, standing abruptly. You can’t stand the quiet any longer. You lunge towards the nearest person, your hand swiping through the air, aiming to strike. Your palm cracks through empty space. . .nothing but air. Your heart pounds in your chest, and the room seems to hold its breath.[paragraph break]Then, your nephew Jackie steps forward.[paragraph break]Before you can react, something hard and cold slams into your chest. It’s not a knife, not a gunshot, but the sensation is worse. A thick, metal wire wraps around your throat, pulling tight, constricting with a strength that leaves you gasping for air. You claw at the wire, but your hands can’t find anything to hold onto, only the cold metal that digs deeper with every frantic movement.[paragraph break]Jackie’s face is inches from yours now. His smile is disturbingly calm, like he’s watching something on a screen rather than participating in what’s happening. The wire tightens again, and you feel your body fighting to hold on, but the pressure on your neck is unbearable. Your vision blurs, and your pulse weakens.[paragraph break]‘I’m doing it just like my mom taught me!' Jackie yells with a smile spread across his face.[paragraph break]The last thing you see before everything fades to black is Jackie’s eyes, glimmering with a strange mixture of triumph and pity. And then, the world goes silent.[paragraph break] [paragraph break][bold type]***You died from asphyxiation***[roman type]";
	end the story;

	
Instead of attacking someone:
	try abusing brice;
	

Instead of abusing:
	say "[one of]It wouldn't make much sense to hit that.[or]What did that ever do to you?[or]Keep your hands to yourself, woman.[cycling]"


Instead of attacking something:
	say "[one of]It wouldn't make much sense to hit that.[or]What did that ever do to you?[or]Keep your hands to yourself, woman.[cycling]"




Instead of laying down on lounge:
	say "You’ve been staring at the satin lounge for a while. Its deep, blue finish looks like an ocean, one that could swallow you whole. The thought of having a break from this dinner is just enough to convince you to excuse yourself from the table and seat yourself on the lounge. You were right, this is much more comfortable than those creaky dinner chairs.[paragraph break]‘Are you feeling alright, dear?’ Marcelo says as he walks over to the lounge. He takes your hand and brings it to his lips, ‘It’s been such a busy week for us. Why don’t you take a minute and close your eyes.’[paragraph break]You do as Marcelo says and slowly lay back into the lounge. The satin envelops your very being, allowing you to sink deeper and deeper into a state of nothingness. That is, until you begin to feel a warm liquid streaming down your chest. Your eyes open, revealing a knife stabbed through your heart and blood pouring from the wound. Marcelo hovers with a smile, ‘Until death do us part. . .’[paragraph break]The sound of laughter erupts from the dinner table as you close your eyes and drift into the ocean you were so hoping to visit.[paragraph break] [paragraph break][bold type]***You died from impalement***[roman type]";
	end the story;




Instead of opening curtains:
	say "Glancing around the table, you see Grandma Deborah staring at something behind you. ‘Is something a bother, Grandma Deborah?’ you ask.[paragraph break]‘Oh nothing, dear. It’s just those curtains are so dusty! Do you think you could give them a little brush for me?’ asks the old woman.[paragraph break]Hoping to impress your husband’s family, you quickly stand and do as Grandma Deborah asks. You reach for the curtain and brush your hand down the deep, red fabric. It feels nice to do something helpful for your new family, but it is odd timing considering the food will be out soon.[paragraph break]Brushing your hand works alright for dusting, but you decide to try a new tactic and give the curtain a shake. In doing so, it begins to slide open.[paragraph break]‘Oh dear,’ Deborah says. ‘You’ve done a great job with those curtains. Why don’t you come back to the table and have a seat?’[paragraph break]You continue to shake, and the dust rains from the fabric. ‘These are starting to look brand new!’ you insist. The curtain slides open, revealing an empty brick wall behind. Your heart sinks. You quickly run to the other sets of curtains and open all of them to reveal the same brick wall behind. This is not a family that comes from money. [paragraph break]Before you can turn around to confront the others, a hard, metal object collides with your head. Those candelabras must be more than just decorative.[paragraph break] [paragraph break][bold type]***You died from blunt force trauma***[roman type]";
	end the story;

Instead of pulling curtains:
	try opening curtains

["The Dinner Table" by Alexah, Devon, & Caiya]

Rule for printing the banner text: do nothing

Use American dialect, brief room descriptions, and the serial comma.

[Beginning of Game]
	

[add description]
Instead of examining player:
	say "You look down at yourself in the chair. You are the main character."


Dining Room is a room. 


Talking to is an action applying to one visible thing. Understand "talk to [someone]", "chat with [someone]", "talk with [someone]", and “converse with [someone]” as talking to.



Understand "leave [door]" or "exit [door]" as entering.



Understand "look down at [something]" as examining.

Understand "look around", "look at dining room" and "look at room" as looking.


Looking down is an action applying to nothing. Understand "look down" as looking down.

Instead of looking down:
	say "You look down at the dinner table, but nothing seems out of place. An empty plate lies on the tablecloth in front of you. The off-white color and blue florals decorating the borders of the plate are quite beautiful for the occasion. A silver spoon and fork are wrapped neatly in a blue napkin on the left side of the plate, but you notice that your knife is missing. Two brass candelabras stand at each end of the table. Your hands are clasped tightly in your lap; this is your first dinner with your new husband's family."

Instead of looking for the first time: say “[bold type]{WORK IN PROGRESS}[roman type][paragraph break][italic type]You are sitting at the dinner table. . .[roman type][paragraph break] [paragraph break] "



[bounceback for violent and deranged players]
KYS is an action applying to nothing. Understand "kill self", "kill yourself", "kill myself", "kill me", "kys", "kms" and “commit suicide” as KYS.

Instead of KYS:
	say "[one of]There's so many things you could do other than that.[or]It would be best to try something else before commiting to that decision.[or]You have so much to live for right now, try something else.[cycling]"



[add description]
Instead of looking for at least the second time:
	say "You are sitting at a large, oval dinner table. You father, husband, mother in-law, father in-law, sister in-law, nephew, and husband's grandmother sit around the dinner table, chatting awkwardly."
	
Instead of examining RoomD:
	try looking;



[THINGS]


Tble is a thing in the Dining Room. Tble is undescribed. Understand "dining table", "dinner table" and "table" as Tble.

Instead of examining Tble:
	If Tble is undescribed:
		say "The dinner table is made from dark chestnut wood. Peeking out from under the tablecloth are the sturdy table legs, and upon closer inspection, they appear riddled with scratches and dents. This table must have been in the Peters family for generations. On the table lies empty plates, cutlery, candelabras, and a table cloth. Food has yet to be served to the guests at the dinner table."


Empty Plate is a thing in the Dining Room. Empty Plate is undescribed. Understand "plate", "plates" and "empty plates" as Empty Plate.

Instead of examining Empty Plate:
	If Empty Plate is undescribed:
		say "There's nothing on the plate. It's so clean that you can see your reflection in it. The off-white color and blue florals decorating the borders are quite beautiful for the occasion. There has been no food served to anyone at the dining table."


Cutlery is a thing in the Dining Room. Cutlery is undescribed. Understand "fork", "silverware", "utensils", and "spoon" as Cutlery.

Instead of examining Cutlery:
	If Cutlery is undescribed:
		say "A silver spoon and fork are wrapped neatly in a blue napkin on the left side of the plate. Your knife is missing."


Chairs is a thing in the Dining Room. Chairs is undescribed. Understand "seat", "chair" and "red chair" as Chairs.

Instead of examining Chairs:
	If Chairs is undescribed:
		say "The chairs at the dining table are carefully adorned with swirls and high backs. The cushy, red, velvet seats look much comfier than they feel."
		

Cloth is a thing in the Dining Room. Cloth is undescribed. Understand "table cloth", "runner", "table runner", "table spread", "cloth" and "tablecloth" as Cloth.

Instead of examining Cloth:
	If Cloth is undescribed:
		say "The table cloth was made to match the plates: off white in color with blue florals dancing about in a simple pattern. It looks as if it has faded with time."


Candelabras is a thing in the Dining Room. Candelabras is undescribed. Understand "candelabra", "candle holder" and "candle stand" as Candelabras.

Instead of examining Candelabras:
	If Candelabras is undescribed:
		say "The brass candelabras stand valiantly at each end of the table. Each holds three pristine candles. They must be brand new."
		

Candles is a thing in the Dining Room. Candles is undescribed. Understand "candle", "candlestick" and "candlesticks" as Candles.

Instead of examining Candles:
	If Candles is undescribed:
		say "The tall, white candles are lit, creating an elegant ambiance. There must be a draft, as the small flames are swaying from left to right."


Glass is a thing in the Dining Room. Glass is undescribed. Understand "wine glass", "cup" and "wine cup" as Glass.

Instead of examining Glass:
	If Glass is undescribed:
		say "The glass is crystal with a gold rim at the top. It looks to be half full with a stunning red wine."
		

Bottle is a thing in the Dining Room. Bottle is undescribed. Understand "wine bottle", "Henri Jayer Cros Parantoux", "Parantoux", "wine" and "bottle of wine" as Bottle.

Instead of examining Bottle:
	If Bottle is undescribed:
		say "The bottle reads ‘Henri Jayer Cros Parantoux.’ It's your dad's favorite, but it's very expensive. It appears to be full, but the seal on the cap is broken."


Knife is a thing in the Dining Room. Knife is undescribed. Understand "steak knife" and "blade" as Knife.

Instead of examining Knife:
	If Knife is undescribed:
		say "A sharp steak knife lies on the ground near your foot. It must have fallen down when the waitstaff were setting the table. . .how odd."
		

Napkins is a thing in the Dining Room. Napkins is undescribed. Understand "handkerchief" and "napkin" as Napkins.

Instead of examining Napkins:
	If Napkins is undescribed:
		say "Dark blue napkins in the shape of a rose sit to the right of the plates. The cloth is folded with precision."




Lounge is enterable supporter in the Dining Room. Lounge is undescribed. Understand "lounge chair" as Lounge.

Instead of examining Lounge:
	If Lounge is undescribed:
		say "A deep blue lounge chair sits at an angle near the door. I bet it’s much more comfortable than those dining chairs."


Curtains is a thing in the Dining Room. Curtains is undescribed. Understand "dusty curtains", "dusty curtain" and "curtain" as Curtains.

Instead of examining Curtains:
	If Curtains is undescribed:
		say "Vibrant red curtains hang from the floor to ceiling. They're drawn, presumably covering large windows. The staff must’ve missed a spot, as they’re collecting quite a decent amount of dust."


Paintings is a thing in the Dining Room. Paintings is undescribed. Understand "oil paintings", "painting" and "wall paintings" as Paintings.

Instead of examining Paintings:
	If Paintings is undescribed:
		say "Oil paintings depicting scenes of human sacrifice hang on the walls. A little morbid for a celebratory dinner, but you didn’t get to pick the decor"




[SCENERY]


Fireplace is scenery in the Dining Room. "The fireplace must be decorative, as there’s not a speck of ash at the bottom. A nice, roaring fire would take away the awkward silence inbetween small talk." Understand "mantel" as Fireplace.


Armoire is scenery in the Dining Room. "A large armoire stands to the left of the fireplace. Family crests with lions, swords, and latin words are carved into each of the doors. Quite the family heirloom." Understand "dresser" as Armoire.


Decorative Ts is scenery in the Dining Room. "Tall, circular tables stand in each of the corners of the dining room. They’re simple; decorated only with candles. You're surprised there aren't any trinkets displayed on them from the Peters' many travels." Understand "small tables", "decorative tables", "small table", "decorative table", "circular table" and "circular tables" as Decorative Ts.


Decorative Cs is scenery in the Dining Room. "Candles of varying sizes are lit on the decorative tables. They must be unscented, as there’s a prevalent musty smell lingering in the Peters Manor. Good thing you won’t be living here with your newly-wed husband." Understand "decorative candles" as Decorative Cs.


RoomD is scenery in the Dining Room. Understand "dining room" and "room" as RoomD.


Hands is scenery in the Dining Room. "Your hands are slightly sweaty, but soft. Your nails are freshly painted white to match your dress. You keep your hands clasped tightly in your lap; this is your first dinner with your new husband's family, and they're quite intimidating." Understand "palms", "hand" and "clasped hands" as Hands.



[NPCs]



[add description]
Marcelo is a man. Marcelo is in the dining room. Marcelo is undescribed. Understand "Marcelo Peters", "husband" and "my husband" as Marcelo.

Instead of examining Marcelo:
	If Marcelo is undescribed:
		say "Sitting at the end of the table to your left is your husband, Marcelo. You married him for his great personality, not his looks, which makes you worried about having kids."


[add description]
Brice is a man. Brice is in the dining room. Brice is undescribed. Understand "Brice Peters", "Mr Peters", "father in-law" and "father in law" as Brice.

Instead of examining Brice:
	If Brice is undescribed:
		say "Sitting at the head of the table to your right is your father in-law."


[add description]
Krystal is a woman. Krystal is in the dining room. Krystal is undescribed. Understand "Krystal Peters", "Mrs Peters", "mother in-law" and "mother in law" as Krystal.

Instead of examining Krystal:
	If Krystal is undescribed:
		say "Sitting to your right is your mother in-law."


[add description]
Deborah is a woman. Deborah is in the dining room. Deborah is undescribed. Understand "Deborah Peters", "Grammy", "gran","mamaw", "old woman", "old lady", "grandmother", "husband's grandmother", "grandma", "Grandma Peters", "Grandmother Peters","grandmother in-law" and "grandmother in law" as Deborah.

Instead of examining Deborah:
	If Deborah is undescribed:
		say "Sitting to diagonal your right is your husband's grandmother. The Peters lovingly refer to her as 'Mamaw.'"


[add description]
Hanna is a woman. Hanna is in the dining room. Hanna is undescribed. Understand "Hanna Peters", "sister in-law" and "sister in law" as Hanna.

Instead of examining Hanna:
	If Hanna is undescribed:
		say "Sitting to diagonal your left is your husband's sister."



Jackie is a man. Jackie is in the dining room. Jackie is undescribed. Understand "Jackie Peters", "Jackson Peters", "nephew" and "child" as Jackie.

Instead of examining Jackie:
	If Jackie is undescribed:
		say "Sitting directly across from you is your new nephew. He is the son of your husband's older sister, and he doesn't seem happy to be here. His arms are folded over his chest, and he's staring at you with a grumpy frown on his face. He reminds you of a disgruntled cabbage patch doll."



[add description]
Richard is a man. Richard is in the dining room. Richard is undescribed. Understand "Richard Lutz", "Mr Lutz", "papa", "my dad", "my papa", "my father", "father" and "dad" as Richard.

Instead of examining Richard:
	If Richard is undescribed:
		say "Sitting to your left is your father, Richard Lutz."



[DIALOGUE]



Check talking to Marcelo:
	say "[one of]You turn to talk to your husband. 'Honey,' says Marcelo, 'have you ever considered a life insurance policy? Just in case anything were to happen, you know? Life is very unpredictable these days!' His statement has such curious timing. . .[or]As you turn to talk to Marcelo, he says, 'I've been thinking about that old family recipe I’ve been telling you about. If I could just remember that secret ingredient. . .' Your stomach grumbles at the thought of food.[or]You look at your husband, who turns to you and smiles, 'Who would’ve thought I’d end up here after all those bumps in the road. It was tough growing up. . .tough having to choose between a yacht and summer home for my 16th birthday!' Life must be so hard for you, honey.[cycling]";
	rule succeeds.



Check talking to Brice:
	say "[one of]Your father-in-law announces to the dinner table, 'The food should be out very soon! We hired the best chef in town to prepare a 13 course meal for this evening, my absolute favorite number.' Finally, some good food.[or]You glance over at your father-in-law, and he leans in to say, 'I've always said it's wise to have a solid financial plan. It’s never too early to set up a will. Really, anything can happen!' You feel a bit pressured by his advice.[or]Mr. Peters leans in towards his son, ignoring you in the process, 'Remember that old family cabin upstate, son? It's a bit isolated, but it's perfect for a quiet retreat.' Judging from the look he gives your husband, seems like they know something you don't.[cycling]";
	rule succeeds.
	


Check talking to Krystal:
	say "[one of]Mrs Peters looks down at your plate, 'Oh drat, did the staff forget your knife? That's too bad. . .I’m sure it has to be lying around here somewhere. Or maybe you just aren't important enough to get one.' Knife or not, there's no food to eat right now anyways.[or]Your mother-in-law sneers at you, 'Of [italic type]course[roman type] I get to sit next to [italic type]you.[roman type] This is the last time I’ll come to one of these 'celebratory dinners,' assuming you stay married to my son. Then we’ll throw a divorce party!' You really picked a winner with this family, huh?[or]You attempt to start a conversation with your mother-in-law, but she cuts you off, 'It’s quite rude your mother couldn’t join us, or maybe she’s here right now, in spirit.' What did you do to this woman that's made her so cruel?[cycling]";
	rule succeeds.



Check talking to Deborah:
	say "[one of]Grandma Peters beckons to you, and as you lean across the table, she says in a hushed voice, 'It's so expensive to keep up this old house, but it's full of so many memories. We simply could never part with it, unless you wanted to put in an offer!' Respectfully, you'll be passing on that offer.[or]Grandma Peters calls out to you, 'The dress you picked this evening is stunning! You must have so many to choose from. I’ve decided to slim down my collection over the years. No need to hoard my timeless taste when I can share it with the world!' Timeless isn't the word you would use, but you certainly won't be telling Deborah that.[or]You face Grandma Peters, and she sighs, 'It’s awfully dreadful that Krystal comes to these events. Sure she’s family, but she’s such a drag!' You look over at your sister-in-law, who has been listening to every word with her brow furrowed.[cycling]";
	rule succeeds.




Check talking to Hanna:
	say "[one of]Your new sister-in-law takes your hand from across the table and consoles you, 'Seriously, if you ever need a break from my brother, just call me. I’ve had years of experience handling this guy.' At least someone at this table is looking out for you.[or]Hanna rests her head in her hand and laughs, 'You know, it’s funny seeing Marcelo here all cleaned up and civilized. This is the same guy who once ate spaghetti with his bare hands because he was too lazy to get a fork from the kitchen.' That new bit of information slightly gives you the ick.[or]Looking down at her empty plate, Hanna confesses, 'This family’s always been a little strange; just don’t question it too much. Honestly, the fewer questions you ask, the fewer awkward answers you’ll get. It’s easier that way.' Sounds like a great way to never get closer with your in-laws.[cycling]";
	rule succeeds.



Check talking to Jackie:
	say "[one of]The little boy sighs with annoyance, 'How much longer do you think this’ll take? I’m pretty sure my tummy just made a noise. If it growls again, everyone’s gonna hear it, and I’ll [italic type]die.[roman type]' You're saying what we're all thinking, little guy.[or]Your nephew explains, 'Mom says I need to work on my manners. . .so I’m working on it. I just need to figure out when it’s okay to talk about killing people and when it’s not.[or]Jackie complains, 'I don't know why I’m expected to dress [italic type]so[roman type] fancy. I’m only 10! And I'm wearing a tie![cycling]";
	rule succeeds.
	


Check talking to Richard:
	say "[one of]Your dad nudges your left shoulder, 'Quite the setup they’ve got here, huh? You holding up okay, kid? These in-law gatherings can be. . .an experience, to say the least. It’s like speed dating, but instead of figuring out who you like, you’re figuring out who you can tolerate.' It's starting to feel like you're figuring out how much hunger you can tolerate instead.[or]Your father resumes the previous conversation, 'But hey, if you can sit through the talk about the weather, the latest home renovations, and your Uncle Bob’s obsession with birdwatching without running for the door, I’d say you’re doing great. The bar’s low, but the rewards are. . .well, minimal I suppose.' Way to have a positive mindset, pops.[or]Your dad continues rambling, 'You’ll get used to it eventually. The quirks, the loud opinions, the charming habit of interrupting each other mid-sentence; it’s all part of the package. Think of it as entertainment! Slightly chaotic, occasionally embarrassing, cumbersome entertainment.[cycling]";
	rule succeeds.




[ACTIONS]



The print obituary headline rule is not listed in any rulebook.



Instead of entering lounge:
	try laying down on lounge;


Laying down on is an action applying to one visible thing. Understand "lay down on [something]", "sit on [something]", "sit down on [something]", "rest on [something]", "lie on [something]" and “lay on [something]” as laying down on.


Looking behind is an action applying to one visible thing. Understand "look behind [something]", "lift back [something]" and “take down [something]” as looking behind.


Understand "look under [something]" and "look underneath [something]" as looking under


Instead of looking behind the paintings:
	try taking the paintings;
	

Instead of taking paintings:
	say "Your wandering mind gets the better of you as the painting hung on the wall across from your seat seems to have completely grasped your attention. It’s not like you to zone out, but there’s just something so odd about the painting. . .likely the gory depictions of women being mercilessly murdered, but who knows. Curiosity kills the cat, they say, and you can’t help but move closer.[paragraph break]The chatter around you fades as you push up from your chair and step away from the table, the air growing heavier with every step. You stand before the painting, mesmerized, unaware of your surroundings. You go to reach for the painting, in hopes of getting a closer look, but you don’t get further than the thought of it.[paragraph break]A cold hand breaks through your ensnarement and grips your neck from behind, tightening rapidly. You gasp, but your air is cut off, and your vision fades as your body goes stiff.[paragraph break]In your final moments, you strain to see the painting more clearly; it wasn’t art. It was a warning.[paragraph break]And now it’s too late.[paragraph break] [paragraph break][bold type]***You died by asphyxiation***[roman type]";
	end the story;



Instead of looking under chairs:
	say "A cool breeze sweeps beneath the table and across your ankles. You don’t want to appear odd looking under your chair, but it’d be best to take a look in case a small creature has gotten in instead of the awful draft. You subtly lean over the right arm of your chair and look down. A dinner knife is sat neatly under the seat with a note tied to the handle. It’s handwritten, in black ink that reads ‘Use me wisely.’[paragraph break]A shiver goes down your spine. Looking up, you accidentally make eye contact with your new mother-in-law, Krystal, but quickly realize that her gaze is with intention. Her eyes are pleading for you to take the knife, but you must be ready to do what is necessary soon after.[paragraph break]This family wants to murder you for your money, since their trust fund has run dry. Your husband married you knowing that you inherited your mother's fortune after she passed away, and he has no intentions of sharing it."




Instead of taking knife:
	say "You firmly grasp the knife in your hand and quickly back away from the table. It’s sharp point now angled towards the people who you thought were family. ‘Get away from me!’ you yell. Your eyes well up with tears as they dart between the door and your aggressors.[paragraph break]There’s no one you can trust, except Krystal and your own father. But who’s not to say they’re all in on it? Krystal could be toying with your emotions, giving you false hope that you’ll get out of here alive. Just like a lion playing with its prey.[paragraph break]Could your own father betray you like this? You’re the only family he has left. There’s too many questions and not enough time to find answers. [paragraph break]You back away towards the door, ‘Don’t come near me!’ Everyone standing at the table looks confused, but grabs their dinner knife and begins walking towards you. The only ones still sitting are Krystal and your father.[paragraph break]Your back hits the door. Using your free hand, you grip the handle and shakily turn the knob. It creaks open as Krystal lunges at Hanna, knocking her to the ground. ‘Run, Melba!’ she yells, driving a knife into Hanna’s shoulder.[paragraph break]Nothing crosses your mind but escape and survival. You slam the door and sprint out of the front. There's only forest for miles, but you’d rather take your chances with the bears and wolves than be surrounded by monsters.[paragraph break]You are free.[paragraph break] [paragraph break][bold type]***You survived the dinner table***[roman type]";
	end the story;
	



Instead of drinking bottle:
	say "You pick up your glass, slowly taking a sip of wine. The deep crimson liquid catches the light as you tilt the glass, and for a moment, you almost forget about the awkwardness of the evening. You allow yourself to relax briefly, when you notice an odd, almost [italic type]metallic[roman type], taste is lingering in your mouth a bit too long for comfort. Why did it take you so long to notice the aftertaste?[paragraph break]You do your best to shake off the feeling, but something is definitely off. Trying to swallow makes the feeling worse. A panic starts to rise in your chest despite your efforts to stay calm. But the discomfort spreads quickly, and your breath starts to shallow. The last thing you remember is the laugh from the end of the table, the loud clink of silverware, and then. . .nothing.
[paragraph break] [paragraph break][bold type]***You died by poisoning***[roman type]";
	end the story;




Instead of laying down on lounge:
	say "You’ve been staring at the satin lounge for a while. Its deep, blue finish looks like an ocean, one that could swallow you whole. The thought of having a break from this dinner is just enough to convince you to excuse yourself from the table and seat yourself on the lounge. You were right, this is much more comfortable than those creaky dinner chairs.[paragraph break]‘Are you feeling alright, dear?’ Marcelo says as he walks over to the lounge. He takes your hand and brings it to his lips, ‘It’s been such a busy week for us. Why don’t you take a minute and close your eyes.’[paragraph break]You do as Marcelo says and slowly lay back into the lounge. The satin envelops your very being, allowing you to sink deeper and deeper into a state of nothingness. That is, until you begin to feel a warm liquid streaming down your chest. Your eyes open, revealing a knife stabbed through your heart and blood pouring from the wound. Marcelo hovers with a smile, ‘Until death do us part. . .’[paragraph break]The sound of laughter erupts from the dinner table as you close your eyes and drift into the ocean you were so hoping to visit.[paragraph break] [paragraph break][bold type]***You died by stabbing***[roman type]";
	end the story;