CHOOSE YOUR OWN ADVENTURE • 2. WARNING!!!! Do not read this book straight through from begin- ning to end! These pages contain many different. Choose Your Own Adventure Zine Writing Workshop Pong Wolfgun Kelsheimer As a reader I sometimes find myself asking 'what if they chose another course of. With close to two hundred titles, Choose Your Own Adventure is by far the longest-running gamebook series. It grew out of Edward Packard's Adventures of You.
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musicmarkup.infoOSE YOUR OWN ADVENTURE• 19SECRET OF THE PYRAMIDS BY RICHARD BRIGHTFIELDAn Edward Pack. You can continue your escape adventures in these books, coming soon: #2: TRAPPED lN THE SEA K]NGDOM. #3: TERROR ON KABRAN. #4: STAR SYSTEM. And continue your escape adventures in these books, .. You pick it up and hold it in your arms. Escapet' and Choose Your Own [email protected] series and.
Wolfgun Kelshe With this question in mind I embark on a hypertext project that I hope will lead to a combination of satisfying endpoints, and build on prior writing experience and knowledge. By teaching a CYOA writing workshop participants can continually conference on elements of writing. The workshop is meant for writers of all ages and skill levels. Choose Your Own Adventure is a genre of game books where the reader makes the decisions for the character and jumps from scene to scene within the book.
She swoops toward you. If you run, turn to page 8. If you grab the fledgling and try to use it to shield yourself, turn to page If you dive to the ground and shield your face with your arms, go on to page Nothing happens; the angel bird must have taken her young one away.
What's more, you begin to have the feeling that you are completely safe. Slowly you get to your feet. Standing nearby are three more of the large creatures. One of them effortlessly leaves the ground, glides through the air, and lands beside you.
You have a strong urge to climb on its back. Why is it you feel so safe? The angel birds begin to make musical sounds, more beautiful than anything you've ever heard. Is it this music that causes your good feelings, or something more? These creatures seem to communicate not in words, or even ideas, but in feelings.
Without thinking more about it, you leap up, and because there's very little gravity, you almost float onto the creature's feathery back. You nestle in. It feels like a bed of goose down, soft and silky. It curves up toward the surface, but it also becomes narrower. You try to gauge how close to the surface you could get without losing your footing. By cutting a couple of handholds in the ice with your pocket knife, you could make it to the top, if you don't lose your grip.
If you try to make it, turn to page If you decide to wait, turn to page There may be some force here we don't understand. But don't worry, we're rigging a brace so we can pull you up without getting too close. You pull in enough to tie around your waist and under your arms. Taking a firm grip, you call up to the top, "I'm ready—pull away!
You dangle for a moment; then, slowly, foot by foot, your friends pull you up over the edge. You scramble across the ice into their arms. I think we'd better quit now. I've had enough," Sneed says. After what you've been through, you're not about to argue with them. The three of you pack up and begin the long trek back across the glacier.
You're happy to be alive, but you know that you'll always regret that you never reached the Underground Kingdom. The End 14 You lunge for the baby bird, hoping that you can use it as a shield. Even as you move, you feel a rush of wind as the mother dives to protect her baby.
You realize that you've just made the stupidest decision of your life. Strangely, the mother bird did not harm you. Instead, you feel that you have been put into a trance.
Stranger still, you sense that something has set time back—that you are being given an- other chance! In the light gravity of the underworld you can run faster than a deer, even up this mountain. Twenty, thirty, forty feet at a bound! You feel even lighter than you did before. You try to leap only a few feet in the air, but you find yourself floating. There is no way you can get down. You are entombed between the ground above and the ground below.
You close your eyes. Then, instead of feeling warm, you feel cold; instead of feeling light, you feel heavy. Instead of floating, you're lying on a hard, cold surface.
Opening your eyes, you see ice walls rising above you. Now you understand. When you fell into the crevasse, you landed on this ledge, about thirty feet below the surface. You must have hit your head on the ice. What a strange dream you've had! It seemed so real—as if the angel bird put the dream in your head!
But there are other things to think of right now. Larsen and Sneed have prob- ably given you up for lost Turn to page It increases its speed, and you hold tight as it swoops through long, curving passageways. It's the most exciting ride of your life, and would certainly be the scariest if you didn't feel that you've never been safer. Then, ahead of you, is a tunnel that flares out into a broad new world.
An endless landscape stretches before you. It is bathed in soft, reddish light, as if the sun had just set everywhere around you! A great river forms a curving line that divides the land. Trees line its banks. Farther back from the river are mountains, some of them lavender or blue and others that flicker like glowing em- bers. Strangely there is no horizon; instead the landscape fades into dusky reds and browns that curve over your head, forming a sky that is almost the same color as the ground.
Directly above you is something that looks like the sun, but it is absolutely black! So this is the Underground Kingdom—strange, vast, and very beautiful. What people or creatures live here? What mysteries does it hold? But you are swept from your daydreaming by the realiza- tion that your life here could be in danger. If you set out to explore the Underground Kingdom, turn to page If you concentrate on getting safely back home, turn to page You should be able to make it, as long as you don't panic.
You try not to look down. After almost an hour of slow progress, you're able to raise a hand over the rim. But you still can't pull yourself up. You hack away at the ice, gouging out another handhold, then another foothold. It seems like hours before you can take even one step higher. Then, with one great effort, you heave yourself over the edge, then twist and roll away from the deadly opening. Stiff and shaky, you manage to stand and stare at the bleak world around you.
The sun has set behind the western mountains, and you begin to shiver in the chill wind. You're thankful that in this part of Greenland it never grows dark in July. But it does grow cold—well below freezing—and you're too exhausted to run and jump to warm yourself. You want to explore the Underground Kingdom! The angel bird seems to understand.
Steeply banking, it swoops down along the great river and glides gently onto a mossy plain. Nearby is a grove of tall trees. Short stumpy branches with clusters of multicolored leaves thrust out from their trunks. They look almost like hands holding bunches of flowers. You slide to the ground, and at once the angel bird rises in the air. As it glides up into the dark red sky, you feel a wave of happiness.
You follow its path with your eyes long after it has disap- peared. Then, turning to survey the strange land- scape, you wonder where you will go. What dangers await you?
Surely help is on the way. You huddle on the icy ledge, stamping your feet and clapping your hands, trying to keep warm. You feel your body temperature dropping.
You've got to stay awake until a search party arrives. The hours pass slowly. The sun dips below the horizon, but there is still light in the sky. Straining, you think you hear pocka pocka pocka overhead. A chopper is Hovering over the crevasse! For a moment you're blinded by a searchlight. The chopper drops to just a few yards above you. The crew lowers a harness.
Eagerly you grab it and buckle it around you. You're sud- denly yanked into the air. Moments later a pair of hands pulls you through the hatch. The pilot pours you a cup of hot chocolate from his Ther- mos. You soon feel life seeping back into your body. The End 21 There is no shelter from the relentless wind and no sign of Larsen or Sneed. It's getting hard to breathe. You soon begin to feel the dull aches, stiffness, and sick feeling you've read about—the dread symptoms of hypothermia; you are freez- ing to death.
Maybe a search helicopter will arrive any moment. Maybe in a few hours. Maybe never. You are very tired. You desperately need rest. If you huddle in your parka and try to conserve your strength, turn to page If you force yourself to keep walking, turn to page You cling tightly to the angel bird. As if it knows what you're thinking, it rises in the air, banks steeply, and then, accelerating, hurtles into a cor- ridor within the ground.
You nestle into its thick downy coat as it streaks through the darkness. Now you have a hunch that you should follow this man. If you try to follow him, turn to page If you decide that it is wiser to go to your hotel, go on to page 4.
You toss your bag into the back of a cab. When you arrive, Andrea is waiting for you in the lobby. She helps you check in. The bellboy insists on carrying your bag, even though you are traveling light. As you leave the elevator and head for your room, you could swear that the door, which was slightly ajar, closed as you approached. Maybe it was the wind, but the air seems very still.
And after that warning note at the airport, you don't want to take any chances. I don't like the location. You haven't had a chance to tell her about the note. What will you do?
If you threaten to go to another hotel unless the clerk changes your room, turn to page If you decide you're imagining things and let the clerk talk you into taking your original room, turn to page Now information comes back that the police are surrounding the area.
They will disappear back into the old quarter of the city in a matter of minutes. Policemen begin to fan out around the area, You and Mohammed transfer to one of the jeeps, and it speeds off to Inspector Ahmed's villa, its siren wailing. Turn to page Neither of you is in the mood to go back to sleep. You leave a note under Andrea's door and go down to the lobby. Even though it is only the earliest dawn, the back streets of Cairo are bustling with activity. At one of the broader intersections, you find a cab and direct the driver to take you to Giza.
When you arrive, an Egyptian friend of your uncle is already there: Hassan, the Egyptian Director of Antiquities. It was Hassan who first persuaded your uncle to come to Egypt many years ago. The three of you look down into the deep pit that contains the entrance to the tunnel under the pyramid.
Nearby the Sphinx sits in its ageless pose. A group of tourists is gathering at the foot of the largest one. As the group starts into the pyramid, you and Mohammed fall in behind. You enter a low, narrow passageway which leads to a large gallery with a high ceiling. The guide begins a long, dull lecture. If you would like me to show you some of the lesser passageways, I would be glad to guide you.
If the narrow passageways are making you feel closed in, turn to page Inside is a very elaborate and jeweled costume—a ceremonial costume of ancient Egypt. The humming grows even louder now. You feel compelled to exchange your clothes for the long robe, the headdress, and the sandals in front of you.
You put them on. You want to stop yourself, but you can't. Bruce is sent under guard to work in the laboratory located in a vast complex under the pyramid. A few days later, Bruce manages to talk to you without the guards overhearing.
We're trying to come up with a way to escape. You, Bruce, and the Russians— as well as Ptah and his top henchmen—mount a large ceremonial stand in front of the pyramid. As Ptah watches the barrel of the ray gun emerge from the top of the pyramid, Bruce slips something into your hand. Technicians inside the pyramid throw the switches to activate the ray gun. A low whirring sound fills the air. It rises in pitch as it gets louder—louder and louder, and higher and higher.
Soon it begins to hurt your ears.
Your arms and legs become numb, and your vision starts to blur. Inspector Ahmed! I was afraid something like this might happen. You and the inspector run to the back entrance of the hotel, but the truck is gone. You manage to jump into the next cab in line. Your cab weaves in and out of the heavy traffic, with its horn blaring constantly. Your driver just barely misses one car after another.
However, he does manage to keep less than a block behind the other car. The fast-moving traffic slows to a snail's pace once you get into an older section of the city. The cab you are following stops, and the strange man gets out. You hand your driver a couple of American bills, hoping they cover your fare. Fortunately, the driver seems more than pleased as you leave the cab. You can barely see through the thick crowd, but you do catch a glimpse of the man you are following.
He is entering what looks like a cafe.
You push your way over to the entrance. You return to the hotel in a cab and check Andrea's room. No sign of her. You leave the hotel not quite knowing what to do. At the corner a native woman, with a dark veil covering her head and face, except for the eyes, beckons from a doorway. You are surprised to see that her eyes are pale gray.
You are even more surprised when you hear her voice. The woman is Andrea in disguise! You have to run to keep up with her. She leads you through a labyrinth of teeming alleyways. Finally you reach a stone building with a heavy, carved door. You tell the inspector you will go with him on the raid. My personal bodyguard will escort you today, and tonight he will bring you to my home, where you will spend the night.
Perhaps you would like to tour the Pyramids today. As you do, a long, black Mercedes limousine pulls up. You try not to look down. Carefully you reach around with your foot for whatever footholds you can find sticking out from the building.
It is easier than you had expected. Finally you make it down to the street. You can still see the truck. It's only a block away, stuck in traffic. You push your way through the crowded street as fast as you can to catch up to it Out of breath, you reach the back of the truck. You jump on and struggle with the doors.
They fly open suddenly, and you fall back onto the street, banging your knee. Hopping painfully on one leg, you get up and pull yourself into the truck. You see a pyramid being built. Workers scurry about with ropes and long poles. But they do not carry the huge blocks of stone. The stones float through the air by themselves! A few of the workers carry devices which project a beam of light onto the blocks and cause them to rise in the air. Other workers toss ropes over the enormous floating blocks and lead them along, while the workers with the poles push the blocks gently into place.
We have infiltrated Ahmed's organization. They lead you down to a dungeon in the basement of the villa and chain you to an iron ring set in the stone wall.
You realize that you're going to be a "guest" of the Assassins for a very long time. The End 21 "That looks as if it might be a kind of monorail," says Bruce. I've suspected for a long rime that something like this might exist It confirms a theory of mine that ancient Egyptian culture was given a big boost by a more advanced one. His hand sweeps over the complex control panel. Of course, we don't know what dangers lie ahead.
This time," Bruce says to you, "you definitely should stay behind to go for help—just in case we don't get back. If you stay behind, turn to page There is no answer. You throw open the door.
Bruce is gone! The room is a mess. Sheets trail across the floor as if a struggle had taken place. In several places there are drops of blood. The screen covering the window has been pushed in. There are more spots of blood on the windowsill and on the small ledge outside. You look down. There is a fourstory drop to the street. You rush back into your room and throw on some clothes. Then back to the window. It is a bit lighter now.
Dawn is just breaking.
On the street you see two men, loading a large basket into the back of an old panel truck. From this height—and in the still-dim light—you can't be sure, but something tells you that one of them is the stranger who gave you the note. You also have a strong suspicion that your uncle is in the basket. How did they get him down to the street? The ledge outside the window extends only a short distance on either side. There are no other windows nearby.
But there are several small balconies on the second and third floors. There is also a drainpipe on one side of the ledge. Maybe you could slide down the drainpipe to the nearest balcony and then climb down to the street. You're in a panic. What should you do? If you decide to risk climbing down the side of the building, turn to page If you decide to get the police, turn to page It is a large room.
In the center are huge chunks of rock and other debris that must have fallen from the ceiling. At one end of the room is a door leading toanother chamber. As you approach the door it opens automatically. This startles all of you for a moment. Carefully you peer inside. You are hardly prepared for what you see. The room is illuminated with some kind of strange light. The walls and ceiling are made of a plastic material with a honeycomb pattern, and they seem to glow with an inner luminescence.
In the center, perched on a glistening metal rail, is some kind of futuristic device. You are weary from the plane trip and the experiences of the day. You fall asleep instantly. Bruce is in the adjoining room. At dawn, something startles you awake. You hear sounds of a struggle in Bruce's room. Quick as a cat, you spring out of bed and run to the door. Sit over here by the fountain," says a short man wearing a large turban overloaded with jewels and multicolored feathers. I see that you two appear to have bumped your heads together.
Most unfortunate. I'll see to it that my infirmary looks after your injuries. Strange—the triangle has the same design as the coin you tossed down the shaft, only much larger. As you step forward, a strong energy floods through you, and an intense light surrounds your body.
You close your eyes but the light's brightness does not diminish. Suddenly you are caught up in a whirlwind and shot straight up through the pyramid. You look down and see the pyramid receding below you. The top of the pyramid has become a huge, glistening eye, shooting rays of light in all directions. Below it are bands of glowing color. As you concentrate on the eye, your body seems to dissolve. You become the eye—all-seeing, all-knowing.
Your mind expands to encompass the universe, to fill infinite space. All the mysteries of existence are now understandable. Your mind and body return to earth. Suddenly you know where Bruce is being held. With your new powers you contact him telepathically. Later the police are amazed when you are able to lead them directly to the hideout of the Assassins— where Bruce has been imprisoned—in one of the old quarters of Cairo.
From now on, you will find a whole new life of joy and dangers. The End 29 Quickly you wrap the pillow around the snake, dash to the closet, hurl the snake and pillow inside, and slam the closet door shut. You stand for a full minute with your back against the door. Your heart is still pounding. You feel weak in the knees as you realize what you've just done.
You wake your uncle and tell him about the snake. At least someone out there seems to think so. We'd better get you back to the States before something worse happens. If you plead with Bruce to let you stay, turn to page 7. Then we will get up from the table and move as quickly as we can out that door. Don't run unless they start shooting, then keep low. One, two, three, four, five. Somehow you make it through the exit and into the car.
You look back to see armed figures running in your direction. The car roars away from the curb. Something smacks the car with terrific force. Turn to page 5. If you still want to go on the raid, turn to page If you've had enough of this terrorist business, and prefer to wait at the villa, turn to page The clerk sighs and mutters something about tourists.
Nevertheless, he directs the porter to carry your bag to a new room. If we are in danger, changing our room may throw our pursuer off, or at least show him we are on our guard. Your new "suite" consists of two small rooms with a connecting door. The first room is windowless; the second has a small window covered by a screen of very elaborate grillwork. Andrea's room is on the other side of the hotel, not far from your original room. Bruce arrives a short time later. You tell him about the warning note and explain why you've changed rooms.
Now I suggest that we go out on the town for the evening. You don't want to miss the Sahara Club and its famous belly dancers. A row of file cabinets lines one side of the room. Ahmed pulls out a folder, opens it on one of the few bare sections of his long desk, and spreads out a collection of photographs for you to study. Somehow you are not surprised to see the man from the plane in one of the photos. You tell Ahmed the whole story. Through informers, I have discovered the secret desert headquarters of the Assassins.
There is a strike force of paratroopers and a dozen helicopters waiting to attack. We must act as soon as possible. I advise you not to go, but of course the decision is yours. If you decide that it is too dangerous, turn to page At one point he stops and feels along the wall. One of the stones in the wall slides back, and a small, very low door opens. The passageway is so low that you have to crawl on your hands and knees.
You hear a click as the stone door behind you slides back into place. You hope Mohammed knows where he is going! You and Mohammed crawl for quite a while. Finally you come to a large square chamber. The walls are white with blue and gold hieroglyphs painted in neat rows around the room. In the exact center of the floor is a round hole.
Here—drop this in the well and see if you can hear when it hits bottom. It is triangular with an elaborate design in the center. A tiny, just barely visible hieroglyphic inscription runs around the edge. The coin shines as if made of gold. You throw the coin in and put your ear close to the well. For a full minute you hear nothing. Then you hear a strange humming—a high musical note that vibrates both in the well and inside your head.
You turn to look at Mohammed, but he seems to have disappeared. Suddenly you feel as if you are losing your balance. You are falling into the well. You go back up to the room and unpack your small suitcase. You make a careful search. There is no sign that an intruder has been there, and you feel relieved. Your room turns out to be a suite, with a bedroom, a sitting room, a small bathroom, and two tiny closets. The bedroom windows are covered with elaborately patterned grillwork.
Andrea's room is on the same floor, down the hall. Bruce finally arrives and you show him the note.
For a moment he looks alarmed. Then he smiles.
Andrea goes to her room, Bruce retires to the bedroom, and you quickly fall asleep on the couch in the sitting room. There is a heavy smell of incense. A belly dancer sways in the center of the dance floor. You find a table off in a dim corner. You can't see the man you followed, but your eyes are still adjusting to the darkness. My uncle may be in grave danger.
Suddenly a troop of desert warriors on camels appears from nowhere and comes charging toward you. Dark headcloths cover their faces except for their eyes. But instead of the old, long rifles you have seen them carrying in pictures, they all have modern submachine guns—and they are all pointed at you. One of the warriors commands you to raise your hands and march toward the pyramids.
A door opens in the base of one of the smaller pyramids, and you and Ahmed are forced into the vault inside. The door snaps shut behind you. You realize that the "floor" you're standing on is a conveyor belt that is rapidly carrying you toward a wall of flame at the other end of the vault.
You try frantically to run back to the door, but the belt is too fast. You are both swept into the thermal chamber—a chamber that so concentrates the energy of the sun that any object entering it is instantly vaporized.
The End 39 As you start to leave the platform, the approaching figure greets you. I greet you from the past" "For a while there I thought we were in the past," you say. This is a recording—a three-dimensional hologram. My image is programmed to respond to individual personalities such as yours. Even though you may feel my arm as solid—here, I will touch your hand—it is only an illusion.
It is too complex to explain, but your descendants will understand someday, just as you know that when you listen to a radio there are not little people in the box making the sounds.
I taught them the rudiments of architecture, farming, mathematics, engineering, and medicine. That was five thousand years ago. But I am not sure I was wise to do it. I will have to decide that when I find time to return.
Your planet is in my study quadrant, but it is far out on the edge of the galaxy. At the bottom, a six-foot-square opening penetrates the side wall. A perfectly straight tunnel of the same dimensions goes into the rock—horizontal for a short way, then sloping sharply downward.
The three of you enter it. A hand rope along the wall keeps you from slipping. Your flashlight beams cut into the darkness ahead.
Finally you come to a circular room about twelve feet in diameter, directly beneath the center of the pyramid. Now there is a pattern of cracks over here and part of the floor has sunk. You hear a faint rustling and the sound of a door softly clicking shut. You snap on the small table lamp. Only inches away from your face is an asp, one of the deadliest snakes in the world.
You've got seconds before it strikes. If you grab your pillow and try to clamp it down on the snake, turn to page If you back off slowly and call your uncle for help, turn to page These men are fanatics. They probably would have shot you down. They know that your uncle is working on a way to produce enormous amounts of energy. They would like to steal this secret and use it for their own evil plans.
A most peculiar man, your uncle, if you will pardon my saying so. I feel responsible for your uncle's disappearance. I will do everything in my power to find him. Inspector Ahmed knocks on the door. No answer. The door is unlocked. You and Ahmed go in. No Andrea! Ahmed flies low over the sand, looking for a stone outcropping that might give you protection from the storm. Below you the sand is being driven across the desert in little whirlwinds. Ahmed shouts your approximate position into the radio, though it's doubtful anyone can hear over the noise of the storm.
He grabs a piece of canvas from the back of the cockpit just as the two of you jump from the helicopter. Seconds later a powerful gust picks the helicopter up and sends it tumbling along the ground like a fragile toy. Go on to page You are temporarily blinded. Your lungs fill with choking dust. Kneel, head to the ground, away from the wind. This sand will wear away our clothing in no time. Then it will start on our flesh. The roaring of the wind is still so loud that Ahmed must yell directly into your ear for you to hear what he is saying.
You are now choking almost to suffocation. Your arms and legs have lost their feeling. Now that they are gone, you wish you had insisted on going with them.
It is lonely waiting by yourself. As you wait, you begin to hear some kind of humming. At first the sound is very low. Then it gets louder and louder. It seems to come from a specific spot on the wall. You walk toward it. They were fitted together so carefully that not even the thinnest piece of paper can be slipped into the joints. Does anyone really know how they got those blocks there? A kind of fog drifts over the screen and then clears away. The pyramid is completed.
But what a pyramid! It appears to be early morning. The top third of the pyramid is sheathed in gold, polished to a mirror finish. The rest of the pyramid is painted in iridescent colors in horizontal stripes clear to the bottom. The early sunlight strikes the top of the pyramid and throws a blinding shaft of light straight up into the sky.
You are so fascinated by this scene that it takes you several minutes to realize that the triangular viewscreen is gradually growing larger. As you watch, the entire wall of the room becomes a viewscreen, and the other three walls vanish completely.
The glowing floor remains, but you seem to be standing in ancient Egypt! Go on to the next page. He comes closer and beckons to the three of you. If you decide to leave the platform, turn to page The kidnappers must have heard the door open. They reach the back of the truck just as you are trying to open the basket.
One of the men is a hulking brute; the other man is the one you saw on the plane and in the airport. They have you boxed in. No use calling for help. No one could hear you over the noise outside. You sit, waiting—and wishing he would come back. One by one, the people at nearby tables finish their drinks and leave. You suddenly realize that you are alone in the cafe.
Then you become aware that there are shadowy figures, each with a submachine gun, standing behind the large pillars around the cafe. The guns open up at you all at once. The End 55 There in the distance, before your eyes, a pyramid emerges out of the sand like the bow of an enormous submarine. Smaller pyramids rise to encircle it, their surfaces flashing in the sun with the brilliance of polished gold.
Bolts of artificial lightning jump from the top of the large pyramid to the tops of the smaller ones, causing booming sounds to reverberate across the desert. I've heard stories of strange devices that can concentrate the sun's energy to almost unimaginable levels.
I'm not sure, but I think that is what we are looking at. Bruce may be a captive down there. If you let Ahmed convince you to slip away, turn to page Someday you or your descendants wil! You will be welcome. For now, farewell. The outside door reopens, and the three of you return the way you came. The next day you watch as workmen fill in the tunnel. When you leave the site, you go past the Sphinx.
Perhaps you only imagine that it says: You both take the last sips of water from the canteen. Your throat is so dry that you can't swallow. Bright spots dance before your eyes—a sign that you are dying of thirst.
One slip, and. You wouldn't be much help to your uncle then. You run down to the lobby and quickly explain the situation to the desk clerk. At that moment a policeman enters the hotel lobby. The surprised clerk hangs up the phone and looks at him openmouthed. Your instinct takes over as you reach for a short length of pipe on the floor of the truck and lunge at the larger of the two men.
You hit his hand with the pipe. He backs off, howling with pain, and you jump out of the truck. But where is the other man? He gets you from behind. You wake up bound hand and foot in a small compartment. You can tell you're aboard an airplane from the sound and the vibrations. Your uncle is tied up next to you. He has a wide, bloodstained bandage around his head. But my suspicion is that we've been kidnapped by the infamous Dr. As soon as the instruments are installed underground, we can start our experiments.
Now we are ready to descend. You step into a large chamber. You find that the humming comes from a chorus gathered around a large stone sarcophagus. Inside this is a coffin in the shape of a person. The lid floats a few feet in the air.
On one end of the lid is a lifelike sculpture in gold. With a shock you recognize it. It is your own face. Did you really slip and fall? You can't tell. You grit your teeth and wonder how far you will fall before you hit bottom. You can still hear the humming. It grows louder. You should be terrified— falling down a bottomless shaft in the center of an ancient pyramid, maybe to your death. But you are strangely calm.
The musical note seems to have something to do with it. And your rate of falling has slowed. A strong blast of air from below is cushioning your fall. Suddenly you land—on your feet. You look around you, amazed. You are on a small platform in the center of an amphitheater of some sort. Around you in a circle are nine white-robed figures on large stone thrones.
A central figure sitting on the largest throne speaks: Your mind struggles against it, but the movements of your body are no longer in your control. You lie down in the coffin. The horrible realization of what is happening fills you with panic—but you are now powerless to move. The lid comes down and covers you. You hear the heavy, grinding sound as the stone lid of the sarcophagus, weighing many tons, slides into place.
There is no way out now. You will lie there as long as the stars rise and set over the desert. You have become part of the secret of the Pyramids. The End 67 You are not sure what is going to happen to you in the pyramid, but if Bruce and Andrea want to go in, you don't see how you can refuse. All three of you enter. The door closes behind you.
This module was connected by hyperspace relay to the main galactic computer located in the Sirius star system. Other pyramids were built to imitate this shape so that the secret could be protected until the right time. It would be catastrophic if this secret fell into the wrong hands. But if we use its information properly, we might be able to solve all of the problems of the world. First, I must explain to you that I am Ptah, direct descendant of the pharaohs.
I am here to complete their work. I intend to conquer the world. Several Russian scientists were on the verge of completing a particle-beam ray gun. By various means I have had them brought here. They have almost completed their work. And now, with you to help them, they will be done in no time at all. When it is finished, the ray will be directed at a mirror on a space platform that I have already placed in orbit around the earth. I will then be able to bounce the ray back to any point on earth, utterly destroying the targets that I choose.
If you refuse to help me, you will be imprisoned on the space platform. I give you exactly one hour to make up your mind. If you and Bruce pretend to go along with Ptah in order to play for time, turn to page If you think that you should try to escape without delay, turn to page