Alone In The Dark: The New Nightmare - Strategy Guide (Page 01)

Below are the cheat codes, hints and help for Alone In The Dark: The New Nightmare - Strategy Guide (Page 01).

Alone in the Dark: the New Nightmare
A walkthrough about the love
by Thomas Wilde

=============
INTRODUCTION:
=============

We're gonna dive into the emptiness
We'll be swimming
I'm gonna walk you through the pathless road
I'm gonna take you to the top of the mountain
that's no longer there
...and you'll swear, happy ending
    -- the Dave Matthews Band, "When the World Ends"

Yes, yes, the game and its characters aren't mine, we
*know* that, put the copyright lawyer *down*, you don't
know or want to know where it's been...

This is a walkthrough for both scenarios of
Infogrames/Darkworks' Alone in the Dark: the New
Nightmare, a "survival horror" game for the PlayStation,
Dreamcast, and PC. This walkthrough was written using
the PlayStation version.

Join Edward Carnby and his feminist sidekick Aline Cedrac
as they investigate the ancient mansion of yet another
insular and diabolic New England family, and naturally,
there's evil lurking in the wings. Damn that pesky evil.
Nothing but trouble.

Why am I writing a walkthrough, when two such already
exist at gamefaqs.com? Well, Timmy, I'm glad you asked.
For one thing, this is practice for me. I'm submitting
writing samples to publishing companies in an attempt
to break into "the business," and this walkthrough will
eventually form one of those writing samples. That makes
you, Esteemed Reader, my prereader, and thanks for the
help. My other rationale for writing such a walkthrough
is that I damn well feel like it.

All puzzle solutions in this walkthrough were arrived
at through my own experimentation, over the course of
a frenzied week of gaming fun. Except where noted, the
rest of the walkthrough is, likewise, my own work, with
the exception of the strategy against the first boss in
Carnby's scenario. That section comes courtesy of the
talented, and no doubt *sexy*, men and women (?) who
frequent the AitD4 message board on gamefaqs.com. For
this, they shall be rewarded in the next life.

In any event, this is a walkthrough. Start walking.

=======
BASICS:
=======

You have a manual, or you should. If you don't, get one
for Dino Crisis, because it's virtually the same control
setup: R1 readies a weapon, X shoots a readied weapon or
interacts with the environment, Square turns your
flashlight on or off, and so on. AitD4 uses the RE
control setup, where Up moves you forward regardless
of relative orientation. You may stop whining about
that, effective immediately.

One caveat: Aline's scenario more or less requires a
controller with an analogue stick. If you haven't one,
beg, borrow, or steal one from somewhere, because
otherwise, you're going to hit a roadblock eventually.

Now, I present to you: the basic rules of survival horror.
Maestro?

-- save ammunition. It is initially in short supply, and many
   creatures require prohibitive amounts of ammunition to
   kill. I find that running away is an excellent choice
   against most creatures in the game, with the exception of
   the large zombie-esque creatures. Those creatures, hideous
   and hallway-filling as they tend to be, need some shotgun
   love. Almost everything else can be avoided or outrun with
   little difficulty.

-- when you *do* fight, compulsively reload your weapons
   in your menu screen, as opposed to letting your character
   do it manually. Your characters in AitD reload much faster
   than most horror protagonists do (with the odd and notable
   exception of Countdown Vampires' Keith Snyder), but that's
   still a period of time in which you aren't shooting at
   something which just might be directly in front of you.

-- take anything that's not nailed down.

-- if you can somehow pry it up, it is no longer nailed
   down. See above.

-- someone has thoughtfully strewn medical supplies and
   ammunition across your path, in every conceivable nook and
   cranny. Investigate your surroundings thoroughly, if for
   no other reason than to expand your arsenal. If there's a
   dead end on your map, it's probably got something for you.

-- when in doubt, assume the worst. If it looks like an
   ambush point, there's a monster in it; if a room is empty,
   something's going to crash, teleport, or jump in; if it's
   dark, it's because the sheer volume of *bloodthirsty
   monsters* in the room is sucking up all the light. This
   is not always true, but it's true often enough that you
   should consider it axiomatic. You are distinctly at the
   disadvantage here, regardless of what you might think,
   and you need to keep that in mind at all times.

-- your map is your best friend. In PSX AitD4, the map is
   hotkeyed to the L2 button, and it's far more useful here
   than it is in many other games of this genre.

As for the specifics of AitD4:

-- the flashlight is possibly your other best friend. Not
   only does it illuminate rooms and solve the occasional
   puzzle, but it illuminates key items, files or switches
   for you. If you sweep your flashlight beam across a room
   and something sparkles with blue light, you've just found
   treasure. Go do something keen with it.

-- when you press R2, you'll attempt to radio your
   inactive character. If you get anything at all out of
   him/her, you'll either get a decent hint to your current
   dilemma (which ranges anywhere from unhelpful flirtation
   to a quick battering with the ten-pound Clue Stick) or
   some mild character-enhancing dialogue. (Near the end
   of her game, Aline radioing Carnby is always good for
   a laugh. She's so cute when she's determined to kill
   anything that gets in her way.) Your character's
   notebook has a similar function, although it's more of
   a characterization tool than a hint book. That said,
   though, Aline's can be quite helpful.

-- that said, however, the flashlight is no substitute for
   a light switch. Room lights are frequently not as bright
   as you'd like them to be, but they're good to have in a
   pinch. Your flashlight will make light switches sparkle.

-- yet *another* caveat: it may be nice to light things up,
   but occasionally, you'll get valuable clues by poking
   around a room in the dark. If you're stuck in a room with
   a light switch, try turning the lights off. The results
   may surprise you.

-- examine and rotate *everything* in the Objects menu.
   Keys will frequently tell you where they're supposed to be
   used, while more esoteric objects frequently hold clues if
   flipped over or studied. Particular items that you should
   *really* look closely at include the 3D Map and, once it's
   put back together, the Photograph. (Note that, as this is
   a European game, the first floor is the "ground floor,"
   and the second floor is the first.)

-- don't worry too much about doors which are "sealed up."
   They're cousins to the doors with jammed locks in Silent
   Hill, and cannot be opened over the course of the scenario
   you're in. Usually, a door that's sealed in one game will
   work in the other.

-- read all Documents very carefully. All diagrams and all
   text in red will eventually matter. Note that once again,
   the manual lies; reading a Document will put that Document
   into your status screen permanently. Note that several items
   in the game are, in fact, Documents, such as the Dictaphone.

-- a Charm of Saving can be used anywhere. When you restart,
   your character will be in the room where you used the
   Charm, as though he or she had just entered.

-- Eugene Shadtchnev from Russia writes in to mention that
   some monsters don't seem to appear if you walk through
   their territory with your weapon readied. This is only a
   theory, and I'd appreciate some independent verification.

========
WEAPONS:
========

Carnby's revolver:
I'm pretty sure the reasoning behind this weapon is
ballistically unsound. Furthermore, I consider it a crime
against my people that Carnby's revolver is no more
powerful than Aline's. It does fire remarkably quickly,
and you find a lot of ammunition for it in the manor, but
it's still only a handgun. Don't rely on it.

Aline's revolver:
A .38 that Lily Morton apparently thought would be in some
way *helpful*, Aline is saddled with this thing because
someone on the development team hates her. There's a period
of time where you'll be running about with nothing but the
revolver, which will probably be empty, to defend yourself
with. This period is referred to in Finnish legend as the
Time of Suck. You'll soon get the opportunity to upgrade
to the shotgun, thankfully.

Triple-barreled shotgun:
It's not as good as it sounds, but really, is that
possible? Three shells' worth of Morton's custom magnesium
ammo packs about as much of a relative kick as one shotgun
shell does in any other horror game you can think of; it
takes at least six shells to drop even the weak hellhounds,
and most creatures will take nine. It doesn't hit an area,
either. Still, a shotgun's a shotgun, and shotguns in horror
games are your basic tools of survival: lots of ammo, a
decent kick, and you can't beat the price.

As was pointed out to me by "Nippy," my snarky li'l MiSTing
buddy, unless the custom shells are considerably less powerful
than standard ammunition, firing all three barrels of this
shotgun at once should break both the stock of the gun and
the wrists of the person holding it. This has been another
--WHAM--Useless Fact.

Grenade launcher:
This is more useful for Aline than for Carnby, as Carnby,
in his version of events, forgot to include the part where
he finds more ammunition for the damn thing. This is, when
you get right down to it, another rocket launcher, right
down to its power and relative range. This is not a bad
thing. It is a bosskiller, typically, although with a
little luck, Aline will have enough ammo left over to take
out the occasional troublesome zombie or plant. Grenades
are quite plentiful, and it holds more ammunition than
the rocket launcher, so all in all, this is a good time.

Rocket launcher:
More of a modified flare gun, really, but it's still
explosive, and that's all I need. The rocket launcher
is somewhat inferior to the grenade launcher by dint
of a lower ammunition capacity and rate of fire, but
for Carnby, it's the only game in town. Like the grenade
launcher, you're wasting this unless you're firing it
at a boss.

Plasma cannon:
No, it's not. This thing is a flamethrower. It doesn't
need a poncy name, but yet I find myself noting that it
has one. You'll need to spend some time getting a feel
for the plasma cannon's range before you use it in combat,
but once you do, you'll find it quite useful in Carnby's
scenario. Until you get the lightning gun, you will find
no better weapon to use against zombies and scorpions. The
cannon works on gas cartridges, each one of which is good
for maybe two minutes of continuous fire. Carnby can find
a couple of extra cartridges lying around, but Aline,
sadly, can't. That doesn't mean it's useless for Aline,
but by the time she starts fighting the creatures that are
most vulnerable to plasma, she's already found the
lightning gun and thus made the plasma cannon somewhat
obsolete.

Lightning gun:
Proof positive that Jeremy Morton was the greatest man of
the twentieth century, the lightning gun is obviously a
linear ancestor of Fear Effect 2's Arc Taser. It works
upon similar principles; when an opponent gets close
enough, hold down the fire button to hit both it and any
nearby friends with a bolt of electricity. The lightning
gun is notable for its comparative punch--it can kill
hellhounds and plants in roughly a second each--and its
ease of use. It's the only weapon in the game that you
can fire *as you're readying it*, making it the game's
fast draw champion. It's also the only weapon in the
game which can hit more than one target at a time (that
is, without your putting some serious English on the
shot, a la the grenade launcher). Its only real drawback
is its short field of effect, as the lightning arc won't
connect unless you're standing about a scale foot or so
from your target. Once you've found the lightning gun,
use it exclusively until the end of the game.

Photoelectric Pulsar:
Oh, it's cute and possibly marketable (I'm an American;
gun fetishry is part and parcel of my culture), but this
thing's worthless. It takes a fairly long time to charge
up, and when it does, it fires a single burst of light.
Yes, that burst will horribly maim anything it hits, but
you're not likely to hit. Don't use the Pulsar.

=========
MONSTERS:
=========

Dogs:
Undead versions of the Rottweilers from the beginning of
Carnby's game, the dogs are, initially, weak siblings to
the more powerful hellhound. As you progress, however,
their durability increases. They frequently gate into an
area, and their speed is a potential problem when they do;
by the time you've registered the gate's existence, the
newly arrived dog has already fastened onto your arm.
Dogs don't do a lot of damage, though, and if you can
shoot them once, they'll kick over and lie there long
enough for you to either finish them off or escape.

Hellhounds:
Strange, chitinous things that actually quite resemble
insects, hellhounds are very common. They're deadly in
close quarters, but if you catch one at range, it's a
bad memory after two shotgun blasts or seven to ten shots
from the revolver. They do tend to travel in pairs, so 
you'll need to watch your ammunition level as you're
fighting them. They're also sort of stupid, so you can
fake them out and run past with relative ease.

Zombies:
What? They're *zombies*. Slow, stupid, moaning pink things
wearing khakis. The sine qua non of survival horror. They
frequently show up to block narrow hallways, and they are
remarkably durable (three shotgun blasts will kill *one*
of them), but they're more like bleeding barricades than
any sort of actual monster. The plasma cannon, once you
get it, carves through zombies with ease and grace.

Beetles:
Small, but quick, and traveling in swarms, beetles will
spring crude ambushes on you every so often while you're
in the manor. They're the only valid reason to use the
revolver, as a single shot from it will kill a beetle.
Anything else is like swatting flies with a pipe bomb.

Plants:
These little bastards. Plants are ambulatory greenery, and
they almost always show up in groups of two or more. They're
repelled by your flashlight's beam (although they're smart
enough to try and wriggle away from the beam if they can,
and you can only repel one of them at a time), and will be
slain outright if you turn on the lights in the room they're
in. On the bad side, they've got terrifying range and take
*way* too much ammunition to kill with normal weapons; it
takes six good hits with the shotgun, or two grenades, to
take out a single plant. You should run away from plants
most of the time, but once you get the lightning gun, all
bets are off. Lightning + plants = smoked kelp.

Small Lizards:
Little "peep"ing things like Dino Crisis' compys, the lizards
are an annoyance at best. They'll show up in swarms once you're
outside the manor, on Disc 2, and will valiantly attempt to
strip all the flesh off of your ankles. Use up revolver
ammunition on them if you must, but they really aren't worth
fighting. They'd be worth punt-kicking over the nearest cliff,
were that an option, but they aren't worth a bullet.

Scorpions:
These haunt the back roads of Shadow Island, waiting for
Carnby. By the time you run into them, you'll have found
the plasma cannon, which is the best weapon against them.
About two seconds' worth of plasma fire will kill a
scorpion. In wide-open areas, such as in front of the
chapel, you can also safely run around them.

Crocodiles:
There are only three of these in the entire game, but they're
worth mentioning just the same. Arguably among the least
threatening monsters you'll face, their only real asset is
the ability to sneak up on you underwater. However, as they
only show up in watery areas, the ripples in the water will
give them away. Once you see the ripples, ready the shotgun
or revolver and get ready to shoot them as they spring up
behind you.

============
WALKTHROUGH:
============

Edward and Aline's games only slightly coexist. There are
hints, here and there, that they're going through the same
things simultaneously, but as a general rule, your main
character is the definite focus of the scenario you're
playing. In Aline's game, she's the woefully underestimated
protagonist who no one takes seriously (which proves to be
more than one person's downfall); in Carnby's scenario,
she's basically Rebecca Chambers, a damsel in distress who
occasionally pays you back with behind the scenes work.
It's an interesting dichotomy, and I am a frequent guest
in that house.

In any event, I'll begin the walkthrough with Carnby's
scenario, as I recommend that most players should start
with Carnby. If you're looking for Aline's game, you can
scroll down a bit; I'll be with you shortly.

==========================
EDWARD CARNBY: WALKTHROUGH
==========================

You'll start off on a forest path. Going southwest will
bring you to a locked door, the combination to which you
won't find until much, much later. Instead, opt to go
northeast. Aline will radio you, and introduce you to your
first objective: reach the manor.

Continue down this path until you reach a small cabin by
the side of the road. Carnby, being a trained detective,
will note the presence of blood. Enter to receive the
traditional Marvin Branagh Warning (wounded guy, check;
thinks you're doomed, check; ominous warning, check).
Leave, and as you walk away, you'll see and hear a couple
of gunshots. Re-enter the cabin and shine your flashlight
about. The gleaming thing on the floor is the first in a
series of Small Bronze Keys. Grab it.

Your new Key unlocks the wrought-iron door at the end of the
path. Behind it, you'll see a box of bullets lying on the
wall. Walk towards it, and you'll see a cutscene featuring a
very unfortunate dog. (No animals were hurt in the making
of this game, my *entire* ass.) Now, this may seem stupid,
but the chained-up dogs from the cutscene are behind the
gate in the corner. Go say hello. As you get to the end
of the path, the dogs will break free. Don't worry, though;
they'll run right past you, enabling you to get the two
boxes of bullets and the first-aid kit they were hoarding.

Now, go back outside and up the stairs. At their top,
you'll find yourself standing on a garden terrace that's
so Gothic it's dead. Any motion on your part will summon,
as though by arguably predictable dark magic, the thoroughly
unpleasant-looking corpse of one of the rottweilers. Plug
it with three shots from your revolver. Poor little guys.
Just the same, though, you'll have to fight three more
of them before you reach the next set of stairs, so be
careful and be quick.

This next path will lead you to the front gate of the
mansion, and of course, it's locked. Trying to open it
will start two short FMVs and a cutscene, where Aline's
voice actress sorta phones in a performance about how
scared Aline is. Way to go, lady. You can't go through the
front gate, so you'll have to go through the other door
you see on your map, at the other end of the front walk.

Before you do that, you will, of course, encounter
adversity. The end of the walk is occupied by the first of
many hellhounds you'll encounter over the course of the
game. It takes about ten shots from the revolver to drop
a hellhound, so you don't really want to mess with the
little bastards right now. Instead, opt to go straight
through the wrought-iron gate in the foreground.

This encounter illuminates something important about the
game. The monsters in AitD4 will sometimes gate in
without preamble, so you need to be constantly on your
guard. This isn't Resident Evil, where you should be
carefully watching unattended windows at all times.

Past the gate, follow the short path to the gadget that
looks like an ornamental shield. It is, in fact, a
water valve. Turn it to open up your next path, but be
ready to outrun a hellhound on your way down the stairs.

Make your way down the sewer tunnel, into the large
room at its end. Once you arrive there, a large crocodilian
creature will spring up from the water and attack. It's
predictable, but you can't simply outrun it; if you try,
it'll pounce on you at the next doorway and Edward will
resurface in the room's center.

Instead, wait for it with your revolver readied. It'll
always spring up right behind you. Swing around and shoot
it once. It'll fall down, and renew the cycle a few seconds
later by springing up right behind you again. Repeat this
ballistic waltz six times, and the creature will stop
bothering you.

You do, of course, want to climb the ladder at this
passage's end. At its top, in a wrecked access room,
you'll find a Charm of Saving on a ledge by a metal door.

That door, in turn, leads into the treasure trove that is
the manor's basement. On one side, you'll find a box of
bullets, a box of cartridges, a first-aid kit, and your
best friend for the next couple of hours, the shotgun;
on the other, you'll find two locked doors and a casket.
Opening the casket--which is really a profoundly stupid
thing to do, don't you think?--will get you a good scare
and a Gilded Key. Take everything here.

(There is a ladder leading to a locked trap door in the
 basement. Don't worry about it for now. Much later on,
 Aline will automatically open it for you.)

The Gilded Key will unlock the door closest to the casket.
Enter, and go up the narrow staircase. You'll walk through
a mirror, and find yourself in the front hall of the
Mortons' manor. Aline will radio Carnby, and once she's
done, the lights will go out and a hellhound will arrive
Deal with it in your chosen manner (hint: bullets). If
you'd like to turn the lights back on, the switch is on
the wall behind the stairs.

Take note of the bust near the mirror, and furthermore,
note the skid mark on the floor by it. The bust has a code
gadget on it, but Carnby doesn't know the code... yet.

==========================================================
PUZZLE: Howard Morton's Bust (huh?)

As a general rule, things like this need to get shoved,
and the bust is no exception (no snickering, please, we
should all be adults here). Push it along the floor, and
the reflection in the mirror will tell you the bust's
password: HM. Input it into the bust (I said no snickering!).

This triggers a short scene of a painting, somewhere else,
making a "click" sound. The painting in question is on
the balcony overlooking the front hall. You can reach it
using the stairs by the mirror.
==========================================================

Aline will radio you as you approach the painting you just
"unlocked." First, inspect the painting and activate the
mechanism to get the Small Rusty Key, then push the chest
of drawers out of the way. A hellhound will attempt to
stop you, but I think your shotgun has something to
contribute to that conversation. Go inside for a talk
with Aline.

When she's gone, inspect the room. The roll-top desk in
the corner has an Acrobat Statue and a Dictaphone in the
drawer, and Alan Morton's Diary--a Document of some
importance--is on the nightstand next to the bed. There's
only one new door in this room, and there's nothing of
any real value behind it. You can follow the passage to
its end to collect a Charm of Saving and peek into a room
you'll visit much later, but it's not mandatory. In any
event, go back to the first floor; the only unlocked
door in the front hall is behind the stairs.

I'll be referring to this hallway as "Edenshaw's hallway,"
as here is where you'll make your first wary acquaintance
with the man, and because this hallway is a major landmark
in Carnby's game. In this encounter, Edenshaw will get all
mysterious and Indian on your ass, and give you a Charm of
Saving as he leaves.

You'll be looking east when the cutscene's over. Walk that
way, and you can turn on the light switch en route. The
first two doors you see are both locked; one leads to the
library, and the other leads to a dangerous entry hall to
the library. In either event, you won't be able to open
these doors for a while, so don't worry about them. Go
through the door at the east end of Edenshaw's hallway.

The small sitting room beyond that door is one of the
few totally dark rooms in the manor. The big pink things
in here are zombies, and in these close quarters, they're
nigh-impossible to dodge. (Apparently, these zombies know
their limitations intimately. They'll rarely show up in
any location where there's space to fake them out and
run past.) These particular zombies are guarding two
important rooms to the north and south. The northern
door is locked, so proceed south.

This is Richard Morton's study, and is thus important.
Turn the lights on, and take a Crowbar from the stack
of crates in the corner. The desk holds Richard Morton's
Will and Testament, which is a valuable clue later.
Obed Morton's Notes are on a nearby shelf, and the Book
on the Abkanis Indians is hidden on the shelves next to
the desk. A Flask is on a desk near the shelves, but
taking it will turn out the lights and trigger a gate
ambush by a couple of hellhounds.

Ignore the hellhounds and keep running around the bookcase,
down and away from where you found the Flask. A door next
to a cupboard leads to the front hall. Reenter the study,
and the hellhounds will be gone. This frees you up to get
a first-aid kit from the cupboard, and to peruse the issue
of Science (featuring the lean and sexy Mr. October, Obed
Morton!) on a nearby table. Use the Flask on the amphora
full of water to fill it.

(Note that the painting above the issue of Science is
 something else entirely if the room's dark. I think
 that's the creepiest bit yet.)

The zombies outside the office have respawned. It may
be safer and faster to use Edenshaw's hallway again.
This time, go west, and through the first door you
see. (If you're running low on ammo, there's a box
of cartridges further down the hall, on a bureau.)

The hallway past this new door is somewhat run-down, and
it, too, is packed to the rafters with the undead. You can
easily run straight past the first one as he's standing up,
and into the first door.

In here, you'll notice something that looks like a
shattered aquarium. It's your next "puzzle."

==========================================================
PUZZLE: Diorama Trick

(The phrase "diorama trick" is TM and (C) 1998 Alfred
 Ashford, all rights reserved.)

The Photograph on the dresser across the room offers a
clue as to what can be done here; you need to complete
the diorama. Fortunately, you have a filled Flask with
which to do it.

Unfortunately, beetles will drop on you as you inspect
the aquarium, and again as you take the Wolf Mask in the
corner. A single shot from the revolver will do for either
of them. Use the Flask on the diorama to trigger another
painting mechanism on the front balcony.
==========================================================

In the run-down hallway, you can slay the zombies and
proceed towards a dead end. In the clutter here, you
can find a first-aid kit on top of a dresser, and a
box of cartridges hidden in the clutter.

Invest in this if you like, then go see what you just
uncovered in the front hall. Careful, though--you just did
something right, so naturally, the halls' monster population
is going to explode. Too bad for them.

On the balcony, you'll find a Gilded Key behind the painting
of the explorer.

Examine the Gilded Key. It says "GND F EAST," so you need
to go find a room on the east side of the first floor
that's locked. Fortunately, you know of just such a thing.

Go back through the office, from the front hall, and into
the dark room beyond it. The Gilded Key will unlock the
northern door, which leads to the Mortons' den.

As you walk in, break to Carnby's left as fast as you can;
a hellhound is waiting in ambush. Shoot it down, if only
so you don't have to run around the room like a goof while
you solve the next puzzle.

There's a Small Gilded Key on the table in the center of
this room. Take it, then poke around a little. The owl
statue in the corner seems important. Turn off the lights
to see just how important it can get.

Use the Wolf Mask on the owl statue to get the Steel Key.

Now, head back out to Edenshaw's hallway. Remember the
bureau where you found some shotgun cartridges? Go through
the door next to it. You'll find yourself on a dark spiral
staircase. At its top is the door to the attic, where all
good New Englanders store their grenade launchers. As the
Mortons are no exception, you'll want to relieve them of
theirs.

Aline will radio you now. She'll mention a set of hollow
floorboards. They aren't right here in this room, though
she makes it sound like they are. Use the Small Rusty Key
to unlock the door on the other end of the attic, and enter
a storeroom.

This storeroom is where you'll first encounter the biggest
pains in the ass in the game: the plants. Grab the ammunition
from the foreground, and watch for the blue gleam on a desk
in the corner. That gleam is the Lighter. With those safely
in pocket, get out of here. (Anthony Locascio writes in to
note that there's a kerosene lamp in this room, to your right
upon your initial entry. I never saw it, but if you do, you
could probably use the Lighter on it to kill off the plants.)

In this next room, the first door you'll see is sealed up.
Through the narrow passage to Carnby's right, upon first
entering, you'll find the "trap door" Aline mentioned. You'll
know you're there by the sound of the floorboards under
Carnby's feet, and when the camera angle switches to an
overhead perspective. Use the Crowbar here to receive a
Small Key and a Small Gilded Key.

There's only one other door in here that you can open. Do
so, and you'll find yourself in a beetle-infested
storeroom, complete with what would appear to be the
Tell-Tale Heart lying on the floor. A box of bullets and a
box of cartridges are in storage; liberate them, and go
trigger the beetles' crude ambush. What this means,
really, is that you should run really fast around the
corner, and as they drop, whirl around and ventilate them
with the revolver.

There's a candle on the crate in here. Light it, and the
flame will give you another hint. The boards next to the
crate are loose, so use the Crowbar to make yourself a new
door. Onward!

On the other side of your improvised entrance, you'll
be forced to confront another pair of plants. There's
a light switch in this hallway which will deal with
them nicely; when you reach the opposite end of the
hallway (the camera angle where you can see two
first-aid kits next to a door in the foreground), run
to Carnby's left, into the background. The light switch
is next to that door. Dodge the plants, or herd them
out of your way with the flashlight, and hit the switch
to--ahem--do some weeding.

From here, you've got two possible exits:

-- the door in the foreground, with the first-aid kits,
   leads into the sickbed and eventual tomb of Lucy Morton.
   Lucy's seen better days (...d'oh!), but her rambling
   monologue provides useful plot information. Otherwise,
   she's about as useful as a rubber crutch. She doesn't
   even have the common courtesy to have easily stolen
   medical supplies lying around. Once you're done chatting
   with Lucy, all you can do is turn around and leave.

-- the door in the background, next to the light switch,
   can be unlocked with one of your Small Gilded Keys.
   Past it is another spiral staircase, thus perpetuating
   the motif that Shadow Island is swirling down the drain. 

Naturally, you'll want to take the stairs if you want to
continue the game.

On the staircase, leave via the first door you see. This
leads to a dark hallway on the second floor, where Aline
will radio you with some useful information. When she's
done, head to the nearest door; a hellhound will gate in
as you do so. Avoid or kill it as you wish, then head inside.

You'll find yourself in another study. A first-aid kit is
on a cabinet near the door, next to the smashed gun rack.
Alan Morton's Journal is sitting on top of the desk at the
other end of the room, and to its left, you'll find a locked
drawer. Your Small Key unlocks it. Inside, you'll find a
Large Ornate Key and half of a Photograph.

Inspecting the Ornate Key reveals that it's a key to the
library, which you've probably wanted to get into for
quite some time. No worries there; it's one of the
locked doors on the east end of Edenshaw's hallway.
Before you go, however, take a bit of a field trip.

Hellhounds are all over the hallway outside the study.
It's worth the risk, as there are two important rooms
in this hall that you've yet to explore. One is to
Carnby's left, all the way at the end of the hall, near
a light switch. Now, the light switch would be enough
to warrant the trip by itself, but the more important
stop is through the nearby door.