LOST SWORD OF TOLEDO

WALKTHROUGH BY MALCOLM SCHMIDT

This walkthrough provides a detailed solution to 'The Lost Sword of Toledo'. Wherever possible I've explained the logic to solving puzzles and indicated where clues are found. The game is essentially non-linear and need not be completed in the same sequence as the walkthrough. However, certain events only happen (or objects can only be used) after solving a particular puzzle. I have attempted to use the most logical sequence and suggest you try following it as closely as possible.

Your adventure begins at the Plaza de la Mancha in Toledo...

Talk to the man selling pottery to learn that the painter's house can be found through the gate. Walk towards the arch to access the map of Toledo and select the Diez Palencia house.

Carmen Diez Palencia tells you her father died last year. She offers to let you stay in his room, and gives you the painter's door key. Carmen tells you about Francisco and her father's music box, the key to which is in the desk drawer in his room.

Use the painter's door key to unlock the door and enter his room. Look around carefully as many of the items contain clues needed to solve certain puzzles in the game. Remove the winding key from the top left desk drawer. Open the music box on the bedside table, insert the winding key and turn it to hear the painter's favourite tune. Rewind the music box and click the ballerina's tutu (while she's dancing) to get a small letter.

MUSIC BOX LOCK

After reading the small letter go outside and give it to Carmen. When you leave, she tells you about the biscuits she has made. Take a biscuit from the rim of the well.

Go to the Plaza de la Mancha and talk to Domingo, the musician in the square. In exchange for the biscuit he agrees to play 3 songs for you. You need to identify the song played by the music box, so repeat the process (fetching a biscuit from the rim of the well) to get him to play 3 new songs. You should eventually recognize the first song he plays after being given the third biscuit. Take note that the name of this song is El Nenufar.

Go back to the painter's room and remove the first book on the top shelf of the bookcase next to the other door in the room. Page through the book (Arion Collection of Spanish Songs) until you find the music sheet for El Nenufar, noting the reference on the page to A. Lozano Op. 28.

Examine the diary on the writing desk. There are references to A. Lozano Op. 28 on pages 3 and 6. Also note that both pages have the roman numeral VI circled in the top right corner.

The music box has eight dials on it, numbered clockwise from 1 to 8, beginning at the top left. Each dial can be set to a different letter. From the references in the book and diary you can work out that the dials must be set to spell LOZANO VI. Press the metal button to open the music box.

After finding the medallion and long letter in the music box, Carmen enters the room and both these items are given to her.

ACCESS TO FRANCISCO

Go the Candelas house and talk to Isabel, who tells you about the sword and Francisco. During the conversation she mentions that the sword crafted by Juan Candelas had his 'name' engraved on it. After talking to her the Policia Local building is activated on the map screen.

Officer Reoyos (at the Policia Local) won't allow you to see Francisco without written authority from Alonso Garcia de la Rica. You learn that the Garcia de la Rica palace is on the main square.

The palace is the large building, with a number 3 on the wall, to the right on the Plaza de la Mancha. First try the front entrance and after finding it locked, ring the bell next to the garden gate at the end of the sidewalk behind the man reading a newspaper. Hugo the butler offers to forge Alonso Garcia de la Rica's signature in exchange for you selling a valuable stamp for him.

Go to Arriaga's shop and talk to the owner, Pablo Arriaga. Show the valuable stamp to him and ask for 1700 pesetas. You will eventually settle on 1600 pesetas.

Return to the Garcia de la Rica palace and you find Hugo under the gazebo in the garden. Give him 1500 pesetas from the proceeds and keep 100 pesetas for yourself. As promised, he gives you the permission and a winery book.

Give the permission to Officer Reoyos, who now allows you to go to the cells and talk to Francisco. Before going to the cells, complete all dialog topics with Officer Reoyos. Listen carefully to what he has to say about himself as it contains an important clue to the next puzzle.

Francisco tells you the window in his room overlooks Arriaga's shop. He wants paper and a pencil to write a letter to his mother.

GETTING INTO FRANCISCO'S ROOM

Officer Reoyos told you that he likes cigars, so you need to bribe him with one in order to get some paper and a pencil. There are two possible ways of getting a cigar.

Go to the painter's room and examine the red Chinese cigar box on the shelf in his writing desk.

It has eight dials that initially point to the left as indicated by the dials numbered 4 and 5 in the above graphic. Clicking a dial changes the direction that it, and three other dials, point. Experiment with all eight dials, noting which four dials are affected by clicking each of them.

1	1	2		4			7
2	1	2	3					8
3			3		5	6	7
4	1			4		6		8
5		2	3		5	6
6		2			5	6		8
7	1		3	4			7
8	1			4			7	8

From the above diagram you can work out how to get all eight dials to point to the right.

1	1	2		4			7
2	1	2	3					8
3			3		5	6	7
4	1			4		6		8
5		2	3		5	6
6		2			5	6		8
7	1		3	4			7
8	1			4			7	8

Click dials numbered 6 and 7 (on the right side of the box) to open it, and remove a cigar.

You can also get a cigar from Hugo. Go to the palace garden and ask him for one. When he leaves to go inside, read the incomplete letter to his friend lying on the bench, then try to leave through the gate to trigger Hugo returning with a cigar.

After giving the cigar to Officer Reoyos he allows you to take the paper and pencil on his desk. Give them to Francisco and he writes a letter to his mother, asking her to let you into his room.

Return to the Candelas house and give Francisco's letter to Isabel. Go up the stairs to Francisco's room and look around carefully. There are a number of important items and clues to be found. Also, note that you have a clear view of Arriaga's shop from the window.

THE LETTER IN THE MUSIC BOX

Go to the Diez Palencia home, where you find an extremely distraught Carmen. She tells you about a second lock on the music box and gives you the long letter. Also ask her for the medallion.

Read the long letter (in your inventory) to get a detailed background to the story. The contents of the long letter contain a number of clues and details needed to solve the puzzles that follow.

After reading the long letter talk to Carmen again. She gives you the darkroom key and tells you that Father Perez wants to see you.

Go to the Iglesia San Pedro and talk to Father Perez. He tells you about his sick friend in hospital in Madrid, how to work out when Easter falls each year, that Salvador Diez Palencia was interested in biblical themes and that the only two phones are at the Policia Local and the inn on the square.

SECOND LOCK ON THE MUSIC BOX

Go back to the painter's room and examine the music box. The eight dials on the second lock must be set to an 'important date' in Salvador's life. Go outside and talk to Carmen, who tells you that her date of birth was 04 September 1883 and reminds you that her father died in May last year.

There are two 'important dates' in the painter's life:

1)	Carmen's date of birth
2)	The date on which the three friends formed the Different Sun Society

Carmen told you her date of birth and from what you know, you can work out the date on which the Different Sun Society was formed.

1)	From page 4 of the long letter you know that the Society was formed 'precisely fourteen years before this Easter', being last year or the year he died.
2)	There are three ways to work out the current year. Hugo told you valuable stamp (dated 1854) was 50 years old, the moon calendar (marked 1903) on the wall inside the Policia Local is last year's and Carmen was born in 1883 and will be 21 this year. Ergo the current year is 1904.
3)	Father Perez told you that Easter is 'the first Sunday after the first full moon' and is 'sometime between 22 March and 15 April'.
4)	The moon calendar (dated 1903) hanging on the wall in the Policia Local indicates the first full moon (between 22 March and 15 April) was on 23 April. You accordingly know that Easter that year (1903) was on Sunday 30 March.
5)	The Different Sun Society was formed precisely fourteen years earlier, i.e. 30 March 1889.

The almanac on Francisco's bedside table (in his room) contains a perpetual calendar. Using it you can work out the actual days of both 'important dates' as follows:

1)	Carmen's date of birth, 04 September 1883 was on a Tuesday
2)	The Different Sun Society was formed on 30 March 1889, which was a Saturday

Nothing happens if you set the dials on the music box to Carmen's date of birth. To open the lock set the dials to the date that the Different Sun Society was formed, i.e. 1889, March 30, Saturday.

Remove the painter's notebook and padlock key from the music box.

THIRD LOCK ON THE MUSIC BOX

From the graphic engraved on the third lock of the music box you know that the dials must be set to a specific biblical quotation. Talk to Carmen, who tells you about her father's passion for El Greco's unfinished paintings and that he chose the quotation he wanted Father Perez to read at his funeral.

Return to Iglesia San Pedro and talk to Father Perez again. He cannot remember the passage read at Salvador's funeral, but he gives you a small bible with various marked pages.

Go to the painter's room and examine the three sketches on the floor behind the easel. You need to slide the front two sketches to the right so that you see all three of them. Take note of the drawing on the nearest sketch. Remove the green book, El Greco - His Life & His Works, from the top shelf of the left bookcase opposite the entrance to the room. Page through it to find the painting you saw on the sketches, noting it's title is 'The Fifth Seal'. Check all the marked passages in the small bible and you find a reference to 'the fifth seal' on the pages marked with a red ribbon. From this you can work out the biblical reference - REV 06:09

Set the seven dials on the third lock to REV 06 09 and press the metal button to open it. Note that it only works if you examined all three sketches and opened the correct page of the small bible. Take the short letter and weird key from the music box.

SEWER SYSTEM

Use the darkroom key to unlock the other door in the painter's room and enter the darkroom. Slowly pan to the right to find some matches on the larger table. Pan round to the left and use the matches to light the lamp on top of the shelving next to the door.

Zoom in on the photos hanging on a rope, then pan downwards to see a carpet on the floor. Lift the carpet to reveal a trapdoor. Using the padlock key unlock the trapdoor to access the sewer system. Before going down through the trapdoor, take the empty oil lamp on the small table next to the door and fill it with paraffin oil from the bottle on top of the shelving on the right.

You must navigate your way through the sewer system maze to find the secret cellar. Certain walls along the way have symbols on them, some of which are also drawn at the bottom of each page in the painter's notebook. You navigate the maze and get to the secret cellar by passing the symbols in the same order as they appear in the painter's notebook. The eight symbols you must pass are:

1)	Shield and Sword
2)	Horse
3)	Sun
4)	Monkey
5)	Three Rings
6)	Crown
7)	Dagger in Head
8)	Shell

CLICK TO VIEW MAPS AND SOLUTION

Look around the secret cellar carefully as there a number of clues to later puzzles in the game. You find a second weird key under the green book on the small table next to the bookcase.

If you didn't do so en route to the secret cellar, you should also examine the area near the gate with a strange lock, marked as 'Exit' on the screen map activated after completing the maze. Climb the metal rungs to see a courtyard with a fountain and a parrot, which is important later.

FIND THE LOST SWORD

It's time to pay Pablo Arriaga another visit. After showing him the medallion he invites you to see his collection upstairs. The wooden blinds on the window in the upstairs room are the ones visible from Francisco's room at the Candelas house.

When you try to open the blinds Arriaga requests you not to do so. Examine the sword displayed on the wooden stand to learn it must be the one stolen from the Garcia de la Rica palace. Take note of the initials carved on the sword. Talk to Arriaga again, selecting either option (No choice is made or Chooses the sword) during the conversation.

SET THE TRAP

Return to the darkroom (Diez Palencia house) and read the 'Assembly of the Camera' instructions on the wall. From the first part of these instructions you know you need the following:

1)	Camera - found on the table
2)	Sensitized glass (dry plate) or glass negative - found on the bottom shelf of the cabinet above the table
3)	Glass negative cassette or empty photo cassette - found on the table
4)	Exposure cap on the lens or lens cap - automatically included when you take the camera
5)	Tripod - not needed

Read all the instructions carefully, noting from part three that you must place the glass negative into the photographic cassette in darkness. Turn off the red lamp and then insert the glass negative into the empty photo cassette to make a loaded photo cassette. Switch the red lamp on again and head off to Francisco's room at the Candelas house.

Place the camera on the window sill, facing towards Arriaga's shop. Look through the frosted glass viewer at the rear end of the camera to learn that you need more light. Take the mirror on the table next to the window and put it on the window sill to the right of the camera, noting that it reflects light onto the sign below the blinds of Arriaga's shop. Tilt the mirror twice to adjust the reflection to shine on the blinds. Check the focus (through the frosted glass viewer at the rear) to find that it's blurred. Note that the camera has two hotspots, one at the rear and another in front. Click the front one for a close up view of the lens section of the camera. By default this section will be set to the leftmost of four possible settings, or holes. Move it to the front (rightmost) holes to correctly adjust the focus. If you now check the focus through the frosted glass viewer at the rear, you should have a clear view of the blinds. Now put the lens cap over the actual lens (in close up mode of the front part) and then insert the loaded photo cassette into the rear part of the camera.

From the instructions you read in the darkroom you know that a photograph is taken by opening the exposure cap and then closing it after a few seconds. You therefore need a way to trigger this from Arriaga's shop. Take the fishing rod (in the corner of the room) and 'cast' it at the ring on the bottom of the blinds on Arriaga's window. Pan upwards to see some hooks at the top of the window frame above the camera. Take the toy tricycle (on the shelf next to the door) and attach it to these hooks. Grab the fishing line (lying on the window sill) and pass it through the front wheel of the toy tricycle. Again grab the fishing line, zoom into close up view of the front of the camera and attach the fishing line to the lens cap.

To complete the trap, slide the frosted glass out to the right at the rear of the camera.

SPRING THE TRAP

Go back to Arriaga's shop and talk to him, again selecting either option during the dialog. He ushers you upstairs and, after a bit of cunning persuasion on your part, lets you to draw the blinds for a few seconds, thus opening and closing the lens cap on the camera.

DEVELOP THE PHOTOGRAPH

Return to Francisco's room and re-insert the frosted glass (removed previously) into the rear of the camera to get the exposed negative in cassette. Time to test your 'photo developing skills', so head back to the darkroom at the Diez Palencia house.

The painter's notebook contains detailed instructions on what to do. The process is quite tricky, so I suggest that you save regularly as you go along.

CLICK TO VIEW DETAILED SOLUTION

Once you have the final photo, go outside and give it to Carmen.

THE IRON DOOR

Go to Iglesia San Pedro and, if you haven't already done so, examine the large iron door to the right of Father Perez. From the second page of the long letter you know Carlos Candelas found a pair of strange keys that opened the iron door's lock. Right-click either of the weird keys (in your inventory) and then add the other one while in close up view. Combine the two keys by closing the clasp. Try the double key in the lock, but although it fits, you cannot open the door while Father Perez is there.

Go to the Plaza de la Mancha and persuade Domingo (by giving him 100 pesetas) to make a phone call to Officer Reoyos, impersonating a nurse from the Santa Clara Hospital in Madrid. He is to ask Officer Reoyos to call Father Perez to come take the call. Note that you must have tried to open the lock to trigger the conversation with Domingo.

Go back to Iglesia San Pedro and talk to father Perez until Officer Reoyos comes to call him. When Father Perez leaves, unlock the iron door with the double key and go up to the church tower.

KALEIDOSCOPE

The device in front of the tower room window is a giant kaleidoscope. Examine it closely to see that it has six valves. A valve is selected by turning the pointer on the flat dial. Initially, as indicated in the graphic, the pointer is set to the first valve.

When looking through the viewer each valve can be adjusted to display eight different patterns. You obviously need to select the 'correct' pattern in each of the six valves.

Throughout the game you should have noticed, on either the walls of buildings or in photos, various numbers with corresponding patterns.

On the wall of the building opposite the man selling pottery in the Plaza de la Mancha (1)

On the wall of the Garcia de la Rica palace (3)

Photo on the wall in the painter's room (10)

Photo on the wall in the Candelas house (8)

Photos on Officer Reoyos' desk (18,16)

Photo album on Francisco's desk in his room (11, 5, 7, 14, 15, 19, 1, 12, 4)

Photo on the table behind the curtain in Arriaga's shop (10)

Photo on the rope in the darkroom (11)

Photo on the wooden shelves in the secret cellar (14)

Photos in the bookcase in the secret cellar (2, 12)

Photos on the table in the secret cellar (3, 13)

The kaleidoscope valves must be set to the corresponding patterns of six specific numbers. A clue to the correct numbers was painted on the wall in the secret cellar by the mysterious 'WK'.

1 1 1 4 1 2 3 1 0 WK

You need to make six numbers out of the nine digits, knowing that these numbers must be included among those you saw on either a wall or in a photograph.

Start with the last number, which you know cannot be 0, so it must be 10.

The second last number cannot be 23, so it must be 3.

Applying the same logic to the remaining digits, there are three possible combinations:

11 - 14 - 1 - 2

11 - 1 - 4 - 12

1 - 11 - 4 - 12

The easiest way to get the correct combination is to find the corresponding pattern (looking through the kaleidoscope viewer) for the number 1. Depending on whether it appears in the first, second or third valve, you'll know the correct combination.

Unfortunately it's a bit more tricky, as certain of the numbers (including number 1) appear on more than one wall plaque or photo and have different patterns. The numbers that appear twice and have different patterns are: 1, 3, 11, 12 and 14. Note that 10 also appears in two photos, but the patterns in both are the same.

CLICK TO VIEW DETAILED SOLUTION

After setting the correct patterns in all six valves a secret compartment opens, from which you can take the fourth codex page left in it by WK.

THE ORIGINAL SWORD

Take the key from the tower and a letter from Carlos from the small table in the corner of the tower room. From his letter you learn about a 'reserve' that Carlos kept.

Make your way back to the secret cellar in the sewer system. Use the key from the tower to unlock the wooden box on the floor below the message left by WK, then open it to find the original sword.

WHERE DID ARRIAGA GO?

Go to the Candelas house and talk to Isabel. She tells you about pawning the game board and that Arriaga has fled. He was seen heading toward a courtyard with a fountain and parrot, the same one you saw at the 'Exit' in the sewer system. Isabel gives you the forge key to access the workshop.

Go to the workshop (marked Candelas II on the screen map of Toledo) and look around carefully as there are numerous items in the forge. Take the crowbar from the shelves along the right wall.

At the 'Exit' in the sewer system you see a ring lying on the floor on the other side of the metal gate. Use the crowbar to get the ruby ring. Climb up the metal rungs and remove the manhole cover with the crowbar to gain access to the courtyard.

Enter Arriaga's shop through the door in the courtyard. Examine the metal chess pieces strewn on the floor behind the counter, noting that the knights are missing. There's also a complete ebony and ivory chess set in the bookcase, from which you can take the ivory knight. There are three bowls of different coloured birdseed on the end of the counter. Although you can take birdseed from all three bowls, you only need the brown birdseed from the bowl on the right, which was obviously spilled by someone in a hurry to grab some of it.

Go out to the courtyard and feed the brown birdseed to the parrot in the cage. The parrot responds by reciting a set of directions, which you need to make a note of. You can always fetch some more brown birdseed and feed it to the parrot to hear the directions again. Also, if you feed grey birdseed (from the bowl on the left) to the parrot it recites Pablo Arriaga's name and the beige birdseed (from the rear bowl) causes it to recite the first stanza of The Tiger, a poem by William Blake.

Go through the manhole to return to the 'Exit' in the sewer system. Examine the strange lock on the gate and try opening it with the ivory knight. Although it fits, you need something that won't break as easily and has a handle on it.

MAKE A METAL CHESSMAN KEY

Make your way back to the forge and examine the casting frame on the workbench in the centre of the room. You learn that it may be useful if one has clay, metal and the right temperature.

Go to the man selling pottery in the Plaza de la Mancha and ask him for some clay. After giving him the ruby ring, take the clay from the left corner of his stand. Note that you are only able to talk to him after examining the casting frame in the forge.

To fit the clay in the casting frames cut it into two clay bricks with the knife (from on the workbench) in your inventory. Place the ivory knight on the clay in the left casting frame, close the frames, then open them again and remove the ivory knight. Use the knife to cut a ridge between the top of the left frame and the imprint of the knight. To make the handle, take an unfinished key from the rack above the shelves where you found the crowbar and insert it into the bottom half of the left casting frame.

The next part of the process is to 'fire' the casting frame. Put some firewood (on the floor next to it) into the furnace in the corner of the room. You also need a firelighter, so if you don't already have it, go to the Plaza de la Mancha and fetch the newspaper left on the bench by the man who previously was sitting there reading it. Put the newspaper in the furnace and then light it with the matches.

NOTE
If your game crashes when you light the fire, you need to install the v1.04 patch. All your saved games and options are not affected by the patch.
	CLICK THE MOUSE TO DOWNLOAD THE PATCH

Place the casting frame on the grid in the furnace. The bellows (on the left on the furnace) are used to stoke the fire. Pull the wooden handle on the bellows at least three times to get a steady fire. You need to allow time for the clay to burn properly, so walk away from the furnace and then return to it. While holding the gloves (they are found on the same rack as the crowbar) move the casting frame to the left edge of the grid in the furnace.

Pick up the pot (containing molten metal) from the log in front of the furnace and place it on the grid. Again stoke the fire by operating the bellows at least three times, walk away and then return. While holding the gloves pick up the pot with melted metal and pour the contents into the casting frame.

Remove the completed mould in casting frame and put it on the anvil in front of the workbench. Use the knife to open the it and take out the moulded chessman key.

IN PURSUIT OF ARRIAGA

Return to the 'Exit' in the sewer system. Unlock the gate with the moulded chessman key and enter another maze of tunnels. The directions recited by the parrot provide the key to navigating your way through this section of the sewer system.

FORWARD

LEFT

FORWARD

RIGHT

LEFT

FORWARD

RIGHT

FORWARD

LEFT

RIGHT

LEFT

Note that going through the gate is the first direction, i.e. Forward.

If you follow the directions correctly, you should reach a set of stone stairs. Climb the stairs and go through the iron door at the top to confront Pablo Arriaga.

ESCAPE FROM THE CHAMBER

The only means of escape is through the manhole high above the shelves along the right wall. You need to remove the cover on the manhole and then find a way to get up to it.

There's a wooden crate on top of the cabinet to the left of the elevator and you see a chain hanging down from the ceiling above it. To get to these items you must build what Samuel will refer to as an edifice. This is done as follows:

1)	Move the two barrels (one behind the other) to the front of the cabinet
2)	Put the wooden crate (on the floor next to the cabinet) on top of the barrel nearest the cabinet
3)	Move the chair next to the barrel farthest from the cabinet

Climb up the edifice and then use either the original sword or crowbar to get the chain hanging from the ceiling. Take the rope out of the wooden crate on top of the cabinet. Pick up the empty wooden crate, climb down and put it on the outline next to the left post of the elevator. Climb back up to take the spade head and broken spade handle that were under the empty wooden crate.

Step into the elevator and insert the broken spade handle in the left cog of the controls. Release the brake and click the broken spade handle to go down to the lower chamber.

There are two empty barrels (one of which is sealed) in the lower chamber. The sealed one is used to construct another edifice in the upper chamber, so you must get it into the elevator. The simplest way to do this is to first move the barrels so they switch places, i.e. the sealed one being nearest to the elevator. If you now stand in front of the elevator the sealed barrel can be moved into it.

Return to the upper chamber (with the sealed empty barrel in the elevator) and build another edifice in front of the shelves along the right wall. Begin by moving the two barrels used for the first edifice in front of the shelves, one in the middle and the other one to the right. Next, take the wooden plank leaning up against the right side of the shelves and put it on top of the two barrels. Move the sealed empty barrel (that you brought up in the elevator) and place it on the plank, directly above the barrel on the left. Place the sealed wooden crate (used in the first edifice) on the centre of the plank, then move the chair to the right of the barrel on the right to complete the edifice.

Climb up the edifice and attach the chain to the manhole cover above. Take note that the other end of the chain now hangs down on the left of the shelves.

Go back down to the lower chamber and move the unsealed empty barrel into the elevator. Pick up the long pole leaning against the wall where the empty barrels were and attach it to the spade head in your inventory. From the sign on the elevator you know that it can carry a maximum weight equal to two people.

Use the spade to get gravel from the mound into the empty barrel. By trial and error you learn that if you put more than four spade loads of gravel in the barrel, the maximum weight (together with your own weight) will be exceeded. In other words, four loads of gravel equate to one person.

After filling the barrel with four loads of gravel, take it to the upper chamber in the elevator. Remove the barrel from the elevator and take the empty wooden crate (that was on top of the cabinet) down to the lower chamber. Put two spade loads of gravel into the wooden crate, take it up in the elevator and empty the gravel into the barrel you left there. You now have six loads of gravel in the barrel. Go back down, fill the empty wooden crate with a further two loads of gravel and again empty it into the barrel. The barrel now contains eight loads of gravel, being the maximum weight sustainable by the elevator. Finally, go back down and fill the wooden crate with another two loads of gravel.

Grab hold of the chain you attached to the manhole cover (click on it above the height of the barrel) and tie it to the right hand side of the elevator. Put the barrel containing eight loads of gravel and the wooden crate containing two loads of gravel into the elevator. Stand in front of the elevator and use the spade to release the brake on the elevator.

Watch closely during the cut scene to see that a hook falls on the floor. Pick up the hook and attach it to the rope in your inventory. If you don't already have it, take the alquerque board from the sack in the cabinet along the left wall.

Climb up the edifice again, attach the rope with hook to the manhole and complete your escape.

You surface in the Forge, and after talking to Isabel exit the room to go to Francisco's room.

ALQUERQUE BOARD GAME

It's not possible to provide an exact solution, as after the initial 7 moves Francisco's countermoves are randomly generated. However, to optimize your chances of winning, try the following strategy:

NOTE: Go to the Game Options in the Main Menu and set the difficulty level to 'Easy'.

YOUR INITIAL 7 MOVES ARE:
C4 to C3
C1 to C3	(capture 1 black piece)
C3 to A3	(capture 1 black piece)
B5 to B4
A5 to B5
B5 to C5
D3 to B3	(capture 1 black piece)

After this you should have captured 3 of Francisco's black pieces while only losing 2 of yours. From here on you need to concentrate on 'sacrificing' one of your pieces, but only if you can immediately thereafter capture one of his. By maintaining a one piece advantage you eventually win the game.

TO BE CONTINUED...

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