1958: Dancing with Fear
Walkthrough
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Before you read the following warning: thanks for playing 1958: Dancing with Fear!
And before you read this walkthrough: have you tried typing THINK in the game?
It's a context-sensitive command that will give you a hint about what to do next. It's probably handier than searching through this document to find the exact point you're at, and you risk spoiling future surprises.
Alright, carry on then.
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1. Arriving at the party
First things first, let's see the instructions:
>HELP
That's a list of all the verbs we're going to need to beat the game. So there's no need to be guessing verbs, they're all there, always available to you. Just like the THINK command, which gives you clues about what to do next. Had I mentioned that before?
Next up, who am I and what objects do I have?
>X ME
>INVENTORY
Now we know who we are and what we have. We can try examining our things to get a clearer picture of how things are.
>X DRESS
>X CLUTCH
...And so on.

Having answered this existencial questions, let's join that party.
>N
Oops, we need an invitation. Where could it be?
>X CLUTCH
It's closed; let's open it.
>OPEN CLUTCH
And there's the invitation!
>GIVE INVITATION TO DOORMAN
And in we go. 

2. Dealing with the officers
OK, so our companion, Claudio, needs us to distract those military men so that he can slip further into the house.
Let's see what we can do... Of course, because we typed HELP before, we know that we can TALK, DANCE and sometimes KISS  people, so let's use our skills to distract the officer.
>X OFFICER
>TALK TO OFFICER
>DANCE WITH OFFICER

That seems to do the deed. And it brings some memories...

3. Flashback: the prison
Those were rough times. 
At least let's try to have a conversation with out cellmate to pass the time:
>X CELLMATE
Is she saying something in her sleep? Let's listen closely...
>X CELLMATE
She's muttering Biblical references? If only we had a Bible to look them up...
>LOOK
Oh look, a Bible. How convenient, eh?
>X BIBLE
Ah, that Bible was not what it seemed. Interesting. But we were trying to have a conversation, so let's wake her up.
>TALK TO CELLMATE
Meet Liliana, revolutionary leader. What's her story?
>TALK TO LILIANA
All we have is time, so let's make friends at least.
>TALK TO LILIANA
Well, after months of political discussion, it's clear she'll appreciate that piece of political propaganda we found in the Bible, so...
>GIVE BIBLE TO LILIANA
And we're friends now. Time goes on...
>TALK TO LILIANA
>INVENTORY
Oh, look, now we have the signal that Liliana taught us.
>X SIGNAL
So we can give this signal to people, to identify the undercover agents working for Liliana's revolutionaries. And now, to demonstrate to her that we are joining the cause:
>GIVE SIGNAL TO LILIANA
...and that is how we met the revolutionary leader Liliana de Castrejo, and how she sent us to Claudio and his handler, Sokolov... Which led to us being sent on this mission.
Back to the present.
 
4. Trouble in paradise
Claudio is back, and it seems he's been caught! Let's dance with him, quick!
>DANCE WITH CLAUDIO
Right. He has put something inside our dress. It would be unwise to try to extract it here, in front of everybody. Let's get somewhere more private... but first, we have to make sure our presence here can't be traced to Claudio, since his cover is blown. 
That invitation is very incriminating, but we can't just leave it lying around, so let's hide it.
>PUT INVITATION IN DRESS
That's it. This gown is really good for holding things apparently. Let's go somewhere private and get that metallic thing out of the dress...
Oh, who's this creepy blond man?
>TALK TO MAN
He's onto us. We need somebody to vouch for us... What about that officer we danced with? Not a nice dancing partner, but we need to deflect any suspicions, so for the moment he can be useful.
>TALK TO OFFICER
That was close. We got rid of the creepy american, but now the coronel is even creepier. Let's give him the slip and go somewhere private to get whatever that is out of the dress.

5. Choose Your Own Dance
OK, so at this point of the game, there's two avenues you can explore, in any order.
One of them is finding a private place to see what the hell is that metallic thingie Claudio slipped into our dress in his last seconds of freedom. If you want to do this first, turn to section 6.
The other is using that secret signal we learned from Liliana to try to find an undercover rebel agent to help us with our mission. If you want to do this first, turn to section 9.

6. Get that thing out of my dress!
Yeah, it's pretty uncomfortable. Let's go somewhere discreet.
That corridor to the east of the ballroom would do, for instance.
>E
And we're in the corridor. (If we were in the ballroom, that is. If we were not, find your way to the ballroom and then go east to the corridor.) Let's pull that thing out.
>TAKE METALLIC THING
It's... the car keys! Well, let's get back to the car then. (It's where we began the game, in front of the mansion. From the corridor, it's west to the ballroom, then south to the hall, then south again, and we're outside.)
Once we're outside, let's
>OPEN CAR
And then
>IN
Or enter car, if you really dislike ambiguity. 
Let's check that glove compartment.
>OPEN GLOVE COMPARTMENT
Oh, a picture?
>TAKE PICTURE
>EXAMINE PICTURE
Well, we don't really need to examine it right now, if we don't want to. But at some point we will have to, so just examine it whenever you want. And once you do, jump to section 7.

7. Flashback: the Club Enjoyado 
Those were the good old times. 
>X ME
>X COSTUME
Ah, the glamour! Well, we're just fresh from the stage, let's chill out a bit. 
>X MAGAZINE
Oooh, diamonds. We can wear them, if we want:
>WEAR NECKLACE
Or not, if that's not our style. And what about those flowers?
>X FLOWERS
Well, and a dress. Again, we can wear it if we want, but we'll have to take off the costume first:
>REMOVE COSTUME
>WEAR DRESS
Once we're ready to go greet our public, we can just go
>OUT
MOve to 8.

8. Men arguing
What it says in the box. Marcelo and the lieutenant are having an argument. We can try to defuse the situation in any way:
>TALK WITH MARCELO
>TALK WITH RICARDO
>DANCE WITH MARCELO
>DANCE WITH RICARDO
...and a few more, but well, they are too stubborn, so eventually the fight will break out. 
Once the fight is over, of course you're the one having to save the night.
Again you have a choice here:
You can try to mollify the lieutenant. Perhaps you're just trying to avoid any bad consequences for your boyfriend, or maybe you do fancy the officer.
Or you can ignore that guy and concentrate on having a great night with Marcelo. 
Either way, it's a matter of TALKING TO and then DANCING WITH them, and later on...
Depending on your actions and your outfit, they might or might not want to dance with you or take things any further. Damned stubborn alpha males, those two...
Marcelo has given you the necklace, Ricardo the dress. Consequently, Marcelo will be happier if you wear the necklace and not the dress, and Ricardo will be the opposite. You can change in your dressing room:
>IN
>TAKE OFF COSTUME
>WEAR DRESS
>OUT
Etc. You can also try giving the diamonds back to Marcelo or bribing Ricardo with them, and giving the dress back to Ricardo to refuse the gift or giving it to Ricardo to prove your loyalty.
Once one of them is sufficiently placated:
>KISS RICARDO
>MARCELO
Your choice.
In any case, you should head back to your dressing room to get changed (or wait for your new lover):
>IN
And then, if you stuck with Marcelo, it's just a case of disrobing, with REMOVE (whatever you're wearing). If you opted for Ricardo, well, let passions run wild:
>TAKE OFF (whatever you're wearing)
>KISS RICARDO
In any case, the flashback ends with the memory of that waltz. 
And now that our heroine has remembered that song, she'll be able to tell the orchestra to play it, simply:
>TALK TO ORCHESTRA
If you have already remembered that lindy hop, go to 11.
If you haven't, move on to 9.

9. Clandestine operations
So Claudio has been caught and now you have to complete the mission on your own! But fortunately you remember all the passwords and codes Liliana taught you in prison. Using them, you should be able to find some undercover agent to help you out.
You can try to GIVE SIGNAL TO anyone present, but the chances that one of these big capitalists is an undercover revolutionary are slim.
That doorman, tho, is another story. He's in the hall minding the door, so go to the hall (south of the ballroom).
>GIVE SIGNAL TO DOORMAN
There we go, a new ally! And now we know that the safe is in the office, but unfortunately only Cesar has the key. You'll have to find a way to steal it from him, but for the moment being your new ally has managed to get you a way to the library. Better than nothing.
>N (and we're in the ballrom, and then)
>E
And we should be back in the corridor. Once in the corridor, the southern door is open.
>S 
And we're in the library... Oh, damn, the coronel again!
And his intentions don't look any better. Let's try to think fast and find some way of dealing with him...
>LOOK
That pool cue looks like a suitable weapon, but obviously we can't just casually take it with him looking at us. So let's create a distraction, Gilda style:
>TAKE OFF GLOVES
There's a less chaste option, but that will do. Once he's distracted, get that cue:
>TAKE CUE
Boom. Well. He had it coming, right? Right.
Anyway. We're finally alone to explore the library. 
>LOOK
There's a record, which we can play:
>PUT RECORD IN RECORD PLAYER
And that will trigger another memory for our heroine, at section 10.

10. The academia de baile
Those were our beginnings, as a young taxi dancer in the worst neighbourhood of Puerto Duquesa:
>X ME
>X TICKETS
Well, we've been dozing off, but the boss is watching. We have to find some dancing partners to collect tickets and get paid.
>LOOK
That peasant looks like easy prey.
>TALK TO PEASANT
>DANCE WITH PEASANT
We can make some more small talk with him and the lowlife, but we're working here.
>TALK TO LOWLIFE
>DANCE WITH LOWLIFE
Finally, a break! And you got some cash. The night is finally looking up.
>LOOK
Let's relax a bit, and talk with some colleagues.
>TALK TO MUSICIAN
...and that's how we met Lucho. We can share our clandestine earnings with him:
>GIVE CASH TO LUCHO
...or choose not to. And as he wisely says, maybe it's a good idea to conceal the money:
>PUT CASH IN DRESS
Or else. Whenever we're ready, we can continue the conversation and move on:
>TALK TO LUCHO
And the break is over, back to work. Enter the yanquis, celebratind D-Day.
To you, he's just another patron:
>TALK TO SAILOR
>DANCE WITH SAILOR
And that's it.
And now, back to the present, our heroine knows what's Cesar's favourite music: a happy lindy hop like the one she learned back in her days. She'll make a note of that on the back of the invitation, so if we want the orchestra to play a lindy, all it takes is:
>GIVE INVITATION TO LUCHO
OK, where to now?
If you already remeber the waltz, move on to 11.
If you HAVEN'T remember the waltz yet, move on to 6.

11. Tying it all up
Let's recap: we need to get to the safe. The safe is in the office. THe office is locked. Cesar has the only key. So we need to get it from him. Let's go back to the ballroom and socialize with him:
>TALK TO CESAR
>DANCE WITH CESAR
Oh, great, so he doesn't like the music. How do we get the orchestra to play just what he wants?
Well, first we should discover what music does he actually like. If you haven't discovered that it's the lindy hop, go to 9.
Once we know the lindy hop, our heroine will have that title scribbled in the invitation.
So:
>GIVE INVITATION TO ORCHESTRA
And once they're playing the lindy hop...
>DANCE WITH CESAR
He has indeed the key. But we need a slower dance to steal it from him...
If you don't remember the waltz yet, go to 6.
Once you remember the waltz, just
>TALK TO LUCHO
>DANCE WITH CESAR
And the key is ours! 
Let's get back to the corridor, quick.
The office has two doors: one from the corridor and the other one to the library. It doesn't matter which one we use... for now. So go east from the corridor or from the library to reach the office.
And here we are: the safe! 
>X SAFE
>OPEN SAFE
And we need a combination, of course! Where could it be?
>S (back to the library)
>X PAINTING
The date of that battle is a four-digit number, just like the safe. We have a strong candidate for the combination... but first, we need to tidy up. This might take time, and we don't want to get caught. First, we need to get the corpse out of the way.
>TAKE CORONEL
We need to have the door to the office open first, so that we can drag the corspe to the office. Once it's there, let's make sure we have some privacy:
>CLOSE MAHOGANY DOOR
>CLOSE ROSEWOOD DOOR
Fine, now we're ready to open that safe.
>DIAL (the number from the painting in the library)
Voila, it's open! 
>TAKE MICROFILM
Got it! But Cesar and the creepy blond guy are having a discussion in the library, just next door. We need to get out, fast. And to make sure we're moving quietly:
>TAKE OFF SHOES
>W
And now we can listen to the rest of the conversation safely.
And go to the EPILOGUE.

EPILOGUE
So there's been a panic and all the guests have left the place. We're finally free to deliver the microfilm to Sokolov and fulfil Claudio's mission. Just go back outside (south of hall) and get in the car to drive it all the way to the capital and meet Sokolov.
Or don't.
There another 5 different endings, depending on who you choose to side with:
>GIVE MICROFILM TO (the person you want to side with)
The last two endings are (somewhat, not very) secret endings, so it might take you a bit more effort to find them. Not a lot, really. And I'm not telling.

Thanks for playing 1958:Dancing with Fear, and hope you had fun!