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1021 lines
27 KiB
Plaintext
1021 lines
27 KiB
Plaintext
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[Automatic transcript: User is SWG]
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Copyright (c) 1985 Infocom, Inc. All rights reserved.
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Welcome to CHECKPOINT (TM) - interactive fiction from Infocom!
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[Note to testers: this story has the command GO TO, and the concept of not
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being able to see things behind your back. The unit of currency in this story
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is the Frotzian slimpuk, whose symbol is "*".
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Messages in square brackets [] will not be in the final release.
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Remember: you can shorten your words only to NINE (9) letters.
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But you can use C for COMPARTMENT, V for VESTIBULE, and F for FORWARD.]
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Do you want the viewpoint of the traveler or the spy? >T
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Do you want the short variation or the long one? >SHORT
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Then let the story begin!
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With your business deal behind you, you want only to get out of this bleak
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corner of Eastern Europe. The frontier is now only a few hours away, and from
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there it's not far to Vienna, and civilization....
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The ride seems endless, and you're dozing off again. The wheels of the train
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are ticking like a clock, ticking off the segments of track you're passing, and
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the compartment is rocking you back and forth, back and forth, making your
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eyelids slowly close.
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Your slumber is cut short as a man staggers into your compartment, panting
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strangely. From his demeanor, you guess that he has drunk too much. But before
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you can dismiss him, you notice that he's grasping a bright red spot on his
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shirt. He speaks quietly, but in a hurry.
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"I've got only a moment, so listen carefully! Since you were reading the
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International Herald over lunch, I assume you're an American. I am an agent of
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our government, and I've been sent to deliver a document to our special agent
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in Gola. An enemy agent spotted me on the train, and I only barely managed to
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escape." He groans softly, examining his wound.
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"The best I can do now is throw the enemy off the scent, but I need you, and
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your country needs you, to carry out my assignment." You start to interrupt, a
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thousand questions racing through your mind. "There's no time! Here! Take my
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briefcase, but be careful with it! Our enemies are all around us! My contact in
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Gola is an old woman, and I was to display a pen, then use the words 'red
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handkerchief' ...." Then he stops and listens. Before you can say anything, he
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checks the corridor and races out.
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CHECKPOINT
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Infocom interactive fiction - a story of intrigue
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Copyright (c) 1985 by Infocom, Inc. All rights reserved.
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CHECKPOINT is a trademark of Infocom, Inc.
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Release 15 / Serial number 850405 / Traveler's viewpoint, short variation
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(third compartment)
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This is a once-luxurious first-class compartment on the Znuk-Potrzebie Express.
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The plush red upholstery on the two facing seats, shiny and worn in spots, and
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the greasy lace on the headrests, give the car an air of faded elegance. A red
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handle is hanging by a short length of cord from the ceiling, swinging in time
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to the train's rocking motion. The corridor is outside, past a window with a
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red curtain on it.
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The train is rocketing along a barren stubble-plain.
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A thin man and an old man are just outside.
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Sitting on the train seat is a briefcase.
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Okay, what do you want to do now?
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>OPEN THE CASE
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The train lurches a bit.
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The latch is closed.
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You hear some kind of noise from the roof of the train.
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What next?
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>OPEN IT
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(I assume you mean: the briefcase latch.)
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The metal latch snaps open.
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What next?
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>OPEN CASE
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Opening it reveals a document, a miniature camera, a cassette of film, a
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magnifying glass, and a scrap of newsprint.
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Something outside the window catches your eye. It looks like the stranger
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falling off the roof of the train.
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What next?
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>EXAMINE DOCUMENT
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The train lurches a bit.
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It's not a very handsome document, scrawled in a hurry by a hand that wouldn't
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win any prizes under the best of conditions. But it seems to contain crucial
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information -- times, places, a crude map, even code words -- about a plan to
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kidnap some high-ranking official. Were the plan to succeed, several
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governments would be embarrassed, if not in mortal danger, and the balance of
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power would become precarious.
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What next?
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>PICK UP CAMERA AND FILM
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miniature camera: You are now holding it.
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cassette of film: You are now holding it.
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What next?
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>EXAMINE CAMERA
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Ah! Is this the masterwork of some paranoid genius in "Q" Section? A product of
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years of technological innovation, bordering on magic? Nah, it's just an
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ordinary miniature camera -- no weapons, no motors, nothing to break down. And
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it's closed.
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What next?
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>OPEN IT
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(I assume you mean: the miniature camera.)
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Okay, it is now open.
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What next?
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>PUT FILM IN IT
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(I assume you mean: the miniature camera.)
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Okay.
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(You won't see "What next?" any more.)
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>CLOSE IT
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(I assume you mean: the cassette of film.)
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(You can't close it.)
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>CLOSE CAMERA
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Okay, it is now closed.
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>TAKE PICTURE OF DOCUMENT
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You push the button, but it won't move.
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>EXAMINE CAMERA
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It looks as if it needs to be cocked.
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>COCK IT
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(I assume you mean: the miniature camera.)
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Okay.
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>TAKE PICTURE OF DOCUMENT
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"Click!"
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Just outside an old couple appear from the rear middle.
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>CLOSE THE CASE
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Closed.
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The old couple, just outside, disappear to the front.
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Just outside a fat man appears from the rear middle.
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Just outside an attractive man appears from the forward middle.
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>SEARCH THE ROOM
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(You stand up first.)
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(It's better to examine or search one thing at a time. It would take a long
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time to search a whole room or area thoroughly. A brief search would take 3
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minutes, and it might not reveal much. Would you like to do it anyway?) >YES
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The fat man enters, looks around, and sits down.
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Then he notices the briefcase and takes it.
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The attractive man, just outside, disappears to the rear.
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Do you want to continue what you were doing? >NO
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Your brief search reveals nothing exciting.
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>TAKE CASE
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The fat man holds it more tightly and looks at you defiantly.
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Just outside the conductor appears from the forward middle.
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The conductor, just outside, stops to punch tickets.
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The fat man, carrying it, opens the compartment door for a moment and leaves.
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>FIND MY TICKET
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You have it.
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The conductor punches the fat man's ticket.
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The fat man, just outside, disappears to the rear.
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>INVENTORY
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(Sorry, but the word "inventory" is not in the vocabulary that you can use.)
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>INVENT
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You're holding a miniature camera.
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And there's something in your pocket.
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The conductor punches the thin man's ticket.
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>LOOK IN MY POCKET
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Your pocket contains your ticket, a timetable, a traveler's check, and your
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passport.
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And some money.
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The conductor punches the old man's ticket.
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>LOOK AT TICKET
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The train lurches a bit.
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All you can make out is the destination: Gola.
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The conductor appears and makes a gesture, asking for your ticket.
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>GIVE HIM IT
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(I assume you mean: your ticket.)
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(I assume you mean: the conductor.)
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The conductor punches your ticket and then gives it back to you.
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He touches a finger to his cap and opens the compartment door for a moment and
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leaves.
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He disappears to the rear.
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>SEARCH THE ROOM
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(It's better to examine or search one thing at a time. It would take a long
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time to search a whole room or area thoroughly. A brief search would take 3
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minutes, and it might not reveal much. Would you like to do it anyway?) >Y
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Your brief search reveals nothing exciting.
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>EXAMINE FLOOR
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The train lurches a bit.
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Something catches your eye: it's a spot of blood.
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>EXAMINE CEILING
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(Sorry, but this story doesn't recognize the word "ceiling".)
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>LOOK UP
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The ceiling has seen better years, but a little soot removal would do wonders.
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>PUT ALL IN POCKET
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your ticket: Okay.
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miniature camera: Okay.
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>LEAVE
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(You open the compartment door and close it again.)
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(middle)
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[You're facing to the right side of the train.]
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This is the middle of the corridor. The floor and walls are covered with
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cream-colored linoleum, worn away in spots to reveal the original hardwood
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finish. A long series of windows, still framed by wood, runs along the corridor
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on the right-hand side of the train.
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A girl is off to the rear.
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A regal woman is off to the front.
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The thin man is here, smoking a cigarette.
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The old man is here, reading a newspaper.
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>GO TO THE REAR END
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(rear end)
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[You're facing to the rear.]
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This is the rear end of the corridor. On the left side of the train, behind a
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windowed door, lies the fifth compartment.
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A young woman is in the fifth compartment.
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>EXAMINE HER
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(Be specific: what thing do you want to examine?)
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>THE YOUNG WOMAN
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She is dressed for a long trip, in shades of blue, with a strange odor.
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>REAR
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(You open the swinging door and close it again.)
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(rear vestibule)
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This is a small vestibule at the rear end of the car. There's a short flight of
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metal steps on the left side of the train leading down off the train, and a
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narrow metal ladder leading up to the roof. A small door leads to a restroom,
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and a big window is open to the outside. A red handle is hanging by a short
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length of cord from the ceiling, swinging in time to the train's rocking
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motion. The train is speeding along a barren stubble-plain.
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The clatter of the wheels on the track is almost deafening.
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>R
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[Debugging info: you are entering car #3.]
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(forward vestibule)
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This is a small vestibule at the forward end of the car. It's just like the
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rear vestibule, but with no steps or ladder.
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>R
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(You open the swinging door and close it again.)
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The relative quiet here is welcome. The smell of food is unmistakable.
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(forward end)
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This is the forward end of the corridor. On the left side of the train lies the
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first booth.
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>ENTER
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(first booth)
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[You're facing to the left side of the train.]
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This is a diner booth on the Znuk-Potrzebie Express. In fact, it looks as if
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the railway company just converted a first-class coach into a diner by removing
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the door and adding a table to each compartment.
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The train is speeding along a barren stubble-plain.
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>FIND A MENU
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The train lurches a bit.
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It's right here.
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The train is now speeding past a dark, violent river.
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>READ IT
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(I assume you mean: the menu.)
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A sign on the wall has a long list of mysterious Frotzian phrases, printed in
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ornate letters. All you can decipher is unpleasant things like fish heads and
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lice, or rumpled stilt's skin. Wait! There's an American phrase: Eggs McGuffin!
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>COUNT MONEY
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You are carrying *49.
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>EXAMINE THE CHECK
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It's your last $10 Mariners' Trust traveler's check, "accepted and even revered
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the world over."
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A waiter enters, ready to take your order.
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>ASK HIM FOR A PEN
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(I assume you mean: the waiter.)
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"E davnisnap qwamrk?"
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>SHOW HIM THE CHECK
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(I assume you mean: the waiter.)
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He nods and displays a pen.
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>TAKE IT
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(I assume you mean: the traveler's check.)
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You are now holding it.
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>TAKE THE PEN
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You are now holding it.
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>THANK THE WAITER
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He acknowledges your thanks.
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He leaves.
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>LOOK AT TIMETABLE
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(You'll find the timetable in your CHECKPOINT package.)
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[It should include:
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Glrp-Wien Express: 11.22 Frbz, 12.42 Knut, 13.37 Hrng, 14.39 Wien,
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Znuk-Potrzebie Express: 13.00 Knut, 14.25 Grnz, 15.55 Gola, 17.07 Potrzebie,
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]
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>PUT ALL IN POCKET
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pen: Okay.
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traveler's check: Okay.
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>LOOK THRU WINDOW
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The train is rocketing past a dark, violent river.
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>EXAMINE RIVER
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The train lurches a bit.
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The river splashes and swirls around huge granite boulders. In the center a
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dark current carries bits of foam swiftly along.
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>GO TO KITCHEN
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(galley)
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The galley is crowded with supplies and equipment. The locked cabinets are
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probably filled with food, kettles, and kitchen tools. There's a crowded
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counter for preparing food. If you want to find something, you'll have to
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search for it.
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There's a cook here, cooking.
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He makes a pushing motion with one hand and points forward with the other. He
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seems angry that you're invading his space.
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>SAY "HELLO"
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(I assume you mean: say to the cook.)
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He makes a pushing motion with one hand and points forward with the other. He
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seems angry that you're invading his space.
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(I assume you mean: hello cook.)
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He makes a pushing motion with one hand and points forward with the other. He
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seems angry that you're invading his space.
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>GIVE HIM MONEY
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(I assume you mean: the cook.)
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(Please be more specific.)
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>GIVE HIM *10
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(I assume you mean: the cook.)
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He accepts your gift and smiles broadly.
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>ASK HIM FOR A KNIFE
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(I assume you mean: the cook.)
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"O vubbobnets cho fim mush lizulpstevstu?"
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>FIND A KNIFE
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You find a knife in short order and take it.
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>POCKET IT
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(I assume you mean: the knife.)
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There's not enough room.
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>LOOK IN POCKET
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Your pocket contains a traveler's check, a pen, a miniature camera, your
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ticket, a timetable, and your passport.
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And some money.
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>FIND THE WAITER
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The train lurches a bit.
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(Who knows where he is now?)
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>LEAVE
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(rear end)
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[You're facing to the right side of the train.]
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This is the rear end of the corridor.
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The train is now steaming along the edge of a rocky precipice.
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>GO FORWARD
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(rear middle)
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[You're facing to the front.]
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This is the rear middle of the corridor. On the left side of the train lies the
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pantry.
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The waiter is in the pantry.
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>ENTER
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(pantry)
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[You're facing to the left side of the train.]
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The pantry is crowded with supplies and equipment. The locked cabinets are
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probably filled with dishes, tableware, and napkins. If you want to find
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something, you'll have to search for it.
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The waiter is here, chewing gum.
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He makes a pushing motion with one hand and points forward with the other. He
|
||
|
seems angry that you're invading his space.
|
||
|
|
||
|
>CASH CHECK
|
||
|
|
||
|
The waiter gives you *20 in exchange for the check.
|
||
|
He makes a pushing motion with one hand and points forward with the other. He
|
||
|
seems angry that you're invading his space.
|
||
|
|
||
|
>EXIT
|
||
|
|
||
|
(rear middle)
|
||
|
[You're facing to the right side of the train.]
|
||
|
|
||
|
>PUT ALL IN POCKET
|
||
|
|
||
|
knife: Okay.
|
||
|
|
||
|
>GO TO RESTROOM
|
||
|
|
||
|
(rear restroom)
|
||
|
As you'd expect, the restroom is tidy but small, almost too small for comfort.
|
||
|
But it does have the usual fixtures.
|
||
|
|
||
|
>WASH
|
||
|
|
||
|
(Sorry, but this story doesn't recognize the word "wash".)
|
||
|
|
||
|
>SIT
|
||
|
|
||
|
(on the toilet)
|
||
|
The train lurches a bit.
|
||
|
You're now sitting on it.
|
||
|
|
||
|
>LOCK THE DOOR
|
||
|
|
||
|
[You're facing to the left side of the train.]
|
||
|
Okay, it is now locked.
|
||
|
|
||
|
>WAIT
|
||
|
|
||
|
(I assume you mean: wait 10 minutes.)
|
||
|
Time passes...
|
||
|
The train begins to slow down a bit.
|
||
|
Do you want to keep waiting? >YES
|
||
|
|
||
|
The time is now 14.35.
|
||
|
|
||
|
>LEAVE THE ROOM
|
||
|
|
||
|
You're not in here!
|
||
|
|
||
|
>LEAVE
|
||
|
|
||
|
(You stand up first.)
|
||
|
(You unlock and open the restroom door and close it again.)
|
||
|
(rear vestibule)
|
||
|
A middle-aged couple are off to the rear.
|
||
|
A cigarette machine stands in one corner, waiting to be either used or
|
||
|
discarded -- it's hard to say which.
|
||
|
|
||
|
The conductor cries, "Grnz," and the train glides to a halt in the station.
|
||
|
|
||
|
>LEAVE THE TRAIN
|
||
|
|
||
|
You notice a pair of customs inspectors boarding the train to search it.
|
||
|
(platform)
|
||
|
You are standing on the concrete platform of the Grnz railway station. A
|
||
|
cantilevered roof looms overhead, with occasional drops of rain water falling
|
||
|
from its edge. To the west is the entrance to the station house. To the east is
|
||
|
a passenger train, the Znuk-Potrzebie Express, hissing and blowing off steam.
|
||
|
The place is crowded with people milling about, searching for a certain
|
||
|
passenger or the right car, or simply waiting.
|
||
|
A customs agent is off to the north.
|
||
|
The conductor is here, walking to the front of the train. He heads off to the
|
||
|
north.
|
||
|
|
||
|
>FOLLOW HIM
|
||
|
|
||
|
(I assume you mean: the conductor.)
|
||
|
[Debugging info: you are entering platform #2.]
|
||
|
(platform)
|
||
|
[You're facing to the north.]
|
||
|
The customs agent is here, inspecting luggage and passports.
|
||
|
A sign on the wall announces something in large, unfriendly letters.
|
||
|
The conductor is here, still walking to the front of the train. He heads off to
|
||
|
the north.
|
||
|
He stops walking.
|
||
|
|
||
|
>READ THE SIGN
|
||
|
|
||
|
If you could read the language, it would say:
|
||
|
"This is the CHECKPOINT. All passengers who are crossing the frontier must pass
|
||
|
through customs inspection before boarding the train.
|
||
|
CHECKPOINT is also a trademark and product of Infocom, Inc., with some
|
||
|
narration by Bruce Schechter."
|
||
|
|
||
|
>AGAIN
|
||
|
|
||
|
If you could read the language, it would say:
|
||
|
"This is the CHECKPOINT. All passengers who are crossing the frontier must pass
|
||
|
through customs inspection before boarding the train.
|
||
|
CHECKPOINT is also a trademark and product of Infocom, Inc., proofed by the
|
||
|
Infocom Quality Assurance Dept."
|
||
|
|
||
|
>AGAIN
|
||
|
|
||
|
If you could read the language, it would say:
|
||
|
"This is the CHECKPOINT. All passengers who are crossing the frontier must pass
|
||
|
through customs inspection before boarding the train.
|
||
|
CHECKPOINT is also a trademark and product of Infocom, Inc., dedicated to the
|
||
|
late Sir Alfred Hitchcock."
|
||
|
The fat man shows his passport and the briefcase to the customs agent.
|
||
|
|
||
|
>AGAIN
|
||
|
|
||
|
If you could read the language, it would say:
|
||
|
"This is the CHECKPOINT. All passengers who are crossing the frontier must pass
|
||
|
through customs inspection before boarding the train.
|
||
|
CHECKPOINT is also a trademark and product of Infocom, Inc., written and
|
||
|
directed by Stu Galley, with a little help from his friends."
|
||
|
The fat man, carrying the briefcase, heads off to the north.
|
||
|
He disappears up the steps.
|
||
|
|
||
|
>BOARD THE TRAIN
|
||
|
|
||
|
You have to pass the customs agent first.
|
||
|
|
||
|
>PASS THE AGENT
|
||
|
|
||
|
The customs agent makes a gesture, asking for your passport.
|
||
|
|
||
|
>GIVE HIM IT
|
||
|
|
||
|
(I assume you mean: your passport.)
|
||
|
(I assume you mean: the customs agent.)
|
||
|
The customs agent looks at you and your passport, barely suppresses a smirk,
|
||
|
stamps it, and then gives it back to you.
|
||
|
|
||
|
>PASS HIM
|
||
|
|
||
|
(I assume you mean: the customs agent.)
|
||
|
The customs agent makes a gesture, as if to say, "Empty your pocket."
|
||
|
|
||
|
>EMPTY MY POCKET
|
||
|
|
||
|
You are now holding the knife, the pen, the miniature camera, your ticket, and
|
||
|
the timetable.
|
||
|
|
||
|
>PASS HIM
|
||
|
|
||
|
(I assume you mean: the customs agent.)
|
||
|
[Debugging info: you are entering platform #1.]
|
||
|
He smiles approvingly.
|
||
|
(platform)
|
||
|
One part of the crowd catches your eye: There's a guard here, re-arranging
|
||
|
luggage.
|
||
|
|
||
|
>PUT ALL IN POCKET
|
||
|
|
||
|
(Which pocket do you mean, the conductor's pocket or your pocket?)
|
||
|
|
||
|
>MY
|
||
|
|
||
|
timetable: Okay.
|
||
|
your ticket: Okay.
|
||
|
miniature camera: Okay.
|
||
|
pen: Okay.
|
||
|
knife: Okay.
|
||
|
your passport: Okay.
|
||
|
|
||
|
>EXAMINE CONDUCTOR
|
||
|
|
||
|
He's helpful but suspicious, and doesn't want trouble in HIS jurisdiction.
|
||
|
|
||
|
>EXAMINE GUARD
|
||
|
|
||
|
She wears a military-style uniform proudly, even though it fits her poorly. She
|
||
|
seems to be watching for suspicious activities, such as people looking at her
|
||
|
or at other people too much.
|
||
|
|
||
|
>BOARD THE TRAIN
|
||
|
|
||
|
(rear vestibule)
|
||
|
[You're facing to the right side of the train.]
|
||
|
Okay.
|
||
|
The train whistle blows once, and the conductor cries, "Gormnash floogle
|
||
|
nomnets!"
|
||
|
|
||
|
>FIND THE FAT MAN
|
||
|
|
||
|
(Who knows where he is now?)
|
||
|
|
||
|
>REAR
|
||
|
|
||
|
[Debugging info: you are entering car #2.]
|
||
|
(forward vestibule)
|
||
|
[You're facing to the rear.]
|
||
|
|
||
|
>REAR
|
||
|
|
||
|
(You open the swinging door and close it again.)
|
||
|
(forward end)
|
||
|
This is the forward end of the corridor. On the left side of the train, behind
|
||
|
a windowed door, lies the first compartment.
|
||
|
The thin man and an old man are off to the rear.
|
||
|
The regal woman is here, gazing out the window.
|
||
|
A girl is off to the rear, heading toward you.
|
||
|
|
||
|
>GO TO REAR VESTIBULE
|
||
|
|
||
|
You have just started walking, when the girl gets in your way.
|
||
|
(forward middle)
|
||
|
This is the forward middle of the corridor. On the left side of the train,
|
||
|
behind a windowed door, lies the second compartment.
|
||
|
The thin man and the old man are off to the rear.
|
||
|
The train slowly pulls out of Grnz station.
|
||
|
There's a girl here, gazing out the window.
|
||
|
She opens the compartment door for a moment and enters the second compartment.
|
||
|
|
||
|
>AGAIN
|
||
|
|
||
|
You have just started walking, when a thin man gets in your way.
|
||
|
(middle)
|
||
|
The thin man is here, reading a newspaper.
|
||
|
There's an old man here, gazing out the window.
|
||
|
Off to the rear the young man appears.
|
||
|
|
||
|
>AGAIN
|
||
|
|
||
|
You have just started walking, when the young man gets in your way.
|
||
|
(rear middle)
|
||
|
This is the rear middle of the corridor. On the left side of the train, behind
|
||
|
a windowed door, lies the fourth compartment.
|
||
|
The young man is here, still walking along. He heads off to the rear.
|
||
|
The train is now speeding past a small town.
|
||
|
|
||
|
>AGAIN
|
||
|
|
||
|
You have just started walking, when the young man gets in your way.
|
||
|
(rear end)
|
||
|
A young couple and a young woman are in the fifth compartment.
|
||
|
The young man is here, still walking along. He opens the swinging door for a
|
||
|
moment and heads off to the rear.
|
||
|
|
||
|
>R
|
||
|
|
||
|
(You open the swinging door and close it again.)
|
||
|
(rear vestibule)
|
||
|
The young man is here, still walking along. He heads off to the rear.
|
||
|
|
||
|
>R
|
||
|
|
||
|
[Debugging info: you are entering car #3.]
|
||
|
(forward vestibule)
|
||
|
The young man is here, still walking along. He opens the swinging door for a
|
||
|
moment and heads off to the rear.
|
||
|
|
||
|
>R
|
||
|
|
||
|
(You open the swinging door and close it again.)
|
||
|
The relative quiet here is welcome.
|
||
|
(forward end)
|
||
|
The young man is here, gazing out the window.
|
||
|
He enters the first booth.
|
||
|
|
||
|
>GO TO R VESTIB
|
||
|
|
||
|
(I don't know the word "vestib".)
|
||
|
|
||
|
>GO TO R VESTIBULE
|
||
|
|
||
|
(rear vestibule)
|
||
|
A middle-aged couple are off to the rear.
|
||
|
A cigarette machine stands in one corner, waiting to be either used or
|
||
|
discarded -- it's hard to say which.
|
||
|
|
||
|
>R
|
||
|
|
||
|
[Debugging info: you are entering car #4.]
|
||
|
(forward vestibule)
|
||
|
You notice a worn spot on the floor.
|
||
|
The middle-aged couple are here, looking at you with suspicion.
|
||
|
|
||
|
>HELLO
|
||
|
|
||
|
You can't make yourself heard above the noise.
|
||
|
|
||
|
>LISTEN
|
||
|
|
||
|
(What do you want to listen to?)
|
||
|
|
||
|
>NOISE
|
||
|
|
||
|
(You don't need to use the word "noise" to finish this story.)
|
||
|
|
||
|
>LISTEN TO TRAIN
|
||
|
|
||
|
The clatter of the wheels on the track is almost deafening.
|
||
|
|
||
|
>R
|
||
|
|
||
|
(You open the swinging door and close it again.)
|
||
|
The relative quiet here is welcome.
|
||
|
(forward end)
|
||
|
|
||
|
>GO TO R END
|
||
|
|
||
|
(rear end)
|
||
|
|
||
|
>R
|
||
|
|
||
|
(You open the swinging door and close it again.)
|
||
|
(rear vestibule)
|
||
|
|
||
|
>R
|
||
|
|
||
|
[Debugging info: you are entering car #5.]
|
||
|
(forward vestibule)
|
||
|
|
||
|
>R
|
||
|
|
||
|
(You open the swinging door and close it again.)
|
||
|
The relative quiet here is welcome.
|
||
|
(forward end)
|
||
|
The fat man, off to the rear, opens the compartment door for a moment and
|
||
|
enters the fifth compartment.
|
||
|
(The briefcase is already open!)
|
||
|
|
||
|
>GO TO FIFTH COMPARTMENT
|
||
|
|
||
|
Too bad, but the compartment door is locked.
|
||
|
|
||
|
(rear end)
|
||
|
[You're facing to the left side of the train.]
|
||
|
The fat man is in the fifth compartment.
|
||
|
|
||
|
>KNOCK
|
||
|
|
||
|
(What do you want to knock on?)
|
||
|
|
||
|
>DOOR
|
||
|
|
||
|
(Which door do you mean, the compartment door or the swinging door?)
|
||
|
|
||
|
>C
|
||
|
|
||
|
Someone shouts, "U quidglip jef nom jonjernashzrk glob floo?"
|
||
|
|
||
|
>ANSWER "YES"
|
||
|
|
||
|
Nobody seems to be waiting for an answer.
|
||
|
|
||
|
>FIND THE OLD WOMAN
|
||
|
|
||
|
(Who knows where she is now?)
|
||
|
|
||
|
>LOOK AT TABLE
|
||
|
|
||
|
(You'll find the timetable in your CHECKPOINT package.)
|
||
|
|
||
|
[It should include:
|
||
|
Glrp-Wien Express: 11.22 Frbz, 12.42 Knut, 13.37 Hrng, 14.39 Wien,
|
||
|
Znuk-Potrzebie Express: 13.00 Knut, 14.25 Grnz, 15.55 Gola, 17.07 Potrzebie,
|
||
|
]
|
||
|
|
||
|
>R
|
||
|
|
||
|
(You open the swinging door and close it again.)
|
||
|
(rear vestibule)
|
||
|
[You're facing to the rear.]
|
||
|
There's an attractive woman here, gazing out the window.
|
||
|
The train is now rocketing through a mysterious forest.
|
||
|
|
||
|
>R
|
||
|
|
||
|
The train lurches a bit.
|
||
|
(This is the last car of the train.)
|
||
|
|
||
|
>KISS HER
|
||
|
|
||
|
(I assume you mean: the attractive woman.)
|
||
|
She slaps you right back. Wow, is your face red!
|
||
|
|
||
|
>F
|
||
|
|
||
|
(You open the swinging door and close it again.)
|
||
|
The relative quiet here is welcome.
|
||
|
(rear end)
|
||
|
[You're facing to the front.]
|
||
|
The fat man is in the fifth compartment.
|
||
|
Off to the front a boy appears.
|
||
|
|
||
|
>FOLLOW HIM
|
||
|
|
||
|
(Be specific: what thing do you want to follow?)
|
||
|
|
||
|
>BOY
|
||
|
|
||
|
(rear middle)
|
||
|
The boy is here, walking along. He heads off to the front.
|
||
|
|
||
|
>BOY!
|
||
|
|
||
|
He turns toward you.
|
||
|
The boy is off to the front, heading away from you.
|
||
|
|
||
|
>GO TO HIM
|
||
|
|
||
|
(Be specific: what thing do you want to go?)
|
||
|
|
||
|
>BOY
|
||
|
|
||
|
(forward middle)
|
||
|
The boy is here, walking along. He heads off to the front.
|
||
|
|
||
|
>BOY, STOP!
|
||
|
|
||
|
He looks around fearfully but says nothing.
|
||
|
|
||
|
>F
|
||
|
|
||
|
(forward end)
|
||
|
An old couple are in the first compartment.
|
||
|
The boy is here, still walking along.
|
||
|
>ASK BOY FOR HELP
|
||
|
|
||
|
(Sorry, but I don't understand the word "help" when you use it that way.)
|
||
|
|
||
|
>ASK BOY FOR A NEWSPAPER
|
||
|
|
||
|
"I frobzitfrppro bri?"
|
||
|
|
||
|
>ANSWER "YES"
|
||
|
|
||
|
Nobody seems to be waiting for an answer.
|
||
|
|
||
|
>GO TO MIDDLE
|
||
|
|
||
|
The train lurches a bit.
|
||
|
(middle)
|
||
|
[You're facing to the rear.]
|
||
|
|
||
|
>WAIT FOR FAT MAN
|
||
|
|
||
|
Time passes...
|
||
|
The train is now rocketing along a barren stubble-plain.
|
||
|
The conductor stops here to punch tickets.
|
||
|
Do you want to keep waiting? >Y
|
||
|
|
||
|
He makes a gesture, asking for your ticket.
|
||
|
A girl opens the compartment door for a moment and walks past you.
|
||
|
Do you want to keep waiting? >Y
|
||
|
|
||
|
He makes a gesture again, asking for your ticket.
|
||
|
She heads off to the front.
|
||
|
Do you want to keep waiting? >Y
|
||
|
|
||
|
He makes a gesture strongly, asking for your ticket.
|
||
|
Do you want to keep waiting? >NO
|
||
|
|
||
|
The time is now 15.41.
|
||
|
|
||
|
>GIVE HIM THE TICKET
|
||
|
|
||
|
(I assume you mean: the conductor.)
|
||
|
The conductor punches your ticket and then gives it back to you.
|
||
|
|
||
|
>WAIT FOR FAT MAN
|
||
|
|
||
|
Time passes...
|
||
|
The conductor, off to the rear, stops to punch tickets.
|
||
|
Do you want to keep waiting? >Y
|
||
|
|
||
|
The train begins to slow down a bit.
|
||
|
Do you want to keep waiting? >Y
|
||
|
|
||
|
The conductor cries, "Gola," and the train glides to a halt in the station.
|
||
|
Do you want to keep waiting? >NO
|
||
|
|
||
|
The time is now 15.55.
|
||
|
|
||
|
>GO TO REAR END
|
||
|
|
||
|
(rear end)
|
||
|
The fat man is in the fifth compartment.
|
||
|
|
||
|
>ENTER
|
||
|
|
||
|
Too bad, but the compartment door is locked.
|
||
|
|
||
|
>LEAVE THE TRAIN
|
||
|
|
||
|
(rear vestibule)
|
||
|
[You're facing to the rear.]
|
||
|
The attractive woman is here, still gazing out the window.
|
||
|
(platform)
|
||
|
You are standing at the south end of the concrete platform of the Gola railway
|
||
|
station. A cantilevered roof looms overhead, with occasional drops of rain
|
||
|
water falling from its edge. To the west is the luggage room. To the east is a
|
||
|
passenger train, the Znuk-Potrzebie Express, hissing and blowing off steam. The
|
||
|
place is crowded with people milling about, searching for a certain passenger
|
||
|
or the right car, or simply waiting.
|
||
|
One part of the crowd catches your eye: There's an old man here, chewing gum.
|
||
|
|
||
|
>FIND THE OLD WOMAN
|
||
|
|
||
|
(Who knows where she is now?)
|
||
|
|
||
|
>WALK NORTH
|
||
|
|
||
|
[Debugging info: you are entering platform #4.]
|
||
|
(platform)
|
||
|
[You're facing to the north.]
|
||
|
One part of the crowd catches your eye: There's an old couple here, looking at
|
||
|
you with suspicion.
|
||
|
The conductor stops walking.
|
||
|
|
||
|
>AGAIN
|
||
|
|
||
|
[Debugging info: you are entering platform #3.]
|
||
|
(platform)
|
||
|
One part of the crowd catches your eye: There's a young man here, checking a
|
||
|
timetable.
|
||
|
|
||
|
>AGAIN
|
||
|
|
||
|
[Debugging info: you are entering platform #2.]
|
||
|
(platform)
|
||
|
One part of the crowd catches your eye: There's an old woman here, looking up
|
||
|
and down the platform.
|
||
|
|
||
|
>SHOW THE PEN TO HER
|
||
|
|
||
|
(I assume you mean: the old woman.)
|
||
|
A guard seems to notice your actions.
|
||
|
The old woman listens to you expectantly.
|
||
|
|
||
|
>SAY "RED HANDKERCHIEF"
|
||
|
|
||
|
The guard approaches you and makes a gesture, asking for your passport.
|
||
|
The old woman whispers, "I was expecting someone else, but you must be the
|
||
|
courier. Please give me the document now."
|
||
|
|
||
|
>GIVE THE CAMERA TO THE OLD WOMAN
|
||
|
|
||
|
The guard makes a gesture strongly, asking for your passport.
|
||
|
The old woman quickly inspects the cassette of film and then pumps your hand
|
||
|
with obvious gratitude. "Only a few people will ever know the great value of
|
||
|
the service you've just performed. Probably even you don't know the full
|
||
|
implications. But be assured that you deserve the thanks of the whole world."
|
||
|
|
||
|
|
||
|
Would you like to:
|
||
|
RESTORE your place from where you saved it,
|
||
|
RESTART the story from the beginning, or
|
||
|
QUIT for now?
|
||
|
>QUIT
|
||
|
|