14174 lines
316 KiB
Plaintext
14174 lines
316 KiB
Plaintext
[Automatic transcript: User is GARY]
|
|
|
|
Copyright (c) 1985 Infocom, Inc. All rights reserved.
|
|
|
|
Welcome to CHECKPOINT (TM) - interactive fiction from Infocom!
|
|
|
|
[Note to testers: this story has the command GO TO, and the concept of not
|
|
being able to see things behind your back. The unit of currency in this story
|
|
is the Frotzian slimpuk, whose symbol is "*".
|
|
|
|
Messages in square brackets [] will not be in the final release.
|
|
Remember: you can shorten your words only to NINE (9) letters.
|
|
But you can use C for COMPARTMENT, V for VESTIBULE, and F for FORWARD.]
|
|
|
|
Do you want the viewpoint of the traveler or the spy? >S
|
|
|
|
Do you want the short variation or the long one? >L
|
|
|
|
Then let the story begin!
|
|
Why did you want to be a spy anyway? You could have had a nice restful job,
|
|
like an air-traffic controller. You could have tended flowers behind a white
|
|
picket fence around your country cottage. At least they could let you grab a
|
|
few winks between one job and the next. But no -- you finish debriefing in some
|
|
dirty little city in Frotzerland, and before you can even find a phone book,
|
|
let alone a hotel, they volunteer you for another assignment.
|
|
|
|
"You've got to intercept a document!" they told you. "Then deliver it to our
|
|
agent in Gola so the leak can be traced. We don't know where it is for sure,
|
|
but we think it's in a briefcase that's leaving town on the next train. You're
|
|
the only agent that's close enough and experienced enough to be sent after it.
|
|
And at the end of the trip, there will be a plane ticket to home waiting for
|
|
you."
|
|
|
|
So that's why you're climbing all over this stupid train. Finding the briefcase
|
|
was easy enough, but the dude carrying it was something else. Even a
|
|
well-placed bullet didn't make him drop. Now, if only he'll take the bait and
|
|
follow you up here, you can .... Wait! Here he comes from the forward end! But
|
|
he's not carrying the case!
|
|
|
|
CHECKPOINT
|
|
Infocom interactive fiction - a story of intrigue
|
|
Copyright (c) 1985 by Infocom, Inc. All rights reserved.
|
|
CHECKPOINT is a trademark of Infocom, Inc.
|
|
Release 12 / Serial number 850403 / Spy's viewpoint, long variation
|
|
|
|
(roof)
|
|
You are on the roof of the train. The wind blows your hair, and the rocking,
|
|
lurching train threatens to buck you right off. It occurs to you that this
|
|
might not be the safest place to be right now.
|
|
The spy is here, preparing to knock you off.
|
|
|
|
|
|
Okay, what do you want to do now?
|
|
>KNOCK SPY OFF TRAIN
|
|
|
|
The train lurches a bit.
|
|
You go for him, but he dodges. The spy hesitates, then lunges at you!
|
|
He slips but then regains his footing.
|
|
|
|
What next?
|
|
>G
|
|
|
|
You lunge at him and almost miss, but he loses footing and falls off the edge
|
|
of the roof! The train quickly leaves his body behind.
|
|
|
|
What next?
|
|
>N
|
|
|
|
[Debugging info: you are entering car #2.]
|
|
|
|
What next?
|
|
>D
|
|
|
|
(rear vestibule)
|
|
This is a small vestibule at the rear end of the car. There's a short flight of
|
|
metal steps on the left side of the train leading down off the train, and a
|
|
narrow metal ladder leading up to the roof. A small door leads to a restroom,
|
|
and a big window is open to the outside. A red handle is hanging by a short
|
|
length of cord from the ceiling, swinging in time to the train's rocking
|
|
motion. The train is racing along a barren stubble-plain.
|
|
The clatter of the wheels on the track is almost deafening.
|
|
|
|
What next?
|
|
>L AT FLOOR
|
|
|
|
The train lurches a bit.
|
|
You don't find anything new there.
|
|
|
|
What next?
|
|
>N
|
|
|
|
(You open the swinging door and close it again.)
|
|
The relative quiet here is welcome.
|
|
(rear end)
|
|
This is the rear end of the corridor. The floor and walls are covered with
|
|
cream-colored linoleum, worn away in spots to reveal the original hardwood
|
|
finish. A long series of windows, still framed by wood, runs along the corridor
|
|
on the right-hand side of the train. On the left side of the train, behind a
|
|
windowed door, lies the fifth compartment.
|
|
A fat man is in the fifth compartment.
|
|
A thin woman is off to the front.
|
|
There's an attractive woman here, gazing out the window.
|
|
|
|
What next?
|
|
>L IN FIFTH
|
|
|
|
(I couldn't find enough nouns in that sentence!)
|
|
|
|
What next?
|
|
>L IN FIFTH C
|
|
|
|
(The door to that room is closed.)
|
|
You take a quick peek into it:
|
|
[You're facing to the left side of the train.]
|
|
The fat man is here, smoking a cigarette.
|
|
The attractive woman opens the swinging door for a moment and heads off to the
|
|
rear.
|
|
|
|
(You won't see "What next?" any more.)
|
|
|
|
>N
|
|
|
|
|
|
(rear middle)
|
|
[You're facing to the front.]
|
|
This is the rear middle of the corridor. On the left side of the train, behind
|
|
a windowed door, lies the fourth compartment.
|
|
The thin woman is off to the front.
|
|
|
|
>L IN FOURTH
|
|
|
|
(I couldn't find enough nouns in that sentence!)
|
|
|
|
>L IN FOURTH C
|
|
|
|
(The door to that room is closed.)
|
|
You take a quick peek into it:
|
|
[You're facing to the left side of the train.]
|
|
There's an old man here, reading a newspaper.
|
|
|
|
>N
|
|
|
|
(middle)
|
|
[You're facing to the front.]
|
|
This is the middle of the corridor. On the left side of the train, behind a
|
|
windowed door, lies the third compartment.
|
|
The thin woman is here, smoking a cigarette.
|
|
Off to the front the conductor appears from the forward vestibule.
|
|
The conductor, off to the front, stops to punch tickets.
|
|
The train is now steaming past a dark, violent river.
|
|
|
|
>L IN THIRD C
|
|
|
|
(The door to that room is closed.)
|
|
You take a quick peek into it:
|
|
[You're facing to the left side of the train.]
|
|
There's a girl here, chewing gum.
|
|
|
|
>N
|
|
|
|
|
|
(forward middle)
|
|
[You're facing to the front.]
|
|
This is the forward middle of the corridor. On the left side of the train,
|
|
behind a windowed door, lies the second compartment.
|
|
An old woman is in the second compartment.
|
|
The conductor is off to the front.
|
|
The conductor stops here to punch tickets.
|
|
|
|
>L IN SECOND C
|
|
|
|
(The door to that room is closed.)
|
|
You take a quick peek into it:
|
|
[You're facing to the left side of the train.]
|
|
The old woman is here, looking at you with suspicion.
|
|
The conductor makes a gesture, asking for your ticket.
|
|
|
|
>GIVE TICKET
|
|
|
|
(Whom do you want to give the ticket to?)
|
|
|
|
>CONDUCTOR
|
|
|
|
The train lurches a bit.
|
|
The conductor punches your ticket and then gives it back to you.
|
|
He punches the old woman's ticket.
|
|
|
|
>N
|
|
|
|
|
|
(forward end)
|
|
[You're facing to the front.]
|
|
This is the forward end of the corridor. On the left side of the train, behind
|
|
a windowed door, lies the first compartment.
|
|
A regal woman is in the first compartment.
|
|
She opens the briefcase latch.
|
|
|
|
>I
|
|
|
|
You're holding your ticket.
|
|
And there's something in your pocket.
|
|
The regal woman opens the briefcase.
|
|
|
|
>L IN POCKET
|
|
|
|
Your pocket contains a gun, a timetable, a traveler's check, and your passport.
|
|
And some money.
|
|
The regal woman examines the scrap of newsprint.
|
|
|
|
>IN
|
|
|
|
(You open the compartment door and close it again.)
|
|
(first compartment)
|
|
[You're facing to the left side of the train.]
|
|
This is a once-luxurious first-class compartment on the Glrp-Wien Express. The
|
|
plush red upholstery on the two facing seats, shiny and worn in spots, and the
|
|
greasy lace on the headrests, give the car an air of faded elegance. A red
|
|
handle is hanging by a short length of cord from the ceiling, swinging in time
|
|
to the train's rocking motion. The corridor is outside, past a window with a
|
|
red curtain on it.
|
|
The train is rocketing past a dark, violent river.
|
|
You notice some graffitti on the wall.
|
|
The regal woman examines the briefcase.
|
|
Your sharp eyes notice a spot of blood on the floor.
|
|
|
|
>CLOSE CURTAIN
|
|
|
|
Okay, it is now closed.
|
|
The regal woman closes the briefcase.
|
|
|
|
>SAVE
|
|
|
|
(In this variation, 1 minute will pass in the story before you can type another
|
|
command. Are you sure you want to SAVE now? >Y
|
|
|
|
Okay.)
|
|
To file: 2.SL1.1Okay.
|
|
The regal woman closes the briefcase latch.
|
|
|
|
>SHOOT WOMAN
|
|
|
|
(with the gun)
|
|
The train lurches a bit.
|
|
She drops the briefcase and slumps on the floor.
|
|
|
|
>GET ALL
|
|
|
|
briefcase: You are now holding it.
|
|
regal woman: You try to pick up the body, but the briefcase keeps getting in
|
|
the way.
|
|
|
|
>E
|
|
|
|
The train lurches a bit.
|
|
(You open the compartment door and close it again.)
|
|
|
|
(forward end)
|
|
[You're facing to the right side of the train.]
|
|
The thin woman is off to the rear.
|
|
|
|
>S
|
|
|
|
|
|
(forward middle)
|
|
[You're facing to the rear.]
|
|
The old woman is in the second compartment.
|
|
The thin woman is off to the rear.
|
|
|
|
>N
|
|
|
|
|
|
(forward end)
|
|
[You're facing to the front.]
|
|
|
|
>N
|
|
|
|
(You open the swinging door and close it again.)
|
|
(forward vestibule)
|
|
This is a small vestibule at the forward end of the car. It's just like the
|
|
rear vestibule, but with no steps or ladder.
|
|
|
|
>E
|
|
|
|
(You open the restroom door and close it again.)
|
|
(forward restroom)
|
|
As you'd expect, the restroom is tidy but small, almost too small for comfort.
|
|
But it does have the usual fixtures.
|
|
|
|
>DROP BRIEFCASE
|
|
|
|
Okay, it is now on the floor.
|
|
|
|
>W
|
|
|
|
(You open the restroom door and close it again.)
|
|
(forward vestibule)
|
|
[You're facing to the left side of the train.]
|
|
|
|
>S
|
|
|
|
(You open the swinging door and close it again.)
|
|
The relative quiet here is welcome.
|
|
(forward end)
|
|
[You're facing to the rear.]
|
|
The thin woman is off to the rear.
|
|
The train is now hurtling through a dark tunnel.
|
|
|
|
>S
|
|
|
|
|
|
(forward middle)
|
|
The old woman is in the second compartment.
|
|
The thin woman is off to the rear.
|
|
|
|
>W
|
|
|
|
(You open the compartment door and close it again.)
|
|
(second compartment)
|
|
[You're facing to the left side of the train.]
|
|
The old woman is here, still looking at you with suspicion.
|
|
|
|
>E
|
|
|
|
(You open the compartment door and close it again.)
|
|
|
|
(forward middle)
|
|
[You're facing to the right side of the train.]
|
|
The thin woman is off to the rear.
|
|
|
|
>N
|
|
|
|
|
|
(forward end)
|
|
[You're facing to the front.]
|
|
|
|
>W
|
|
|
|
(You open the compartment door and close it again.)
|
|
(first compartment)
|
|
[You're facing to the left side of the train.]
|
|
You notice some graffitti on the wall.
|
|
The regal woman is here, dead.
|
|
A spot of blood is still on the floor.
|
|
|
|
>GET DEAD WOMAN
|
|
|
|
(You can't see any dead woman here!)
|
|
|
|
>GET WOMAN
|
|
|
|
You try to pick up the body, but your ticket keeps getting in the way.
|
|
|
|
>PUT ALL IN POCKET
|
|
|
|
your ticket: Okay.
|
|
|
|
>GET WOMAN
|
|
|
|
You try to pick up the body, but your pocket keeps getting in the way.
|
|
|
|
>;GIVE ME A BREAK!
|
|
|
|
I
|
|
|
|
You are not holding anything. But there's something in your pocket.
|
|
|
|
>E
|
|
|
|
(You open the compartment door and close it again.)
|
|
|
|
(forward end)
|
|
[You're facing to the right side of the train.]
|
|
The thin woman is off to the rear.
|
|
The young couple are off to the rear, heading toward you.
|
|
|
|
>N
|
|
|
|
The train lurches a bit.
|
|
(You open the swinging door and close it again.)
|
|
(forward vestibule)
|
|
[You're facing to the front.]
|
|
|
|
>N
|
|
|
|
[Debugging info: you are entering car #1.]
|
|
(rear vestibule)
|
|
|
|
>E
|
|
|
|
The train lurches a bit.
|
|
(You open the restroom door and close it again.)
|
|
(rear restroom)
|
|
|
|
>L
|
|
|
|
(rear restroom)
|
|
As you'd expect, the restroom is tidy but small, almost too small for comfort.
|
|
But it does have the usual fixtures.
|
|
|
|
|
|
>W
|
|
|
|
(You open the restroom door and close it again.)
|
|
(rear vestibule)
|
|
[You're facing to the left side of the train.]
|
|
There's a young couple here, walking along. They open the swinging door for a
|
|
moment and head off to the front.
|
|
|
|
>S
|
|
|
|
[Debugging info: you are entering car #2.]
|
|
(forward vestibule)
|
|
[You're facing to the rear.]
|
|
|
|
>E
|
|
|
|
The train lurches a bit.
|
|
(You open the restroom door and close it again.)
|
|
(forward restroom)
|
|
A black briefcase with a chrome latch is here, closed.
|
|
|
|
>L
|
|
|
|
(forward restroom)
|
|
As you'd expect, the restroom is tidy but small, almost too small for comfort.
|
|
But it does have the usual fixtures.
|
|
A black briefcase with a chrome latch is here, closed.
|
|
|
|
|
|
>L DOOR
|
|
|
|
(I assume you mean: look at it, not look in it nor look for it nor any other
|
|
preposition.)
|
|
The restroom door is closed and unlocked.
|
|
|
|
>LOCK DOOR
|
|
|
|
Okay, it is now locked.
|
|
|
|
>SI TON TOILET
|
|
|
|
(Sorry, but the word "si" is not in the vocabulary that you can use.)
|
|
|
|
>SIT ON TOILET
|
|
|
|
You're now sitting on it.
|
|
|
|
>GET BRIEFCASE
|
|
|
|
(You stand up first.)
|
|
You are now holding it.
|
|
The train is now hurtling past a wild meadow.
|
|
The air fills with the high-pitched whine of metal on metal, and you are thrown
|
|
violently forward as the train comes to an emergency stop.
|
|
|
|
>W
|
|
|
|
(You unlock and open the restroom door and close it again.)
|
|
(forward vestibule)
|
|
[You're facing to the left side of the train.]
|
|
|
|
>N
|
|
|
|
[Debugging info: you are entering car #1.]
|
|
(rear vestibule)
|
|
[You're facing to the front.]
|
|
|
|
>N
|
|
|
|
(You open the swinging door and close it again.)
|
|
|
|
(rear end)
|
|
Off to the front a young couple appear.
|
|
|
|
>N
|
|
|
|
|
|
(rear middle)
|
|
The young couple are off to the front, heading toward you.
|
|
|
|
>N
|
|
|
|
(middle)
|
|
The young couple walk past you from the front.
|
|
|
|
>N
|
|
|
|
|
|
(forward middle)
|
|
A whistle sounds, and the train briefly shudders and starts moving again.
|
|
|
|
>N
|
|
|
|
|
|
(forward end)
|
|
|
|
>E
|
|
|
|
(You can't go in that direction.)
|
|
|
|
>N
|
|
|
|
(You open the swinging door and close it again.)
|
|
(forward vestibule)
|
|
There's an attractive man here, chewing gum.
|
|
|
|
>E
|
|
|
|
(You open the restroom door and close it again.)
|
|
(forward restroom)
|
|
|
|
>LOCK DOOR
|
|
|
|
Okay, it is now locked.
|
|
|
|
>PUT GUN IN TOILET
|
|
|
|
Okay.
|
|
|
|
>SIT ON TOILET
|
|
|
|
You're now sitting on it.
|
|
|
|
>OPEN LATCH
|
|
|
|
The train lurches a bit.
|
|
The metal latch snaps open.
|
|
|
|
>OPEN BRIEFCASE
|
|
|
|
Opening it reveals a scrap of newsprint, a magnifying glass, a cassette of
|
|
film, and a miniature camera.
|
|
|
|
>L PRINT
|
|
|
|
(I assume you mean: look at it, not look in it nor look for it nor any other
|
|
preposition.)
|
|
There doesn't seem to be anything written on the scrap of newsprint.
|
|
|
|
>L AT PRINT CAREFULLY
|
|
|
|
There are some shiny lines on the scrap of newsprint, maybe invisible ink.
|
|
|
|
>L THROUGH PRINT
|
|
|
|
(You can't look through it.)
|
|
|
|
>CLOSE CASE
|
|
|
|
Closed.
|
|
|
|
>FLUSH TOILET
|
|
|
|
Say goodbye to the gun. "Whhoooossshhhhh!"
|
|
|
|
>W
|
|
|
|
(You stand up first.)
|
|
(You unlock and open the restroom door and close it again.)
|
|
(forward vestibule)
|
|
[You're facing to the left side of the train.]
|
|
The attractive man is here, still chewing gum.
|
|
|
|
>HOLD PAPER TO LIGHT
|
|
|
|
(You don't seem to be holding that!)
|
|
|
|
>I
|
|
|
|
You're holding a briefcase.
|
|
And there's something in your pocket.
|
|
|
|
>S
|
|
|
|
(You open the swinging door and close it again.)
|
|
The relative quiet here is welcome.
|
|
(forward end)
|
|
[You're facing to the rear.]
|
|
A boy is off to the rear, heading away from you.
|
|
|
|
>W
|
|
|
|
(You open the compartment door and close it again.)
|
|
(first compartment)
|
|
[You're facing to the left side of the train.]
|
|
There's a young man here, smoking a cigarette.
|
|
|
|
>OPEN CASE
|
|
|
|
You open it a crack before you realize that everything inside would fall out.
|
|
You quickly close it again.
|
|
|
|
>SIT
|
|
|
|
(on the train seat)
|
|
You're now sitting on it.
|
|
|
|
>OPEN CASE
|
|
|
|
Opening it reveals a miniature camera, a cassette of film, a magnifying glass,
|
|
and a scrap of newsprint.
|
|
|
|
>GET SCRAP
|
|
|
|
You are now holding it.
|
|
|
|
>CLOSE CASE
|
|
|
|
Closed.
|
|
|
|
>E
|
|
|
|
(You stand up first.)
|
|
(You open the compartment door and close it again.)
|
|
|
|
(forward end)
|
|
[You're facing to the right side of the train.]
|
|
|
|
>S
|
|
|
|
|
|
(forward middle)
|
|
[You're facing to the rear.]
|
|
The train begins to slow down a bit.
|
|
|
|
>HOLD PAPER TO LIGHT
|
|
|
|
That doesn't seem to help at all.
|
|
|
|
>S
|
|
|
|
(middle)
|
|
|
|
The conductor cries, "Frbz," and the train glides to a halt in the station.
|
|
|
|
>I
|
|
|
|
You're holding a scrap of newsprint, and a briefcase.
|
|
And there's something in your pocket.
|
|
|
|
>RESTORE
|
|
|
|
From file: 2.SL1.1Okay.
|
|
(first compartment)
|
|
[You're facing to the left side of the train.]
|
|
You notice some graffitti on the wall.
|
|
The regal woman closes the briefcase latch.
|
|
A spot of blood is still on the floor.
|
|
|
|
>SHOOT WOMAN
|
|
|
|
(with the gun)
|
|
She drops the briefcase and slumps on the floor.
|
|
|
|
>GET CASE
|
|
|
|
You are now holding it.
|
|
|
|
>E
|
|
|
|
(You open the compartment door and close it again.)
|
|
|
|
(forward end)
|
|
[You're facing to the right side of the train.]
|
|
The thin woman is off to the rear.
|
|
|
|
>S
|
|
|
|
|
|
(forward middle)
|
|
[You're facing to the rear.]
|
|
The old woman is in the second compartment.
|
|
The thin woman is off to the rear.
|
|
|
|
>S
|
|
|
|
(middle)
|
|
The girl is in the third compartment.
|
|
The thin woman is here, still smoking a cigarette.
|
|
|
|
>S
|
|
|
|
The train lurches a bit.
|
|
|
|
(rear middle)
|
|
The old man is in the fourth compartment.
|
|
|
|
>S
|
|
|
|
|
|
(rear end)
|
|
The fat man is in the fifth compartment.
|
|
|
|
>S
|
|
|
|
(You open the swinging door and close it again.)
|
|
(rear vestibule)
|
|
|
|
>E
|
|
|
|
(You open the restroom door and close it again.)
|
|
(rear restroom)
|
|
As you'd expect, the restroom is tidy but small, almost too small for comfort.
|
|
But it does have the usual fixtures.
|
|
|
|
>LOCK DOOR
|
|
|
|
Okay, it is now locked.
|
|
The train is now racing through a dark tunnel.
|
|
|
|
>PUT GUN IN TOILET
|
|
|
|
Okay.
|
|
|
|
>FLUSH TOILET
|
|
|
|
The train lurches a bit.
|
|
Say goodbye to the gun. "Whhoooossshhhhh!"
|
|
|
|
>SIT
|
|
|
|
(on the toilet)
|
|
You're now sitting on it.
|
|
|
|
>OPEN CASE
|
|
|
|
The latch is closed.
|
|
|
|
>OPEN LATCH
|
|
|
|
The metal latch snaps open.
|
|
|
|
>OPEN CASE
|
|
|
|
Opening it reveals a scrap of newsprint, a magnifying glass, a cassette of
|
|
film, and a miniature camera.
|
|
|
|
>GET SCRAP
|
|
|
|
You are now holding it.
|
|
|
|
>CLOSE CASE
|
|
|
|
Closed.
|
|
|
|
>W
|
|
|
|
(You stand up first.)
|
|
(You unlock and open the restroom door and close it again.)
|
|
(rear vestibule)
|
|
[You're facing to the left side of the train.]
|
|
|
|
>S
|
|
|
|
The train lurches a bit.
|
|
[Debugging info: you are entering car #3.]
|
|
(forward vestibule)
|
|
[You're facing to the rear.]
|
|
This is a small vestibule at the forward end of the car. It's just like the
|
|
rear vestibule, but with no steps or ladder.
|
|
|
|
>S
|
|
|
|
(You open the swinging door and close it again.)
|
|
The relative quiet here is welcome. The smell of food is unmistakable.
|
|
(forward end)
|
|
This is the forward end of the corridor. On the left side of the train lies the
|
|
first booth.
|
|
The attractive woman is in the first booth.
|
|
|
|
>L AT PAPER CAREFULLY
|
|
|
|
The train lurches a bit.
|
|
There are some shiny lines on the scrap of newsprint, maybe invisible ink.
|
|
|
|
>DEVELOP INK
|
|
|
|
(You don't need to use the word "develop" to finish this story.)
|
|
|
|
>L AT INK
|
|
|
|
(Sorry, but this story doesn't recognize the word "ink".)
|
|
|
|
>HOLD SCRAP TO LIGHT
|
|
|
|
That doesn't seem to help at all.
|
|
|
|
>S
|
|
|
|
|
|
(forward middle)
|
|
This is the forward middle of the corridor. On the left side of the train lies
|
|
the second booth.
|
|
|
|
>S
|
|
|
|
(middle)
|
|
This is the middle of the corridor. On the left side of the train lies the
|
|
third booth.
|
|
|
|
>S
|
|
|
|
|
|
(rear middle)
|
|
This is the rear middle of the corridor. On the left side of the train lies the
|
|
pantry.
|
|
A waiter is in the pantry.
|
|
|
|
>W
|
|
|
|
(pantry)
|
|
[You're facing to the left side of the train.]
|
|
The pantry is crowded with supplies and equipment. The locked cabinets are
|
|
probably filled with dishes, tableware, and napkins. If you want to find
|
|
something, you'll have to search for it.
|
|
The waiter is here, gazing out the window.
|
|
He makes a pushing motion with one hand and points forward with the other. He
|
|
seems angry that you're invading his space.
|
|
|
|
>L ALL
|
|
|
|
(You can't use more than one direct object with "l"!)
|
|
|
|
>GET ALL
|
|
|
|
(Please be more specific.)
|
|
|
|
>GET LIGHTER
|
|
|
|
The train lurches a bit.
|
|
(You can't see any lighter here!)
|
|
|
|
>E
|
|
|
|
|
|
(rear middle)
|
|
[You're facing to the right side of the train.]
|
|
|
|
>S
|
|
|
|
|
|
(rear end)
|
|
[You're facing to the rear.]
|
|
This is the rear end of the corridor. On the left side of the train lies the
|
|
galley.
|
|
A cook is in the galley.
|
|
The train is now steaming past a wild meadow.
|
|
The air fills with the high-pitched whine of metal on metal, and you are thrown
|
|
violently forward as the train comes to an emergency stop.
|
|
The cook walks past you.
|
|
|
|
>W
|
|
|
|
(galley)
|
|
[You're facing to the left side of the train.]
|
|
The galley is crowded with supplies and equipment. The locked cabinets are
|
|
probably filled with food, kettles, and kitchen tools. There's a crowded
|
|
counter for preparing food. If you want to find something, you'll have to
|
|
search for it.
|
|
|
|
>L LIGHTER
|
|
|
|
(You can't see any lighter here!)
|
|
|
|
>L IN POCKET
|
|
|
|
Your pocket contains a timetable, a traveler's check, and your passport.
|
|
And some money.
|
|
|
|
>COUNT MONEY
|
|
|
|
You are carrying *49.
|
|
|
|
>E
|
|
|
|
|
|
(rear end)
|
|
[You're facing to the right side of the train.]
|
|
The cook is here, searching out the window.
|
|
|
|
>N
|
|
|
|
|
|
(rear middle)
|
|
[You're facing to the front.]
|
|
The waiter is in the pantry.
|
|
|
|
>W
|
|
|
|
(pantry)
|
|
[You're facing to the left side of the train.]
|
|
The waiter is here, searching out the window.
|
|
He makes a pushing motion with one hand and points forward with the other. He
|
|
seems angry that you're invading his space.
|
|
A whistle sounds, and the train briefly shudders and starts moving again.
|
|
|
|
>ASK FOR CIGARETTE
|
|
|
|
(I assume you mean: ask the waiter.)
|
|
He makes a pushing motion with one hand and points forward with the other. He
|
|
seems angry that you're invading his space.
|
|
|
|
>E
|
|
|
|
|
|
(rear middle)
|
|
[You're facing to the right side of the train.]
|
|
|
|
>N
|
|
|
|
(middle)
|
|
[You're facing to the front.]
|
|
|
|
>W
|
|
|
|
(third booth)
|
|
[You're facing to the left side of the train.]
|
|
This is a diner booth on the Glrp-Wien Express. In fact, it looks as if the
|
|
railway company just converted a first-class coach into a diner by removing the
|
|
door and adding a table to each compartment.
|
|
The train is racing past a wild meadow.
|
|
|
|
>SIT
|
|
|
|
(on the train seat)
|
|
You're now sitting on it.
|
|
Just outside the waiter appears from the rear middle.
|
|
|
|
>ORDER FOOD
|
|
|
|
The waiter isn't close enough!)
|
|
|
|
>L SCHEDULE
|
|
|
|
(I assume you mean: look at it, not look in it nor look for it nor any other
|
|
preposition.)
|
|
(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,
|
|
]
|
|
|
|
>L AT MENU
|
|
|
|
A sign on the wall has a long list of mysterious Frotzian phrases, printed in
|
|
ornate letters. All you can decipher is unpleasant things like fish heads and
|
|
lice, or rumpled stilt's skin. Wait! There's an American phrase: Eggs McGuffin!
|
|
The waiter enters, ready to take your order.
|
|
|
|
>ORDER EGGS
|
|
|
|
The waiter shakes his head and points to the first item on the menu, which you
|
|
find unreadable.
|
|
|
|
>ORDER FIRST
|
|
|
|
(You can't see any first here!)
|
|
|
|
>ORDER FIRST ITEM
|
|
|
|
The waiter returns in an instant with a plate of thin gruel and takes *1 from
|
|
you.
|
|
|
|
>L WAITER
|
|
|
|
(You stand up first.)
|
|
(I assume you mean: look at him, not look in him nor look for him nor any other
|
|
preposition.)
|
|
His bushy black moustache and neatly combed hair go perfectly with his black
|
|
formal jacket and bow tie, but his floor-length apron has seen better days and
|
|
a few spills already on this trip.
|
|
|
|
>PUT SCRAP IN FOOD
|
|
|
|
What a mess that would make!
|
|
|
|
>EAT FOOD
|
|
|
|
(taking the plate of thin gruel first)
|
|
It's pungent but not very flavorful. You've had better in some mighty dank
|
|
corners of the world.
|
|
|
|
>ASK WAITER FOR A LIGHT
|
|
|
|
"Enosh dav fimsnapjerzit frobfrp brini?"
|
|
|
|
>ASK WAITER FOR A CIGARETTE
|
|
|
|
"I glob cho qwa jonprozrknash gormglip nom?"
|
|
|
|
>SEARCH WAITER
|
|
|
|
He pushes you away and mutters, "Ystevmrkulp mush floo liz quid jef vubnets."
|
|
|
|
>EAT FOOD
|
|
|
|
It's pungent but not very flavorful. You've had better in some mighty dank
|
|
corners of the world.
|
|
|
|
>E
|
|
|
|
(middle)
|
|
[You're facing to the right side of the train.]
|
|
|
|
>L WAITER
|
|
|
|
(You can't see any waiter here!)
|
|
|
|
>TURN AROUND
|
|
|
|
Okay, you're now facing to the left side of the train.
|
|
The waiter is in the third booth.
|
|
|
|
>L WAITER
|
|
|
|
(You can't see any waiter here!)
|
|
|
|
>L AT WAITER
|
|
|
|
His bushy black moustache and neatly combed hair go perfectly with his black
|
|
formal jacket and bow tie, but his floor-length apron has seen better days and
|
|
a few spills already on this trip.
|
|
|
|
>S
|
|
|
|
|
|
(rear middle)
|
|
[You're facing to the rear.]
|
|
|
|
>W
|
|
|
|
(pantry)
|
|
[You're facing to the left side of the train.]
|
|
|
|
>GET ALL
|
|
|
|
(Please be more specific.)
|
|
|
|
>L
|
|
|
|
(pantry)
|
|
(You're facing to the left side of the train, but you look in all directions
|
|
for a moment.)
|
|
The pantry is crowded with supplies and equipment. The locked cabinets are
|
|
probably filled with dishes, tableware, and napkins. If you want to find
|
|
something, you'll have to search for it.
|
|
|
|
|
|
>SEARCH FOR LIGHTER
|
|
|
|
It's far away from here.
|
|
|
|
>E
|
|
|
|
|
|
(rear middle)
|
|
[You're facing to the right side of the train.]
|
|
The young couple walk past you from the front.
|
|
|
|
>S
|
|
|
|
|
|
(rear end)
|
|
[You're facing to the rear.]
|
|
The cook is in the galley.
|
|
The young couple walk along with you.
|
|
|
|
>S
|
|
|
|
(You open the swinging door and close it again.)
|
|
(rear vestibule)
|
|
A cigarette machine stands in one corner, waiting to be either used or
|
|
discarded -- it's hard to say which.
|
|
The young couple open the swinging door for a moment and walk along with you.
|
|
|
|
>L IN MACHINE
|
|
|
|
The plastic panel is so scratched and grimy that you can barely see the display
|
|
of cigarette packs inside.
|
|
The young couple head off to the rear.
|
|
|
|
>OPEN MACHINE
|
|
|
|
The train lurches a bit.
|
|
(You can't open it.)
|
|
|
|
>CLOSE MACHINE
|
|
|
|
(You can't close it.)
|
|
|
|
>PUT COIN IN MACHINE
|
|
|
|
(Sorry, but the word "coin" is not in the vocabulary that you can use.)
|
|
|
|
>PUSH BUTTON
|
|
|
|
(I don't know the word "button".)
|
|
|
|
>EXAMINE MACHINE
|
|
|
|
The plastic panel is so scratched and grimy that you can barely see the display
|
|
of cigarette packs inside.
|
|
The train begins to slow down a bit.
|
|
The young couple, off to the rear, disappear to the rear.
|
|
|
|
>PUT *1 IN MACHINE
|
|
|
|
"Whizz, burr, click!" Nothing else happens.
|
|
|
|
>G
|
|
|
|
The train lurches a bit.
|
|
"Whirr, buzz, click!" Nothing else happens.
|
|
|
|
The conductor cries, "Frbz," and the train glides to a halt in the station.
|
|
|
|
>PUSH BUTTON
|
|
|
|
(You don't need to use the word "button" to finish this story.)
|
|
|
|
>PUSH MACHINE
|
|
|
|
Pushing it is a waste of time.
|
|
|
|
>PUT *1 IN MACHINE
|
|
|
|
"Whirr, buzz, click!" Nothing else happens.
|
|
|
|
>G
|
|
|
|
"Whizz, burr, click!" Nothing else happens.
|
|
|
|
>G
|
|
|
|
"Whirr, buzz, click!" Nothing else happens.
|
|
|
|
>G
|
|
|
|
"Whirr, buzz, click!" Nothing else happens.
|
|
|
|
>G
|
|
|
|
"Whizz, burr, click!" Nothing else happens.
|
|
|
|
>G
|
|
|
|
"Whirr, buzz, click!" Nothing else happens.
|
|
|
|
>G
|
|
|
|
"Whizz, burr, click!" Nothing else happens.
|
|
|
|
>G
|
|
|
|
"Whirr, buzz, click!" Nothing else happens.
|
|
Off to the rear the young couple appear from the forward end.
|
|
|
|
>G
|
|
|
|
"Whirr, buzz, click!" Nothing else happens.
|
|
The young couple walk past you from the rear.
|
|
|
|
>G
|
|
|
|
"Whizz, burr, click!" Nothing else happens.
|
|
The young couple open the swinging door for a moment and head off to the front.
|
|
|
|
>G
|
|
|
|
"Whizz, burr, click!" Nothing else happens.
|
|
|
|
>G
|
|
|
|
"Whizz, burr, click!" Nothing else happens.
|
|
|
|
>G
|
|
|
|
"Whirr, buzz, click!" Nothing else happens.
|
|
|
|
>G
|
|
|
|
"Whirr, buzz, click!" Nothing else happens.
|
|
|
|
>G
|
|
|
|
"Whizz, burr, click!" Nothing else happens.
|
|
|
|
>KICK MACHINE
|
|
|
|
It seems that someone else beat you to it.
|
|
|
|
>HIT MACHINE
|
|
|
|
"Whizz, burr, click!" Nothing else happens.
|
|
|
|
>G
|
|
|
|
"Whizz, burr, click!" Nothing else happens.
|
|
|
|
>;SHOULD THIS BE SAME AS KICK?
|
|
|
|
SHAKE MACHINE
|
|
|
|
"Whizz, burr, click!" Nothing else happens.
|
|
The train whistle blows once, and the conductor cries, "Gormnash floogle
|
|
nomnets!"
|
|
|
|
>W
|
|
|
|
(platform)
|
|
[You're facing to the west.]
|
|
You are standing on the concrete platform of the Frbz 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 Glrp-Wien 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 young woman is off to the south.
|
|
One part of the crowd catches your eye: There's an old couple here, checking a
|
|
timetable.
|
|
|
|
>N
|
|
|
|
[Debugging info: you are entering platform #2.]
|
|
(platform)
|
|
[You're facing to the north.]
|
|
One part of the crowd catches your eye: There's a middle-aged couple here,
|
|
reading a newspaper.
|
|
|
|
>N
|
|
|
|
[Debugging info: you are entering platform #1.]
|
|
(platform)
|
|
One part of the crowd catches your eye: There's a guard here, chewing gum.
|
|
You watch as the conductor boards the train, and it slowly pulls out of Frbz
|
|
station without you.
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
Do you want to keep waiting? >Y
|
|
|
|
[!! STUCK: young couple is in (car #2) the other rear middle.
|
|
GOAL: young couple is in (car #2) the platform (3).
|
|
]
|
|
[!! STUCK (young couple): GOAL=counter]
|
|
[!! STUCK: young couple is in (car #2) the other rear middle.
|
|
GOAL: young couple is in (car #2) the platform (3).
|
|
]
|
|
[!! STUCK (young couple): GOAL=counter]
|
|
[!! STUCK: young couple is in (car #2) the other rear middle.
|
|
GOAL: young couple is in (car #2) the platform (3).
|
|
]
|
|
[!! STUCK (young couple): GOAL=counter]
|
|
The time is now 12.00.
|
|
|
|
>W
|
|
|
|
(men's restroom)
|
|
[You're facing to the west.]
|
|
This restroom is impressively tidy. That's a good thing, because it's one of
|
|
the only pair in the whole station.
|
|
[!! STUCK: young couple is in (car #2) the other rear middle.
|
|
GOAL: young couple is in (car #2) the platform (3).
|
|
]
|
|
[!! STUCK (young couple): GOAL=counter]
|
|
|
|
>S
|
|
|
|
(You can't go in that direction.)
|
|
|
|
>S
|
|
|
|
(You can't go in that direction.)
|
|
|
|
>E
|
|
|
|
(platform)
|
|
[You're facing to the east.]
|
|
One part of the crowd catches your eye: The guard is here, still chewing gum.
|
|
[!! STUCK: young couple is in (car #2) the other rear middle.
|
|
GOAL: young couple is in (car #2) the platform (3).
|
|
]
|
|
[!! STUCK (young couple): GOAL=counter]
|
|
|
|
>S
|
|
|
|
[Debugging info: you are entering platform #2.]
|
|
(platform)
|
|
[You're facing to the south.]
|
|
[!! STUCK: young couple is in (car #2) the rear middle.
|
|
GOAL: young couple is in (car #2) the platform (3).
|
|
]
|
|
[!! STUCK (young couple): GOAL=counter]
|
|
|
|
>E
|
|
|
|
Walking on the tracks looks too dangerous!
|
|
[!! STUCK: young couple is in (car #2) the rear middle.
|
|
GOAL: young couple is in (car #2) the platform (3).
|
|
]
|
|
[!! STUCK (young couple): GOAL=counter]
|
|
|
|
>E
|
|
|
|
Walking on the tracks looks too dangerous!
|
|
[!! STUCK: young couple is in (car #2) the rear middle.
|
|
GOAL: young couple is in (car #2) the platform (3).
|
|
]
|
|
[!! STUCK (young couple): GOAL=counter]
|
|
|
|
>GET ON TRACKS
|
|
|
|
(You can't see any tracks here!)
|
|
|
|
>E
|
|
|
|
Walking on the tracks looks too dangerous!
|
|
[!! STUCK: young couple is in (car #2) the rear middle.
|
|
GOAL: young couple is in (car #2) the platform (3).
|
|
]
|
|
[!! STUCK (young couple): GOAL=counter]
|
|
|
|
>L AT TRACKS
|
|
|
|
(You aren't close enough to it!)
|
|
|
|
>E
|
|
|
|
Walking on the tracks looks too dangerous!
|
|
[!! STUCK: young couple is in (car #2) the rear middle.
|
|
GOAL: young couple is in (car #2) the platform (3).
|
|
]
|
|
[!! STUCK (young couple): GOAL=counter]
|
|
|
|
>;I THINK I'VE LOST-SHOULD THE GAME TELL ME I'VE LOST
|
|
|
|
E
|
|
|
|
Walking on the tracks looks too dangerous!
|
|
[!! STUCK: young couple is in (car #2) the rear middle.
|
|
GOAL: young couple is in (car #2) the platform (3).
|
|
]
|
|
[!! STUCK (young couple): GOAL=counter]
|
|
|
|
>N
|
|
|
|
[Debugging info: you are entering platform #1.]
|
|
(platform)
|
|
[You're facing to the north.]
|
|
One part of the crowd catches your eye: The guard is here, still chewing gum.
|
|
|
|
>N
|
|
|
|
This is the end of the platform.
|
|
|
|
>N
|
|
|
|
This is the end of the platform.
|
|
|
|
>S
|
|
|
|
[Debugging info: you are entering platform #2.]
|
|
(platform)
|
|
[You're facing to the south.]
|
|
|
|
>S
|
|
|
|
[Debugging info: you are entering platform #3.]
|
|
(platform)
|
|
The young woman is off to the south.
|
|
|
|
>S
|
|
|
|
[Debugging info: you are entering platform #4.]
|
|
(platform)
|
|
The young woman is here, about to leave.
|
|
|
|
>S
|
|
|
|
[Debugging info: you are entering platform #5.]
|
|
(platform)
|
|
One part of the crowd catches your eye: There's an old woman here, looking at
|
|
you with suspicion.
|
|
|
|
>S
|
|
|
|
This is the end of the platform.
|
|
|
|
>W
|
|
|
|
(luggage room)
|
|
[You're facing to the west.]
|
|
There's a clerk here, reading a newspaper.
|
|
|
|
>L CLERK
|
|
|
|
(I assume you mean: look at him, not look in him nor look for him nor any other
|
|
preposition.)
|
|
He has the uniform jacket of the Frotzian Railway, and a tie worn loosely with
|
|
an open collar, but blue jeans below. It seems a sensible outfit for both
|
|
selling tickets and hauling luggage.
|
|
|
|
>N
|
|
|
|
(You can't go in that direction.)
|
|
|
|
>E
|
|
|
|
(platform)
|
|
[You're facing to the east.]
|
|
|
|
>N
|
|
|
|
[Debugging info: you are entering platform #4.]
|
|
(platform)
|
|
[You're facing to the north.]
|
|
One part of the crowd catches your eye: The young woman is here, still about to
|
|
leave.
|
|
|
|
>W
|
|
|
|
(You can't go in that direction.)
|
|
|
|
>N
|
|
|
|
[Debugging info: you are entering platform #3.]
|
|
(platform)
|
|
|
|
>W
|
|
|
|
(waiting room)
|
|
[You're facing to the west.]
|
|
You are standing in the railway station. You can see a cafe on the north side
|
|
and the ticket counter on the south. The street is west. The place is crowded
|
|
with people.
|
|
|
|
>W
|
|
|
|
(sidewalk)
|
|
The station faces a small square, crowded with people.
|
|
|
|
>W
|
|
|
|
As you start to venture into the town, a police officer recognizes you as an
|
|
unauthorized foreigner and takes a step in your direction. As you stop walking,
|
|
so does he.
|
|
|
|
>S
|
|
|
|
As you start to venture into the town, the police officer recognizes you as an
|
|
unauthorized foreigner and takes a step in your direction. As you stop walking,
|
|
so does he.
|
|
|
|
>E
|
|
|
|
(waiting room)
|
|
[You're facing to the east.]
|
|
|
|
>S
|
|
|
|
(ticket area)
|
|
[You're facing to the south.]
|
|
The clerk is here, still reading a newspaper.
|
|
|
|
>L
|
|
|
|
(ticket area)
|
|
(You're facing to the south, but you look in all directions for a moment.)
|
|
The clerk is here, still reading a newspaper.
|
|
|
|
|
|
>S
|
|
|
|
(You can't go in that direction.)
|
|
|
|
>GET ALL
|
|
|
|
(Please be more specific.)
|
|
|
|
>N
|
|
|
|
(waiting room)
|
|
[You're facing to the north.]
|
|
|
|
>N
|
|
|
|
(cafe)
|
|
Through a blue haze of cigarette smoke, you can see travelers sipping their
|
|
food while waiting for their trains.
|
|
The waitress is here, waiting.
|
|
|
|
>S
|
|
|
|
(waiting room)
|
|
[You're facing to the south.]
|
|
|
|
>S
|
|
|
|
(ticket area)
|
|
The clerk is here, still reading a newspaper.
|
|
|
|
>FIND LIGHTER
|
|
|
|
It's far away from here.
|
|
|
|
>N
|
|
|
|
(waiting room)
|
|
[You're facing to the north.]
|
|
|
|
>E
|
|
|
|
(platform)
|
|
[You're facing to the east.]
|
|
|
|
>N
|
|
|
|
[Debugging info: you are entering platform #2.]
|
|
(platform)
|
|
[You're facing to the north.]
|
|
|
|
>W
|
|
|
|
(women's restroom)
|
|
[You're facing to the west.]
|
|
This restroom is impressively tidy. That's a good thing, because it's one of
|
|
the only pair in the whole station.
|
|
|
|
>E
|
|
|
|
(platform)
|
|
[You're facing to the east.]
|
|
|
|
>N
|
|
|
|
[Debugging info: you are entering platform #1.]
|
|
(platform)
|
|
[You're facing to the north.]
|
|
One part of the crowd catches your eye: The guard is here, still chewing gum.
|
|
|
|
>W
|
|
|
|
(men's restroom)
|
|
[You're facing to the west.]
|
|
|
|
>E
|
|
|
|
(platform)
|
|
[You're facing to the east.]
|
|
One part of the crowd catches your eye: The guard is here, still chewing gum.
|
|
|
|
>E
|
|
|
|
Walking on the tracks looks too dangerous!
|
|
|
|
>S
|
|
|
|
[Debugging info: you are entering platform #2.]
|
|
(platform)
|
|
[You're facing to the south.]
|
|
|
|
>E
|
|
|
|
Walking on the tracks looks too dangerous!
|
|
|
|
>S
|
|
|
|
[Debugging info: you are entering platform #3.]
|
|
(platform)
|
|
|
|
>E
|
|
|
|
Walking on the tracks looks too dangerous!
|
|
|
|
>S
|
|
|
|
[Debugging info: you are entering platform #4.]
|
|
(platform)
|
|
One part of the crowd catches your eye: The young woman is here, still about to
|
|
leave.
|
|
|
|
>E
|
|
|
|
Walking on the tracks looks too dangerous!
|
|
|
|
>N
|
|
|
|
[Debugging info: you are entering platform #3.]
|
|
(platform)
|
|
[You're facing to the north.]
|
|
|
|
>KISS WOMAN
|
|
|
|
(You can't see any woman here!)
|
|
|
|
>L
|
|
|
|
(platform)
|
|
(You're facing to the north, but you look in all directions for a moment.)
|
|
You are standing on the concrete platform of the Frbz 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
|
|
are the train tracks. The place is crowded with people milling about, searching
|
|
for a certain passenger or the right car, or simply waiting.
|
|
|
|
|
|
>N
|
|
|
|
[Debugging info: you are entering platform #2.]
|
|
(platform)
|
|
|
|
>S
|
|
|
|
[Debugging info: you are entering platform #3.]
|
|
(platform)
|
|
[You're facing to the south.]
|
|
|
|
>S
|
|
|
|
[Debugging info: you are entering platform #4.]
|
|
(platform)
|
|
One part of the crowd catches your eye: The young woman is here, still about to
|
|
leave.
|
|
|
|
>KISS WOMAN
|
|
|
|
She slaps you right back. Wow, is your face red!
|
|
|
|
>GET ALL FROM WOMAN
|
|
|
|
(Please be more specific.)
|
|
|
|
>GET DOCUMENTS FROM WOMAN
|
|
|
|
(I don't know the word "documents".)
|
|
|
|
>GET WOMAN
|
|
|
|
(You can't take her.)
|
|
|
|
>SEARCH WOMAN
|
|
|
|
She pushes you away and mutters, "Ostubobnashulp liz jef gorm mush jon vub?"
|
|
|
|
>I
|
|
|
|
You're holding a plate of thin gruel, a scrap of newsprint, a briefcase, and
|
|
your ticket.
|
|
And there's something in your pocket.
|
|
|
|
>L IN POCKET
|
|
|
|
Your pocket contains a timetable, a traveler's check, and your passport.
|
|
And some money.
|
|
|
|
>L PASSPORT
|
|
|
|
(I assume you mean: look at it, not look in it nor look for it nor any other
|
|
preposition.)
|
|
Yup. That's your passport, all right.
|
|
|
|
>DROP PLATE
|
|
|
|
Okay, it is now on the floor.
|
|
|
|
>N
|
|
|
|
[Debugging info: you are entering platform #3.]
|
|
(platform)
|
|
[You're facing to the north.]
|
|
|
|
>E
|
|
|
|
Walking on the tracks looks too dangerous!
|
|
|
|
>L TRACK
|
|
|
|
(I don't know the word "track".)
|
|
|
|
>L TRACKS
|
|
|
|
(You can't see any tracks here!)
|
|
|
|
>N
|
|
|
|
[Debugging info: you are entering platform #2.]
|
|
(platform)
|
|
|
|
>E
|
|
|
|
Walking on the tracks looks too dangerous!
|
|
|
|
>L TRAIN
|
|
|
|
(You can't see any train here.)
|
|
|
|
>WAIT TO 7
|
|
|
|
(Sorry, but I don't understand. Please reword that or try something else.)
|
|
|
|
>WAIT
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 13.13.
|
|
|
|
>G
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 13.23.
|
|
|
|
>G
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 13.33.
|
|
|
|
>G
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 13.43.
|
|
|
|
>G.G.G.G.G.G.G.G.G.G.G.G.G.G.G.G.G.G.G.G.G.G.G.G.G.G.G.G.G.G.G.G.G.G.G.G.G.G
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 13.53.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 14.03.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 14.13.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 14.23.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 14.33.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 14.43.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 14.53.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 15.03.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 15.13.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 15.23.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 15.33.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 15.43.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 15.53.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 16.03.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 16.13.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 16.23.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 16.33.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 16.43.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 16.53.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 17.03.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 17.13.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 17.23.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 17.33.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 17.43.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 17.53.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 18.03.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 18.13.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 18.23.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 18.33.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 18.43.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 18.53.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 19.03.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 19.13.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 19.23.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 19.33.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 19.43.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 19.53.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 20.03.
|
|
|
|
>Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 20.13.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 20.23.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 20.33.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 20.43.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 20.53.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 21.03.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 21.13.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 21.23.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 21.33.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 21.43.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 21.53.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 22.03.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 22.13.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 22.23.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 22.33.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 22.43.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 22.53.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 23.03.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 23.13.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 23.23.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 23.33.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 23.43.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 23.53.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 00.03.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 00.13.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 00.23.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 00.33.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 00.43.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 00.53.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 01.03.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 01.13.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 01.23.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 01.33.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 01.43.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 01.53.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 02.03.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 02.13.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 02.23.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 02.33.
|
|
|
|
>WAIT UNTIL 14.40
|
|
|
|
(It's already past that time!)
|
|
|
|
>WAIT UNTIL 12.00
|
|
|
|
(It's already past that time!)
|
|
|
|
>WAIT UNTIL 5.00
|
|
|
|
(It's already past that time!)
|
|
|
|
>Z.Z.Z.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 02.43.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 02.53.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 03.03.
|
|
|
|
>Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 03.13.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 03.23.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 03.33.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 03.43.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 03.53.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 04.03.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 04.13.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 04.23.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 04.33.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 04.43.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 04.53.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 05.03.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 05.13.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 05.23.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 05.33.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 05.43.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 05.53.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 06.03.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 06.13.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 06.23.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 06.33.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 06.43.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 06.53.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 07.03.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 07.13.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 07.23.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 07.33.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 07.43.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 07.53.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 08.03.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 08.13.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 08.23.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 08.33.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 08.43.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 08.53.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 09.03.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 09.13.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 09.23.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 09.33.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 09.43.
|
|
|
|
>L
|
|
|
|
(platform)
|
|
(You're facing to the north, but you look in all directions for a moment.)
|
|
You are standing on the concrete platform of the Frbz railway station. A
|
|
cantilevered roof looms overhead, with occasional drops of rain water falling
|
|
from its edge. To the west is the women's restroom. To the east are the train
|
|
tracks. The place is crowded with people milling about, searching for a certain
|
|
passenger or the right car, or simply waiting.
|
|
|
|
|
|
>\VERBOSE
|
|
|
|
(You don't need to use the word "\verbose" to finish this story.)
|
|
|
|
>VERBOSE
|
|
|
|
(Okay, you will get verbose descriptions.)
|
|
(platform)
|
|
(You're facing to the north, but you look in all directions for a moment.)
|
|
You are standing on the concrete platform of the Frbz railway station. A
|
|
cantilevered roof looms overhead, with occasional drops of rain water falling
|
|
from its edge. To the west is the women's restroom. To the east are the train
|
|
tracks. The place is crowded with people milling about, searching for a certain
|
|
passenger or the right car, or simply waiting.
|
|
|
|
|
|
>S
|
|
|
|
[Debugging info: you are entering platform #3.]
|
|
(platform)
|
|
[You're facing to the south.]
|
|
You are standing on the concrete platform of the Frbz 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
|
|
are the train tracks. The place is crowded with people milling about, searching
|
|
for a certain passenger or the right car, or simply waiting.
|
|
|
|
>S
|
|
|
|
[Debugging info: you are entering platform #4.]
|
|
(platform)
|
|
You are standing on the concrete platform of the Frbz railway station. A
|
|
cantilevered roof looms overhead, with occasional drops of rain water falling
|
|
from its edge. To the west is the wall of the station house. To the east are
|
|
the train tracks. The place is crowded with people milling about, searching for
|
|
a certain passenger or the right car, or simply waiting.
|
|
There's a plate of thin gruel on the floor.
|
|
One part of the crowd catches your eye: The young woman is here, still about to
|
|
leave.
|
|
|
|
>SHOW CASE TO WOMAN
|
|
|
|
The guard seems to notice your actions.
|
|
The young woman looks confused for a moment and says, "Amrkstu globnosh frob."
|
|
|
|
>SAY "RED HANDKERCHIEF
|
|
|
|
(I assume you mean: say to the young woman.)
|
|
She looks alarmed and vanishes into the crowd.
|
|
|
|
>L
|
|
|
|
(platform)
|
|
(You're facing to the south, but you look in all directions for a moment.)
|
|
You are standing on the concrete platform of the Frbz railway station. A
|
|
cantilevered roof looms overhead, with occasional drops of rain water falling
|
|
from its edge. To the west is the wall of the station house. To the east are
|
|
the train tracks. The place is crowded with people milling about, searching for
|
|
a certain passenger or the right car, or simply waiting.
|
|
There's a plate of thin gruel on the floor.
|
|
|
|
One part of the crowd catches your eye: There's a girl here, re-arranging
|
|
luggage.
|
|
|
|
>L GIRL
|
|
|
|
(I assume you mean: look at her, not look in her nor look for her nor any other
|
|
preposition.)
|
|
She is dressed for a long trip, in shades of red, with a brown-paper package.
|
|
Her glittering black eyes turn away whenever you try to look into them.
|
|
|
|
>KISS GIRL
|
|
|
|
She slaps you right back. Wow, is your face red!
|
|
|
|
>L
|
|
|
|
(platform)
|
|
(You're facing to the south, but you look in all directions for a moment.)
|
|
You are standing on the concrete platform of the Frbz railway station. A
|
|
cantilevered roof looms overhead, with occasional drops of rain water falling
|
|
from its edge. To the west is the wall of the station house. To the east are
|
|
the train tracks. The place is crowded with people milling about, searching for
|
|
a certain passenger or the right car, or simply waiting.
|
|
The girl is here, still re-arranging luggage.
|
|
There's a plate of thin gruel on the floor.
|
|
|
|
|
|
>GET GRUEL
|
|
|
|
You are now holding it.
|
|
|
|
>THROW GRUEL ON TRACK
|
|
|
|
(Sorry, but the word "track" is not in the vocabulary that you can use.)
|
|
|
|
>DROP GRUEL
|
|
|
|
Okay, it is now on the floor.
|
|
|
|
>N
|
|
|
|
[Debugging info: you are entering platform #3.]
|
|
(platform)
|
|
[You're facing to the north.]
|
|
You are standing on the concrete platform of the Frbz 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
|
|
are the train tracks. The place is crowded with people milling about, searching
|
|
for a certain passenger or the right car, or simply waiting.
|
|
The guard is off to the north.
|
|
|
|
>W
|
|
|
|
(waiting room)
|
|
[You're facing to the west.]
|
|
You are standing in the railway station. You can see a cafe on the north side
|
|
and the ticket counter on the south. The street is west. The place is crowded
|
|
with people.
|
|
|
|
>N
|
|
|
|
(cafe)
|
|
[You're facing to the north.]
|
|
Through a blue haze of cigarette smoke, you can see travelers sipping their
|
|
food while waiting for their trains.
|
|
The waitress is here, still waiting.
|
|
|
|
>SIT
|
|
|
|
(on the chair)
|
|
You're now sitting on it.
|
|
|
|
>ORDER FOOD
|
|
|
|
You've bought enough to eat already.
|
|
|
|
>L
|
|
|
|
(cafe)
|
|
Through a blue haze of cigarette smoke, you can see travelers sipping their
|
|
food while waiting for their trains.
|
|
The waitress is here, still waiting.
|
|
|
|
|
|
>Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z.Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 10.10.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 10.20.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 10.30.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 10.40.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 10.50.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 11.00.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 11.10.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 11.20.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 11.30.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 11.40.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 11.50.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 12.00.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 12.10.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 12.20.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 12.30.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 12.40.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 12.50.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 13.00.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 13.10.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 13.20.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 13.30.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 13.40.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 13.50.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 14.00.
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 14.10.
|
|
|
|
>E
|
|
|
|
(You stand up first.)
|
|
(You can't go in that direction.)
|
|
|
|
>S
|
|
|
|
(waiting room)
|
|
[You're facing to the south.]
|
|
You are standing in the railway station. You can see a cafe on the north side
|
|
and the ticket counter on the south. The street is west. The place is crowded
|
|
with people.
|
|
|
|
>E
|
|
|
|
(platform)
|
|
[You're facing to the east.]
|
|
You are standing on the concrete platform of the Frbz 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
|
|
are the train tracks. The place is crowded with people milling about, searching
|
|
for a certain passenger or the right car, or simply waiting.
|
|
The guard is off to the north.
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 14.22.
|
|
|
|
>E
|
|
|
|
Walking on the tracks looks too dangerous!
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 14.33.
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 14.43.
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 14.53.
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 15.03.
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 15.13.
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 15.23.
|
|
|
|
>DIAGNOSE
|
|
|
|
You're wide awake and in good health.
|
|
|
|
>SLEEP
|
|
|
|
As you wish....
|
|
|
|
You shake your head and come to.
|
|
|
|
>SLEEP
|
|
|
|
As you wish....
|
|
|
|
You shake your head and come to.
|
|
|
|
>DIAGNOSE
|
|
|
|
You're wide awake and in good health.
|
|
|
|
>RESTORE
|
|
|
|
From file: 2.SL1.1Okay.
|
|
(first compartment)
|
|
[You're facing to the left side of the train.]
|
|
You notice some graffitti on the wall.
|
|
The regal woman closes the briefcase latch.
|
|
A spot of blood is still on the floor.
|
|
|
|
>SEARCH WOMAN
|
|
|
|
She pushes you away and mutters, "A lizmrk quidjerfrp."
|
|
She turns the briefcase latch.
|
|
|
|
>SHOOT WOMAN
|
|
|
|
(with the gun)
|
|
She drops the briefcase and slumps on the floor.
|
|
|
|
>SEARCH WOMAN
|
|
|
|
You don't find anything interesting.
|
|
|
|
>GET CASE
|
|
|
|
You are now holding it.
|
|
|
|
>L UNDER SEAT
|
|
|
|
There's nothing under the seat.
|
|
|
|
>L ON FLOOR
|
|
|
|
The train lurches a bit.
|
|
You don't find anything new there.
|
|
|
|
>E
|
|
|
|
(You open the compartment door and close it again.)
|
|
|
|
(forward end)
|
|
[You're facing to the right side of the train.]
|
|
The thin woman is off to the rear.
|
|
|
|
>S
|
|
|
|
The train lurches a bit.
|
|
|
|
(forward middle)
|
|
[You're facing to the rear.]
|
|
The old woman is in the second compartment.
|
|
The thin woman is off to the rear.
|
|
|
|
>S
|
|
|
|
(middle)
|
|
The girl is in the third compartment.
|
|
The thin woman is here, still smoking a cigarette.
|
|
|
|
>S
|
|
|
|
|
|
(rear middle)
|
|
The old man is in the fourth compartment.
|
|
The train is now hurtling through a dark tunnel.
|
|
|
|
>S
|
|
|
|
|
|
(rear end)
|
|
The fat man is in the fifth compartment.
|
|
|
|
>S
|
|
|
|
(You open the swinging door and close it again.)
|
|
(rear vestibule)
|
|
|
|
>E
|
|
|
|
(You open the restroom door and close it again.)
|
|
(rear restroom)
|
|
As you'd expect, the restroom is tidy but small, almost too small for comfort.
|
|
But it does have the usual fixtures.
|
|
|
|
>LOCK DOOR
|
|
|
|
Okay, it is now locked.
|
|
|
|
>PUT GUN IN TOILET
|
|
|
|
Okay.
|
|
|
|
>FLUSH TOILET
|
|
|
|
Say goodbye to the gun. "Whhoooossshhhhh!"
|
|
|
|
>SIT ON TOILET
|
|
|
|
The train lurches a bit.
|
|
You're now sitting on it.
|
|
|
|
>SHIT
|
|
|
|
(Hey, save that talk for the locker room!)
|
|
|
|
>OPEN LATCH
|
|
|
|
The metal latch snaps open. At the same time, a loud thump comes from within
|
|
the briefcase.
|
|
|
|
>CLOSE LATCH
|
|
|
|
Okay, it is now closed.
|
|
|
|
>TURN LATCH
|
|
|
|
A mechanical click comes from within the briefcase.
|
|
|
|
>OPEN LATCH
|
|
|
|
The metal latch snaps open.
|
|
|
|
>OPEN CASE
|
|
|
|
Opening it reveals a scrap of newsprint, a magnifying glass, a cassette of
|
|
film, and a miniature camera.
|
|
|
|
>GET SCRAP
|
|
|
|
You are now holding it.
|
|
|
|
>L AT SCRAP CAREFULL
|
|
|
|
(I don't know the word "carefull".)
|
|
|
|
>L AT SCRAP CAREFULLY
|
|
|
|
There are some shiny lines on the scrap of newsprint, maybe invisible ink.
|
|
|
|
>L AT LINES
|
|
|
|
(Sorry, but the word "lines" is not in the vocabulary that you can use.)
|
|
|
|
>READ INK
|
|
|
|
(You don't need to use the word "ink" to finish this story.)
|
|
|
|
>READ SCRAP
|
|
|
|
There doesn't seem to be anything written on the scrap of newsprint.
|
|
|
|
>READ SCRAP CAREFULLY
|
|
|
|
There are some shiny lines on the scrap of newsprint, maybe invisible ink.
|
|
|
|
>HOLD UP SCRAP
|
|
|
|
That doesn't seem to help at all.
|
|
|
|
>]]]]]]I
|
|
|
|
(I don't know the word "]]]]]]i".)
|
|
|
|
>E
|
|
|
|
(You close the briefcase and stand up first.)
|
|
(You can't go in that direction.)
|
|
|
|
>W
|
|
|
|
(You unlock and open the restroom door and close it again.)
|
|
(rear vestibule)
|
|
[You're facing to the left side of the train.]
|
|
The train is now rocketing past a wild meadow.
|
|
The air fills with the high-pitched whine of metal on metal, and you are thrown
|
|
violently forward as the train comes to an emergency stop.
|
|
|
|
>I
|
|
|
|
You're holding a scrap of newsprint, a briefcase, and your ticket.
|
|
And there's something in your pocket.
|
|
|
|
>S
|
|
|
|
[Debugging info: you are entering car #3.]
|
|
(forward vestibule)
|
|
[You're facing to the rear.]
|
|
This is a small vestibule at the forward end of the car. It's just like the
|
|
rear vestibule, but with no steps or ladder.
|
|
|
|
>S
|
|
|
|
(You open the swinging door and close it again.)
|
|
The smell of food is unmistakable.
|
|
(forward end)
|
|
This is the forward end of the corridor. On the left side of the train lies the
|
|
first booth.
|
|
The attractive woman is in the first booth.
|
|
A cook is off to the rear.
|
|
|
|
>W
|
|
|
|
(first booth)
|
|
[You're facing to the left side of the train.]
|
|
This is a diner booth on the Glrp-Wien Express. In fact, it looks as if the
|
|
railway company just converted a first-class coach into a diner by removing the
|
|
door and adding a table to each compartment.
|
|
The train is stopped at the edge of a wild meadow.
|
|
The attractive woman is here, gazing out the window.
|
|
|
|
>L WOMAN
|
|
|
|
(I assume you mean: look at her, not look in her nor look for her nor any other
|
|
preposition.)
|
|
She looks almost too good for a nowhere country like this: sparkling eyes, good
|
|
bone structure, clear skin, tall and smooth. Of course, it's hard to tell
|
|
whether or not she can think in complete sentences.
|
|
|
|
>KISS WOMAN
|
|
|
|
She slaps you right back. Wow, is your face red!
|
|
A whistle sounds, and the train briefly shudders and starts moving again.
|
|
|
|
>SLAP WOMAN
|
|
|
|
The train lurches a bit.
|
|
She slumps on the floor.
|
|
|
|
>L WOMAN
|
|
|
|
The train lurches a bit.
|
|
(I assume you mean: look at her, not look in her nor look for her nor any other
|
|
preposition.)
|
|
She looks almost too good for a nowhere country like this: sparkling eyes, good
|
|
bone structure, clear skin, tall and smooth. Of course, it's hard to tell
|
|
whether or not she can think in complete sentences.
|
|
And she is out cold.
|
|
A waiter enters, ready to take your order.
|
|
|
|
>ORDER FOOD
|
|
|
|
The waiter returns in an instant with a plate of thin gruel and takes *1 from
|
|
you.
|
|
|
|
>EAT FOOD
|
|
|
|
(taking the plate of thin gruel first)
|
|
It's pungent but not very flavorful. You've had better in some mighty dank
|
|
corners of the world.
|
|
|
|
>DROP PLATE ON TABLE
|
|
|
|
(Which table do you mean, the dining table or the timetable?)
|
|
|
|
>DINING
|
|
|
|
Okay.
|
|
|
|
>PUT SCRAP IN FOOD
|
|
|
|
What a mess that would make!
|
|
|
|
>PUT FOOD ON SCRAP
|
|
|
|
(taking the plate of thin gruel first)
|
|
What a mess that would make!
|
|
|
|
>E
|
|
|
|
|
|
(forward end)
|
|
[You're facing to the right side of the train.]
|
|
|
|
>S
|
|
|
|
|
|
(forward middle)
|
|
[You're facing to the rear.]
|
|
This is the forward middle of the corridor. On the left side of the train lies
|
|
the second booth.
|
|
|
|
>S
|
|
|
|
(middle)
|
|
This is the middle of the corridor. On the left side of the train lies the
|
|
third booth.
|
|
|
|
>S
|
|
|
|
|
|
(rear middle)
|
|
This is the rear middle of the corridor. On the left side of the train lies the
|
|
pantry.
|
|
|
|
>S
|
|
|
|
|
|
(rear end)
|
|
This is the rear end of the corridor. On the left side of the train lies the
|
|
galley.
|
|
The cook is in the galley.
|
|
|
|
>N
|
|
|
|
|
|
(rear middle)
|
|
[You're facing to the front.]
|
|
|
|
>W
|
|
|
|
(pantry)
|
|
[You're facing to the left side of the train.]
|
|
The pantry is crowded with supplies and equipment. The locked cabinets are
|
|
probably filled with dishes, tableware, and napkins. If you want to find
|
|
something, you'll have to search for it.
|
|
|
|
>SEARCH FOR KNIFE
|
|
|
|
It's probably in the galley.
|
|
|
|
>SEARCH FOR PEN
|
|
|
|
It's far away from here.
|
|
|
|
>SEARCH FOR MATCHES
|
|
|
|
(Sorry, but this story doesn't recognize the word "matches".)
|
|
|
|
>SEARCH FOR LIGHTER
|
|
|
|
It's far away from here.
|
|
|
|
>SEARCH FOR NEWSPAPER
|
|
|
|
It's far away from here.
|
|
|
|
>E
|
|
|
|
|
|
(rear middle)
|
|
[You're facing to the right side of the train.]
|
|
A young man is off to the front, heading away from you.
|
|
|
|
>N
|
|
|
|
(middle)
|
|
[You're facing to the front.]
|
|
The young man is off to the front, heading away from you.
|
|
|
|
>N
|
|
|
|
|
|
(forward middle)
|
|
The young man, off to the front, opens the swinging door for a moment and
|
|
disappears to the front.
|
|
|
|
>N
|
|
|
|
The train lurches a bit.
|
|
|
|
(forward end)
|
|
The waiter and the attractive woman are in the first booth.
|
|
|
|
>W
|
|
|
|
(first booth)
|
|
[You're facing to the left side of the train.]
|
|
The waiter is here, waiting for your order.
|
|
The attractive woman is here, looking at you with suspicion.
|
|
He enters, ready to take your order.
|
|
|
|
>E
|
|
|
|
|
|
(forward end)
|
|
[You're facing to the right side of the train.]
|
|
|
|
>W
|
|
|
|
(first booth)
|
|
[You're facing to the left side of the train.]
|
|
The waiter is here, waiting for your order.
|
|
The attractive woman is here, still looking at you with suspicion.
|
|
He enters, ready to take your order.
|
|
|
|
>;WAITER BUG
|
|
|
|
GET PEN FROM WAITER
|
|
|
|
(You can't see any pen here!)
|
|
|
|
>GET PENCIL FROM WAITER
|
|
|
|
(You don't need to use the word "pencil" to finish this story.)
|
|
|
|
>GIVE WAITER *20
|
|
|
|
He accepts your gift and smiles broadly.
|
|
|
|
>GET ALL FROM WAITER
|
|
|
|
(Please be more specific.)
|
|
|
|
>GET LIGHTER
|
|
|
|
(You can't see any lighter here!)
|
|
|
|
>GET PEN
|
|
|
|
(You can't see any pen here!)
|
|
|
|
>GET LIGHT
|
|
|
|
(You can't see any light here.)
|
|
|
|
>SEARCH WAITER
|
|
|
|
He pushes you away and mutters, "I vubstevnetsnosh qwa?"
|
|
The train begins to slow down a bit.
|
|
|
|
>BRIBE WAITER
|
|
|
|
(What do you want to bribe the waiter with?)
|
|
|
|
>GET ALL FROM WAITER
|
|
|
|
(Please be more specific.)
|
|
|
|
>L WAITER
|
|
|
|
(I assume you mean: look at him, not look in him nor look for him nor any other
|
|
preposition.)
|
|
His bushy black moustache and neatly combed hair go perfectly with his black
|
|
formal jacket and bow tie, but his floor-length apron has seen better days and
|
|
a few spills already on this trip.
|
|
|
|
>E
|
|
|
|
The train lurches a bit.
|
|
|
|
(forward end)
|
|
[You're facing to the right side of the train.]
|
|
|
|
The conductor cries, "Frbz," and the train glides to a halt in the station.
|
|
|
|
>N
|
|
|
|
(You open the swinging door and close it again.)
|
|
(forward vestibule)
|
|
[You're facing to the front.]
|
|
|
|
>W
|
|
|
|
(You can't go in that direction.)
|
|
|
|
>N
|
|
|
|
[Debugging info: you are entering car #2.]
|
|
(rear vestibule)
|
|
|
|
>W
|
|
|
|
(platform)
|
|
[You're facing to the west.]
|
|
You are standing on the concrete platform of the Frbz railway station. A
|
|
cantilevered roof looms overhead, with occasional drops of rain water falling
|
|
from its edge. To the west is the women's restroom. To the east is a passenger
|
|
train, the Glrp-Wien 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 a middle-aged couple here,
|
|
looking up and down the platform.
|
|
The conductor walks past you from the south.
|
|
|
|
>W
|
|
|
|
(women's restroom)
|
|
This restroom is impressively tidy. That's a good thing, because it's one of
|
|
the only pair in the whole station.
|
|
|
|
>E
|
|
|
|
(platform)
|
|
[You're facing to the east.]
|
|
The middle-aged couple are here, still looking up and down the platform.
|
|
|
|
>N
|
|
|
|
[Debugging info: you are entering platform #1.]
|
|
(platform)
|
|
[You're facing to the north.]
|
|
One part of the crowd catches your eye: There's a guard here, looking up and
|
|
down the platform.
|
|
|
|
>W
|
|
|
|
(men's restroom)
|
|
[You're facing to the west.]
|
|
This restroom is impressively tidy. That's a good thing, because it's one of
|
|
the only pair in the whole station.
|
|
|
|
>E
|
|
|
|
(platform)
|
|
[You're facing to the east.]
|
|
The guard is here, still looking up and down the platform.
|
|
|
|
>L GUARD
|
|
|
|
(I assume you mean: look at her, not look in her nor look for her nor any other
|
|
preposition.)
|
|
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.
|
|
|
|
>S
|
|
|
|
[Debugging info: you are entering platform #2.]
|
|
(platform)
|
|
[You're facing to the south.]
|
|
|
|
>S
|
|
|
|
[Debugging info: you are entering platform #3.]
|
|
(platform)
|
|
One part of the crowd catches your eye: There's an old man here, re-arranging
|
|
luggage.
|
|
|
|
>L LUGGAGE
|
|
|
|
(I assume you mean: look at it, not look in it nor look for it nor any other
|
|
preposition.)
|
|
Yup. That's a bunch of luggage, all right.
|
|
|
|
>L MAN
|
|
|
|
(I assume you mean: look at him, not look in him nor look for him nor any other
|
|
preposition.)
|
|
He is dressed for a holiday, in shades of gray, with facial sores. He has a
|
|
birthmark on one cheek like a wine stain.
|
|
|
|
>W
|
|
|
|
(waiting room)
|
|
[You're facing to the west.]
|
|
You are standing in the railway station. You can see a cafe on the north side
|
|
and the ticket counter on the south. The street is west. The place is crowded
|
|
with people.
|
|
|
|
>S
|
|
|
|
(ticket area)
|
|
[You're facing to the south.]
|
|
There's a clerk here, reading a newspaper.
|
|
|
|
>L NEWSPAPER
|
|
|
|
(You can't see any newspaper here!)
|
|
|
|
>; DESCRIPTION BUG
|
|
|
|
L CLERK
|
|
|
|
(I assume you mean: look at him, not look in him nor look for him nor any other
|
|
preposition.)
|
|
He has the uniform jacket of the Frotzian Railway, and a tie worn loosely with
|
|
an open collar, but blue jeans below. It seems a sensible outfit for both
|
|
selling tickets and hauling luggage.
|
|
|
|
>L BEHIND COUNTER
|
|
|
|
There's nothing behind it.
|
|
|
|
>L ON COUNTER
|
|
|
|
There's nothing on it.
|
|
|
|
>L IN COUNTER
|
|
|
|
There's nothing on it.
|
|
|
|
>; ON - IN BUG
|
|
|
|
GIVE *20 TO MAN
|
|
|
|
(You can't see any man here!)
|
|
|
|
>GIVE *20 TO CLERK
|
|
|
|
He accepts your gift and smiles broadly.
|
|
The train whistle blows once, and the conductor cries, "Gormnash floogle
|
|
nomnets!"
|
|
|
|
>GET ALL
|
|
|
|
(Please be more specific.)
|
|
|
|
>GET LIGHTER
|
|
|
|
(You can't see any lighter here!)
|
|
|
|
>E
|
|
|
|
(You can't go in that direction.)
|
|
|
|
>S
|
|
|
|
(You can't go in that direction.)
|
|
|
|
>N
|
|
|
|
(waiting room)
|
|
[You're facing to the north.]
|
|
|
|
>E
|
|
|
|
(platform)
|
|
[You're facing to the east.]
|
|
A young woman is off to the south.
|
|
The guard is off to the north.
|
|
|
|
>E
|
|
|
|
(rear vestibule)
|
|
A cigarette machine stands in one corner, waiting to be either used or
|
|
discarded -- it's hard to say which.
|
|
The train slowly pulls out of Frbz station.
|
|
|
|
>L MACHINE
|
|
|
|
The train lurches a bit.
|
|
(I assume you mean: look at it, not look in it nor look for it nor any other
|
|
preposition.)
|
|
The plastic panel is so scratched and grimy that you can barely see the display
|
|
of cigarette packs inside.
|
|
|
|
>PUT *1 IN MACHINE
|
|
|
|
"Whizz, burr, click!" Nothing else happens.
|
|
The train is now rocketing past a small town.
|
|
|
|
>KICK MACHINE
|
|
|
|
It seems that someone else beat you to it.
|
|
|
|
>HIT MACHINE
|
|
|
|
"Whirr, buzz, click!" Nothing else happens.
|
|
|
|
>L IN MACHINE
|
|
|
|
The plastic panel is so scratched and grimy that you can barely see the display
|
|
of cigarette packs inside.
|
|
|
|
>EXAMINE PANEL
|
|
|
|
The plastic panel is so scratched and grimy that you can barely see the display
|
|
of cigarette packs inside.
|
|
|
|
>GET MATCHES
|
|
|
|
(I don't know the word "matches".)
|
|
|
|
>GET ALL
|
|
|
|
(Please be more specific.)
|
|
|
|
>OPEN MACHINE
|
|
|
|
(You can't open it.)
|
|
|
|
>SHAKE MACHINE
|
|
|
|
"Whizz, burr, click!" Nothing else happens.
|
|
|
|
>COUNT MONEY
|
|
|
|
You are carrying *7.
|
|
|
|
>PUT *9 IN MACHINE
|
|
|
|
(You don't seem to be holding the number!)
|
|
|
|
>; DESCRIPTION BUG
|
|
|
|
PUT *5 IN MACHINE
|
|
|
|
"Whirr, buzz, click!" Nothing else happens.
|
|
|
|
>PUT *ALL IN MACHINE
|
|
|
|
(Sorry, but the word "*all" is not in the vocabulary that you can use.)
|
|
|
|
>PUT *1 IN MACHINE
|
|
|
|
"Whirr, buzz, click!" Nothing else happens.
|
|
|
|
>G
|
|
|
|
"Whirr, buzz, click!" Nothing else happens.
|
|
|
|
>G
|
|
|
|
(You can't pick up it.)
|
|
|
|
>PUT *1 IN MACHINE
|
|
|
|
(You don't seem to be holding the number!)
|
|
|
|
>;I RAN OUT OF MONEY!
|
|
|
|
L IN POCKET
|
|
|
|
Your pocket contains a timetable, a traveler's check, and your passport.
|
|
|
|
>COUNT MONEY
|
|
|
|
(You can't see money here.)
|
|
|
|
>L CHECK
|
|
|
|
(I assume you mean: look at it, not look in it nor look for it nor any other
|
|
preposition.)
|
|
It's your last $10 Mariners' Trust traveler's check, "accepted and even revered
|
|
the world over."
|
|
A young man opens the swinging door for a moment and walks past you from the
|
|
front.
|
|
|
|
>I
|
|
|
|
You're holding a plate of thin gruel, a scrap of newsprint, a briefcase, and
|
|
your ticket.
|
|
And there's something in your pocket.
|
|
The young man heads off to the rear.
|
|
|
|
>N
|
|
|
|
(You open the swinging door and close it again.)
|
|
The relative quiet here is welcome.
|
|
(rear end)
|
|
[You're facing to the front.]
|
|
The cook is in the galley.
|
|
|
|
>N
|
|
|
|
|
|
(rear middle)
|
|
|
|
>N
|
|
|
|
(middle)
|
|
|
|
>S
|
|
|
|
|
|
(rear middle)
|
|
[You're facing to the rear.]
|
|
|
|
>W
|
|
|
|
(pantry)
|
|
[You're facing to the left side of the train.]
|
|
The train is now hurtling along a barren stubble-plain.
|
|
|
|
>L
|
|
|
|
(pantry)
|
|
(You're facing to the left side of the train, but you look in all directions
|
|
for a moment.)
|
|
The pantry is crowded with supplies and equipment. The locked cabinets are
|
|
probably filled with dishes, tableware, and napkins. If you want to find
|
|
something, you'll have to search for it.
|
|
|
|
|
|
>GET DISH
|
|
|
|
(You already have it!)
|
|
|
|
>DROP DISH
|
|
|
|
Okay, it is now on the floor.
|
|
|
|
>GET NAPKIN
|
|
|
|
You haven't found a white napkin yet!
|
|
|
|
>SEARCH FOR NAPKIN
|
|
|
|
You find a white napkin in short order and take it.
|
|
|
|
>SEARCH FOR TABLEWARE
|
|
|
|
(Sorry, but this story doesn't recognize the word "tableware".)
|
|
|
|
>L
|
|
|
|
(pantry)
|
|
(You're facing to the left side of the train, but you look in all directions
|
|
for a moment.)
|
|
The pantry is crowded with supplies and equipment. The locked cabinets are
|
|
probably filled with dishes, tableware, and napkins. If you want to find
|
|
something, you'll have to search for it.
|
|
There's a plate of thin gruel on the floor.
|
|
|
|
|
|
>GET DISH
|
|
|
|
You are now holding it.
|
|
|
|
>I
|
|
|
|
You're holding a plate of thin gruel, a white napkin, a scrap of newsprint, a
|
|
briefcase, and your ticket.
|
|
And there's something in your pocket.
|
|
|
|
The conductor appears and makes a gesture, asking for your ticket.
|
|
|
|
>E
|
|
|
|
|
|
(rear middle)
|
|
[You're facing to the right side of the train.]
|
|
|
|
The conductor appears and makes a gesture, asking for your ticket.
|
|
|
|
>GIVE TICKET TO CONDUCTOR
|
|
|
|
The conductor punches your ticket and then gives it back to you.
|
|
|
|
>GIVE DISH TO CONDUCTOR
|
|
|
|
(You can't see any conductor here!)
|
|
|
|
>DROP DISH
|
|
|
|
Okay, it is now on the floor.
|
|
|
|
>W
|
|
|
|
(pantry)
|
|
[You're facing to the left side of the train.]
|
|
|
|
>SEARCH FOR DISH
|
|
|
|
It's probably in the rear middle.
|
|
|
|
>E
|
|
|
|
|
|
(rear middle)
|
|
[You're facing to the right side of the train.]
|
|
There's a plate of thin gruel on the floor.
|
|
|
|
>S
|
|
|
|
|
|
(rear end)
|
|
[You're facing to the rear.]
|
|
The cook is in the galley.
|
|
|
|
>W
|
|
|
|
The train lurches a bit.
|
|
(galley)
|
|
[You're facing to the left side of the train.]
|
|
The galley is crowded with supplies and equipment. The locked cabinets are
|
|
probably filled with food, kettles, and kitchen tools. There's a crowded
|
|
counter for preparing food. If you want to find something, you'll have to
|
|
search for it.
|
|
The cook is here, looking at you with suspicion.
|
|
He makes a pushing motion with one hand and points forward with the other. He
|
|
seems angry that you're invading his space.
|
|
|
|
>SEARCH FOR KNIFE
|
|
|
|
The cook says, "Yzrk gormnibob frob?"
|
|
He makes a pushing motion with one hand and points forward with the other. He
|
|
seems angry that you're invading his space.
|
|
|
|
>SEARCH FOR LIGHTER
|
|
|
|
It's far away from here.
|
|
The cook makes a pushing motion with one hand and points forward with the
|
|
other. He seems angry that you're invading his space.
|
|
|
|
>E
|
|
|
|
|
|
(rear end)
|
|
[You're facing to the right side of the train.]
|
|
|
|
>S
|
|
|
|
(You open the swinging door and close it again.)
|
|
(rear vestibule)
|
|
[You're facing to the rear.]
|
|
The young man is here, walking along. He opens the swinging door for a moment
|
|
and heads off to the front.
|
|
|
|
>S
|
|
|
|
[Debugging info: you are entering car #4.]
|
|
(forward vestibule)
|
|
The train is now steaming along the edge of a rocky precipice.
|
|
|
|
>S
|
|
|
|
(You open the swinging door and close it again.)
|
|
The relative quiet here is welcome.
|
|
(forward end)
|
|
|
|
>S
|
|
|
|
|
|
(forward middle)
|
|
|
|
>S
|
|
|
|
(middle)
|
|
|
|
>S
|
|
|
|
|
|
(rear middle)
|
|
|
|
>S
|
|
|
|
|
|
(rear end)
|
|
A boy is in the fifth compartment.
|
|
|
|
>S
|
|
|
|
(You open the swinging door and close it again.)
|
|
(rear vestibule)
|
|
|
|
>S
|
|
|
|
[Debugging info: you are entering car #5.]
|
|
(forward vestibule)
|
|
|
|
>S
|
|
|
|
(You open the swinging door and close it again.)
|
|
The relative quiet here is welcome.
|
|
(forward end)
|
|
A thin man is in the first compartment.
|
|
An old couple are off to the rear.
|
|
|
|
>S
|
|
|
|
|
|
(forward middle)
|
|
The old couple are here, gazing out the window.
|
|
|
|
>S
|
|
|
|
The train lurches a bit.
|
|
(middle)
|
|
|
|
>S
|
|
|
|
|
|
(rear middle)
|
|
|
|
>S
|
|
|
|
The train lurches a bit.
|
|
|
|
(rear end)
|
|
|
|
>S
|
|
|
|
(You open the swinging door and close it again.)
|
|
(rear vestibule)
|
|
|
|
>S
|
|
|
|
(This is the last car of the train.)
|
|
|
|
>S
|
|
|
|
(This is the last car of the train.)
|
|
|
|
>U
|
|
|
|
The rungs of the ladder are cold, the wind fierce, and the train bucks like a
|
|
wild animal, but somehow you manage to make it to the roof. Your sense of
|
|
satisfaction, however, is short-lived when you notice that the train is rapidly
|
|
approaching a tunnel.
|
|
(roof)
|
|
|
|
>S
|
|
|
|
(This is the last car of the train.)
|
|
|
|
>D
|
|
|
|
(rear vestibule)
|
|
|
|
>N
|
|
|
|
The train lurches a bit.
|
|
(You open the swinging door and close it again.)
|
|
The relative quiet here is welcome.
|
|
(rear end)
|
|
[You're facing to the front.]
|
|
The old couple are off to the front.
|
|
A young couple, off to the front, open the swinging door for a moment and
|
|
disappear to the front.
|
|
The train is now racing through a dark tunnel.
|
|
|
|
>N
|
|
|
|
|
|
(rear middle)
|
|
The old couple are off to the front.
|
|
|
|
>N
|
|
|
|
(middle)
|
|
The old couple are off to the front.
|
|
|
|
>N
|
|
|
|
The train lurches a bit.
|
|
|
|
(forward middle)
|
|
The old couple are here, still gazing out the window.
|
|
|
|
>N
|
|
|
|
|
|
(forward end)
|
|
The thin man is in the first compartment.
|
|
|
|
>N
|
|
|
|
(You open the swinging door and close it again.)
|
|
(forward vestibule)
|
|
The train begins to slow down a bit.
|
|
|
|
>N
|
|
|
|
[Debugging info: you are entering car #4.]
|
|
(rear vestibule)
|
|
|
|
>N
|
|
|
|
(You open the swinging door and close it again.)
|
|
The relative quiet here is welcome.
|
|
(rear end)
|
|
A boy and the young couple are in the fifth compartment.
|
|
|
|
The conductor cries, "Knut," and the train glides to a halt in the station.
|
|
|
|
>W
|
|
|
|
(You open the compartment door and close it again.)
|
|
(fifth compartment)
|
|
[You're facing to the left side of the train.]
|
|
The boy is here, smoking a cigarette.
|
|
The young couple are here, exchanging kisses.
|
|
|
|
>E
|
|
|
|
(You open the compartment door and close it again.)
|
|
|
|
(rear end)
|
|
[You're facing to the right side of the train.]
|
|
The old couple are off to the front, heading away from you.
|
|
|
|
>S
|
|
|
|
(You open the swinging door and close it again.)
|
|
(rear vestibule)
|
|
[You're facing to the rear.]
|
|
|
|
>W
|
|
|
|
As you reach the platform, a police officer seizes you, searches you, and
|
|
arrests you for the murder of the regal woman. For years and years, you
|
|
languish in prison, awaiting trial and wishing you had disposed of the body.
|
|
|
|
|
|
Would you like to:
|
|
RESTORE your place from where you saved it,
|
|
RESTART the story from the beginning, or
|
|
QUIT for now?
|
|
>RESTOR
|
|
|
|
From file: (Sorry, but it didn't work. Maybe your instruction manual or Reference Card can
|
|
tell you why.)
|
|
|
|
|
|
Would you like to:
|
|
RESTORE your place from where you saved it,
|
|
RESTART the story from the beginning, or
|
|
QUIT for now?
|
|
>RESTORE
|
|
|
|
From file: 2.SL1.1Okay.
|
|
(first compartment)
|
|
[You're facing to the left side of the train.]
|
|
You notice some graffitti on the wall.
|
|
The regal woman closes the briefcase latch.
|
|
A spot of blood is still on the floor.
|
|
|
|
>SHOOT WOMAN
|
|
|
|
(with the gun)
|
|
She drops the briefcase and slumps on the floor.
|
|
|
|
>GET WOMAN
|
|
|
|
You try to pick up the body, but your ticket keeps getting in the way.
|
|
|
|
>GET BODY
|
|
|
|
(You can't see any dead body here.)
|
|
|
|
>L
|
|
|
|
(first compartment)
|
|
(You're facing to the left side of the train, but you look in all directions
|
|
for a moment.)
|
|
This is a once-luxurious first-class compartment on the Glrp-Wien Express. The
|
|
plush red upholstery on the two facing seats, shiny and worn in spots, and the
|
|
greasy lace on the headrests, give the car an air of faded elegance. A red
|
|
handle is hanging by a short length of cord from the ceiling, swinging in time
|
|
to the train's rocking motion. The corridor is outside, past a window with a
|
|
red curtain on it.
|
|
The train is hurtling past a dark, violent river.
|
|
You notice some graffitti on the wall.
|
|
A black briefcase with a chrome latch is here, closed.
|
|
The regal woman is here, dead.
|
|
A spot of blood is still on the floor.
|
|
|
|
|
|
>READ GRAFFITTI
|
|
|
|
(Sorry, but the word "graffitti" is not in the vocabulary that you can use.)
|
|
|
|
>;DESCRIPTION BUG
|
|
|
|
L WOMAN
|
|
|
|
(I assume you mean: look at it, not look in it nor look for it nor any other
|
|
preposition.)
|
|
She was clearly beautiful as a young woman. Now her heavy make-up and cologne,
|
|
her fur piece and black net veil make her beauty a matter of personal
|
|
preference.
|
|
And the regal woman is dead.
|
|
|
|
>GET WOMAN
|
|
|
|
You try to pick up the body, but your ticket keeps getting in the way.
|
|
|
|
>DROPALL
|
|
|
|
(Sorry, but this story doesn't recognize the word "dropall".)
|
|
|
|
>DROPALL
|
|
|
|
(Sorry, but the word "dropall" is not in the vocabulary that you can use.)
|
|
|
|
>DROP ALL
|
|
|
|
your ticket: Okay, it is now on the floor.
|
|
|
|
>GET BODY
|
|
|
|
(You can't see any dead body here.)
|
|
|
|
>GET WOMAN
|
|
|
|
You try to pick up the body, but your pocket keeps getting in the way.
|
|
|
|
>DROP POCKET
|
|
|
|
Not bloody likely.
|
|
|
|
>PUT BODY IN POCKET
|
|
|
|
(You don't seem to be holding the dead body!)
|
|
|
|
>GET WOMAN
|
|
|
|
You try to pick up the body, but your pocket keeps getting in the way.
|
|
|
|
>RESTORE
|
|
|
|
From file: 2.SL1.1Okay.
|
|
(first compartment)
|
|
[You're facing to the left side of the train.]
|
|
You notice some graffitti on the wall.
|
|
The regal woman closes the briefcase latch.
|
|
A spot of blood is still on the floor.
|
|
|
|
>SLAP WOMAN
|
|
|
|
She blocks your thrust and knocks you unconscious....
|
|
|
|
You shake your head and come to.
|
|
|
|
>L
|
|
|
|
(first compartment)
|
|
(You're facing to the left side of the train, but you look in all directions
|
|
for a moment.)
|
|
This is a once-luxurious first-class compartment on the Glrp-Wien Express. The
|
|
plush red upholstery on the two facing seats, shiny and worn in spots, and the
|
|
greasy lace on the headrests, give the car an air of faded elegance. A red
|
|
handle is hanging by a short length of cord from the ceiling, swinging in time
|
|
to the train's rocking motion. The corridor is outside, past a window with a
|
|
red curtain on it.
|
|
The train is rocketing through a dark tunnel.
|
|
You notice some graffitti on the wall.
|
|
A spot of blood is still on the floor.
|
|
|
|
|
|
>E
|
|
|
|
(You stand up first.)
|
|
(You open the compartment door and close it again.)
|
|
|
|
(forward end)
|
|
[You're facing to the right side of the train.]
|
|
The thin woman is off to the rear.
|
|
The young couple are off to the rear, heading toward you.
|
|
|
|
>S
|
|
|
|
|
|
(forward middle)
|
|
[You're facing to the rear.]
|
|
The old woman is in the second compartment.
|
|
The thin woman is off to the rear.
|
|
The young couple walk past you from the rear.
|
|
|
|
>S
|
|
|
|
(middle)
|
|
The girl is in the third compartment.
|
|
The thin woman is here, still smoking a cigarette.
|
|
|
|
>S
|
|
|
|
|
|
(rear middle)
|
|
The old man is in the fourth compartment.
|
|
|
|
>S
|
|
|
|
|
|
(rear end)
|
|
The fat man is in the fifth compartment.
|
|
|
|
>S
|
|
|
|
The train lurches a bit.
|
|
(You open the swinging door and close it again.)
|
|
(rear vestibule)
|
|
The regal woman is here, holding the briefcase and waiting.
|
|
|
|
>GET CASE
|
|
|
|
The regal woman holds it more tightly and looks at you defiantly.
|
|
|
|
>GIVE *20 TO WOMAN
|
|
|
|
She accepts your gift and smiles broadly.
|
|
|
|
>GET CASE
|
|
|
|
The regal woman holds it more tightly and looks at you hopefully.
|
|
|
|
>GIVE *20 TO WOMAN
|
|
|
|
She accepts your gift and smiles broadly.
|
|
|
|
>GET CASE
|
|
|
|
The regal woman holds it more tightly and looks at you hopefully.
|
|
|
|
>I
|
|
|
|
The train lurches a bit.
|
|
You're holding your ticket.
|
|
And there's something in your pocket.
|
|
|
|
>GIVE TRAVELLER CHECK TO WOMAN
|
|
|
|
She accepts your gift and smiles briefly.
|
|
|
|
>GET CASE
|
|
|
|
The regal woman holds it more tightly and looks at you hopefully.
|
|
|
|
>SHOOT WOMAN
|
|
|
|
(with the gun)
|
|
She drops the briefcase and slumps on the floor.
|
|
|
|
>GET CASE
|
|
|
|
You are now holding it.
|
|
|
|
>GET WOMAN
|
|
|
|
You try to pick up the body, but the briefcase keeps getting in the way.
|
|
|
|
>DROP ALL
|
|
|
|
briefcase: Okay, it is now on the floor.
|
|
your ticket: Okay, it is now on the floor.
|
|
The train is now speeding past a wild meadow.
|
|
The air fills with the high-pitched whine of metal on metal, and you are thrown
|
|
violently forward as the train comes to an emergency stop.
|
|
|
|
>GET WOMAN
|
|
|
|
You try to pick up the body, but your pocket keeps getting in the way.
|
|
|
|
>OPEN DOOR
|
|
|
|
(Which door do you mean, the restroom door or the swinging door?)
|
|
|
|
>RESTROOM
|
|
|
|
Okay, it is now open.
|
|
|
|
>PUSH BODY IN RESTROOM
|
|
|
|
(Sorry, but I don't understand. Please reword that or try something else.)
|
|
|
|
>;CAN THIS BE DONE?
|
|
|
|
PUSH WOMAN INTO RESTROOM
|
|
|
|
(Sorry, but I don't understand. Please reword that or try something else.)
|
|
|
|
>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.
|
|
|
|
>W
|
|
|
|
(rear vestibule)
|
|
[You're facing to the left side of the train.]
|
|
There's your ticket on the floor.
|
|
A black briefcase with a chrome latch is here, closed.
|
|
The regal woman is here, dead.
|
|
|
|
>DROP ALL
|
|
|
|
(Please be more specific.)
|
|
|
|
>I
|
|
|
|
You are not holding anything. But there's something in your pocket.
|
|
|
|
>GET WOMAN
|
|
|
|
You try to pick up the body, but your pocket keeps getting in the way.
|
|
A whistle sounds, and the train briefly shudders and starts moving again.
|
|
|
|
>GRAB WOMAN
|
|
|
|
You try to pick up the body, but your pocket keeps getting in the way.
|
|
|
|
>GET ALL IN POCKET
|
|
|
|
gun: You are now holding it.
|
|
timetable: You are now holding it.
|
|
your passport: You are now holding it.
|
|
The young couple open the swinging door for a moment and walk past you from the
|
|
front.
|
|
|
|
>DROP ALL
|
|
|
|
your passport: Okay, it is now on the floor.
|
|
timetable: Okay, it is now on the floor.
|
|
gun: Okay, it is now on the floor.
|
|
The young couple head off to the rear.
|
|
|
|
>GET WOMAN
|
|
|
|
You try to pick up the body, but your pocket keeps getting in the way.
|
|
The young couple, off to the rear, open the swinging door for a moment and
|
|
disappear to the rear.
|
|
|
|
>E
|
|
|
|
(rear restroom)
|
|
|
|
>W
|
|
|
|
(rear vestibule)
|
|
[You're facing to the left side of the train.]
|
|
There's a gun on the floor.
|
|
There's a timetable on the floor.
|
|
There's your passport on the floor.
|
|
There's your ticket on the floor.
|
|
A black briefcase with a chrome latch is here, closed.
|
|
The regal woman is here, dead.
|
|
|
|
>GET REGAL
|
|
|
|
(I assume you mean: the regal woman.)
|
|
You try to pick up the body, but your pocket keeps getting in the way.
|
|
|
|
>I
|
|
|
|
You are not holding anything. But there's something in your pocket.
|
|
|
|
>SEARCH WOMAN
|
|
|
|
The train lurches a bit.
|
|
You find a traveler's check and take it.
|
|
|
|
>SEARCH WOMAN
|
|
|
|
You find *40 and take it.
|
|
|
|
>SEARCH WOMAN
|
|
|
|
You find *40 and take it.
|
|
|
|
>SEARCH WOMAN
|
|
|
|
You find *40 and take it.
|
|
|
|
>SEARCH WOMAN
|
|
|
|
You find *40 and take it.
|
|
|
|
>; A VERITABLE MONEY TREE!
|
|
|
|
G
|
|
|
|
The train lurches a bit.
|
|
You find *40 and take it.
|
|
|
|
>G
|
|
|
|
The train lurches a bit.
|
|
You find *40 and take it.
|
|
|
|
>G
|
|
|
|
You find *40 and take it.
|
|
|
|
>COUNT MONEY
|
|
|
|
You are carrying *289.
|
|
|
|
>PUSH WOMAN OFF TRAIN
|
|
|
|
The train lurches a bit.
|
|
Pushing it is a waste of time.
|
|
|
|
>D
|
|
|
|
(The train is moving pretty quickly. If you want to jump, say so.)
|
|
|
|
>THROW WOMAN OFF TRAIN
|
|
|
|
(taking the regal woman first)
|
|
(The window is closed!)
|
|
|
|
>OPEN WOMAN
|
|
|
|
(You can't open it.)
|
|
|
|
>THROW WOMAN OFF TRAIN
|
|
|
|
(The window is closed!)
|
|
|
|
>THROW WOMAN OUT DOOR
|
|
|
|
(Which door do you mean, the restroom door or the swinging door?)
|
|
|
|
>D
|
|
|
|
(The train is moving pretty quickly. If you want to jump, say so.)
|
|
|
|
>U
|
|
|
|
The rungs of the ladder are cold, the wind fierce, and the train bucks like a
|
|
wild animal, but somehow you manage to make it to the roof. Your sense of
|
|
satisfaction, however, is short-lived when you notice that the train is rapidly
|
|
approaching a tunnel.
|
|
(roof)
|
|
|
|
>THROW WOMAN OFF TRAIN
|
|
|
|
The regal woman is gone with the wind.
|
|
|
|
>D
|
|
|
|
(rear vestibule)
|
|
There's a gun on the floor.
|
|
There's a timetable on the floor.
|
|
There's your passport on the floor.
|
|
There's your ticket on the floor.
|
|
A black briefcase with a chrome latch is here, closed.
|
|
Off to the rear the young couple appear from the forward end.
|
|
The train is now racing through a dark tunnel.
|
|
|
|
>GET ALL
|
|
|
|
gun: You are now holding it.
|
|
timetable: You are now holding it.
|
|
your passport: You are now holding it.
|
|
your ticket: You are now holding it.
|
|
briefcase: You are now holding it.
|
|
The young couple walk past you from the rear.
|
|
|
|
>PUT ALL IN POCKET
|
|
|
|
briefcase: There's not enough room.
|
|
your ticket: Okay.
|
|
your passport: Okay.
|
|
timetable: Okay.
|
|
gun: Okay.
|
|
traveler's check: Okay.
|
|
The young couple open the swinging door for a moment and head off to the front.
|
|
|
|
>S
|
|
|
|
[Debugging info: you are entering car #3.]
|
|
(forward vestibule)
|
|
[You're facing to the rear.]
|
|
This is a small vestibule at the forward end of the car. It's just like the
|
|
rear vestibule, but with no steps or ladder.
|
|
|
|
>S
|
|
|
|
(You open the swinging door and close it again.)
|
|
The relative quiet here is welcome. The smell of food is unmistakable.
|
|
(forward end)
|
|
This is the forward end of the corridor. On the left side of the train lies the
|
|
first booth.
|
|
The attractive woman is in the first booth.
|
|
|
|
>S
|
|
|
|
|
|
(forward middle)
|
|
This is the forward middle of the corridor. On the left side of the train lies
|
|
the second booth.
|
|
|
|
>S
|
|
|
|
(middle)
|
|
This is the middle of the corridor. On the left side of the train lies the
|
|
third booth.
|
|
|
|
>S
|
|
|
|
|
|
(rear middle)
|
|
This is the rear middle of the corridor. On the left side of the train lies the
|
|
pantry.
|
|
A waiter is in the pantry.
|
|
|
|
>W
|
|
|
|
(pantry)
|
|
[You're facing to the left side of the train.]
|
|
The pantry is crowded with supplies and equipment. The locked cabinets are
|
|
probably filled with dishes, tableware, and napkins. If you want to find
|
|
something, you'll have to search for it.
|
|
The waiter is here, chewing gum.
|
|
He makes a pushing motion with one hand and points forward with the other. He
|
|
seems angry that you're invading his space.
|
|
|
|
>SEARCH FOR LIGHTER
|
|
|
|
It's far away from here.
|
|
The waiter makes a pushing motion with one hand and points forward with the
|
|
other. He seems angry that you're invading his space.
|
|
The train begins to slow down a bit.
|
|
|
|
>E
|
|
|
|
|
|
(rear middle)
|
|
[You're facing to the right side of the train.]
|
|
|
|
>S
|
|
|
|
|
|
(rear end)
|
|
[You're facing to the rear.]
|
|
This is the rear end of the corridor. On the left side of the train lies the
|
|
galley.
|
|
A cook is in the galley.
|
|
|
|
The conductor cries, "Frbz," and the train glides to a halt in the station.
|
|
|
|
>S
|
|
|
|
(You open the swinging door and close it again.)
|
|
(rear vestibule)
|
|
A cigarette machine stands in one corner, waiting to be either used or
|
|
discarded -- it's hard to say which.
|
|
|
|
>W
|
|
|
|
(platform)
|
|
[You're facing to the west.]
|
|
You are standing on the concrete platform of the Frbz 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 Glrp-Wien 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 couple here, reading a
|
|
newspaper.
|
|
The conductor walks past you from the south.
|
|
|
|
>W
|
|
|
|
(waiting room)
|
|
You are standing in the railway station. You can see a cafe on the north side
|
|
and the ticket counter on the south. The street is west. The place is crowded
|
|
with people.
|
|
|
|
>S
|
|
|
|
(ticket area)
|
|
[You're facing to the south.]
|
|
There's a clerk here, reading a newspaper.
|
|
|
|
>SAVE
|
|
|
|
(In this variation, 1 minute will pass in the story before you can type another
|
|
command. Are you sure you want to SAVE now? >Y
|
|
|
|
Okay.)
|
|
To file: 2.SL2.1Okay.
|
|
|
|
>BUY TICKET
|
|
|
|
(You didn't say where the ticket is for.)
|
|
|
|
>BUY TICKET FOR GOLA
|
|
|
|
The clerk takes your money and stamps your ticket.
|
|
|
|
>I
|
|
|
|
You're holding your ticket, and a briefcase.
|
|
And there's something in your pocket.
|
|
|
|
>L TICKET
|
|
|
|
(I assume you mean: look at it, not look in it nor look for it nor any other
|
|
preposition.)
|
|
All you can make out is the destination: Gola via Knut.
|
|
|
|
>RESTORE
|
|
|
|
From file: 2.SL2.1Okay.
|
|
(ticket area)
|
|
[You're facing to the south.]
|
|
The clerk is here, still reading a newspaper.
|
|
|
|
>L TICKET
|
|
|
|
(I assume you mean: look at it, not look in it nor look for it nor any other
|
|
preposition.)
|
|
All you can make out is the destination: Wien.
|
|
|
|
>RESTART
|
|
|
|
Do you want to start over from the beginning? >Y
|
|
|
|
Copyright (c) 1985 Infocom, Inc. All rights reserved.
|
|
|
|
Welcome to CHECKPOINT (TM) - interactive fiction from Infocom!
|
|
|
|
[Note to testers: this story has the command GO TO, and the concept of not
|
|
being able to see things behind your back. The unit of currency in this story
|
|
is the Frotzian slimpuk, whose symbol is "*".
|
|
|
|
Messages in square brackets [] will not be in the final release.
|
|
Remember: you can shorten your words only to NINE (9) letters.
|
|
But you can use C for COMPARTMENT, V for VESTIBULE, and F for FORWARD.]
|
|
|
|
Do you want the viewpoint of the traveler or the spy? >S
|
|
|
|
Do you want the short variation or the long one? >L
|
|
|
|
Then let the story begin!
|
|
Why did you want to be a spy anyway? You could have had a nice restful job,
|
|
like an air-traffic controller. You could have tended flowers behind a white
|
|
picket fence around your country cottage. At least they could let you grab a
|
|
few winks between one job and the next. But no -- you finish debriefing in some
|
|
dirty little city in Frotzerland, and before you can even find a phone book,
|
|
let alone a hotel, they volunteer you for another assignment.
|
|
|
|
"You've got to intercept a document!" they told you. "Then deliver it to our
|
|
agent in Gola so the leak can be traced. We don't know where it is for sure,
|
|
but we think it's in a briefcase that's leaving town on the next train. You're
|
|
the only agent that's close enough and experienced enough to be sent after it.
|
|
And at the end of the trip, there will be a plane ticket to home waiting for
|
|
you."
|
|
|
|
So that's why you're climbing all over this stupid train. Finding the briefcase
|
|
was easy enough, but the dude carrying it was something else. Even a
|
|
well-placed bullet didn't make him drop. Now, if only he'll take the bait and
|
|
follow you up here, you can .... Wait! Here he comes from the forward end! But
|
|
he's not carrying the case!
|
|
|
|
CHECKPOINT
|
|
Infocom interactive fiction - a story of intrigue
|
|
Copyright (c) 1985 by Infocom, Inc. All rights reserved.
|
|
CHECKPOINT is a trademark of Infocom, Inc.
|
|
Release 12 / Serial number 850403 / Spy's viewpoint, long variation
|
|
|
|
(roof)
|
|
You are on the roof of the train. The wind blows your hair, and the rocking,
|
|
lurching train threatens to buck you right off. It occurs to you that this
|
|
might not be the safest place to be right now.
|
|
The spy is here, preparing to knock you off.
|
|
|
|
|
|
Okay, what do you want to do now?
|
|
>RESTORE
|
|
|
|
From file: (Sorry, but it didn't work. Maybe your instruction manual or Reference Card can
|
|
tell you why.)
|
|
The spy slips but then regains his footing.
|
|
|
|
What next?
|
|
>I
|
|
|
|
You are not holding anything. But there's something in your pocket.
|
|
The spy leaps at you and tries to kick your feet out from under you. You
|
|
respond with your best moves. But after wrestling together for what seems like
|
|
ages, you both reach the edge of the roof and plunge over it!
|
|
|
|
|
|
Would you like to:
|
|
RESTORE your place from where you saved it,
|
|
RESTART the story from the beginning, or
|
|
QUIT for now?
|
|
>RESTORE
|
|
|
|
From file: 2.SL2.1Okay.
|
|
(ticket area)
|
|
[You're facing to the south.]
|
|
The clerk is here, still reading a newspaper.
|
|
|
|
>RESTORE
|
|
|
|
From file: 2.SL1.1Okay.
|
|
(first compartment)
|
|
[You're facing to the left side of the train.]
|
|
You notice some graffitti on the wall.
|
|
The regal woman closes the briefcase latch.
|
|
A spot of blood is still on the floor.
|
|
|
|
>L WOMAN
|
|
|
|
(I assume you mean: look at her, not look in her nor look for her nor any other
|
|
preposition.)
|
|
She was clearly beautiful as a young woman. Now her heavy make-up and cologne,
|
|
her fur piece and black net veil make her beauty a matter of personal
|
|
preference.
|
|
She is holding a briefcase.
|
|
She turns the briefcase latch.
|
|
|
|
>L BRIEFCASE
|
|
|
|
You are not holding it.
|
|
The regal woman picks up it.
|
|
The regal woman, carrying it, opens the compartment door for a moment and
|
|
leaves.
|
|
|
|
>FOLLOW WOMAN
|
|
|
|
(Which woman do you mean, the old woman, the thin woman, the regal woman, or
|
|
the attractive woman?)
|
|
|
|
>REGAL
|
|
|
|
(You can't see any regal woman here.)
|
|
|
|
>E
|
|
|
|
(You open the compartment door and close it again.)
|
|
|
|
(forward end)
|
|
[You're facing to the right side of the train.]
|
|
The thin woman is off to the rear.
|
|
The regal woman is here, holding the briefcase and walking along. She heads off
|
|
to the rear.
|
|
|
|
>S
|
|
|
|
|
|
(forward middle)
|
|
[You're facing to the rear.]
|
|
The old woman is in the second compartment.
|
|
The thin woman is off to the rear.
|
|
The regal woman is here, still holding the briefcase and walking along. She
|
|
heads off to the rear.
|
|
|
|
>S
|
|
|
|
(middle)
|
|
The girl is in the third compartment.
|
|
The thin woman is here, still smoking a cigarette.
|
|
The regal woman is here, still holding the briefcase and walking along. She
|
|
heads off to the rear.
|
|
|
|
>S
|
|
|
|
The train lurches a bit.
|
|
|
|
(rear middle)
|
|
The old man is in the fourth compartment.
|
|
The regal woman is here, still holding the briefcase and walking along. She
|
|
heads off to the rear.
|
|
|
|
>S
|
|
|
|
|
|
(rear end)
|
|
The fat man is in the fifth compartment.
|
|
The regal woman is here, holding the briefcase and looking at you with
|
|
suspicion.
|
|
She opens the swinging door for a moment and heads off to the rear.
|
|
|
|
>S
|
|
|
|
(You open the swinging door and close it again.)
|
|
(rear vestibule)
|
|
The regal woman is here, holding the briefcase and waiting.
|
|
|
|
>S
|
|
|
|
[Debugging info: you are entering car #3.]
|
|
(forward vestibule)
|
|
This is a small vestibule at the forward end of the car. It's just like the
|
|
rear vestibule, but with no steps or ladder.
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The train is now hurtling through a dark tunnel.
|
|
The time is now 10.39.
|
|
|
|
>N
|
|
|
|
[Debugging info: you are entering car #2.]
|
|
(rear vestibule)
|
|
[You're facing to the front.]
|
|
The regal woman is here, still holding the briefcase and waiting.
|
|
|
|
>N
|
|
|
|
(You open the swinging door and close it again.)
|
|
The relative quiet here is welcome.
|
|
(rear end)
|
|
The fat man is in the fifth compartment.
|
|
The thin woman is off to the front.
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 10.51.
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The train is now rocketing past a wild meadow.
|
|
Do you want to keep waiting? >Y
|
|
|
|
The time is now 11.01.
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 11.11.
|
|
|
|
>TURN AROUND
|
|
|
|
Okay, you're now facing to the rear.
|
|
The fat man is in the fifth compartment.
|
|
|
|
>S
|
|
|
|
(You open the swinging door and close it again.)
|
|
(rear vestibule)
|
|
The regal woman is here, still holding the briefcase and walking along.
|
|
>S
|
|
|
|
[Debugging info: you are entering car #3.]
|
|
(forward vestibule)
|
|
|
|
>TURN AROUND
|
|
|
|
Okay, you're now facing to the front.
|
|
The regal woman is off to the front.
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The train begins to slow down a bit.
|
|
Do you want to keep waiting? >N
|
|
|
|
The time is now 11.20.
|
|
|
|
>N
|
|
|
|
The train lurches a bit.
|
|
[Debugging info: you are entering car #2.]
|
|
(rear vestibule)
|
|
The regal woman is here, still holding the briefcase and walking along.
|
|
>L WOMAN
|
|
|
|
(I assume you mean: look at her, not look in her nor look for her nor any other
|
|
preposition.)
|
|
She was clearly beautiful as a young woman. Now her heavy make-up and cologne,
|
|
her fur piece and black net veil make her beauty a matter of personal
|
|
preference.
|
|
She is holding a yellow flower, and a briefcase.
|
|
|
|
The conductor cries, "Frbz," and the train glides to a halt in the station.
|
|
|
|
>L FLOWER
|
|
|
|
(I assume you mean: look at it, not look in it nor look for it nor any other
|
|
preposition.)
|
|
You haven't found a blue flower yet!
|
|
|
|
>; DESCRIPTION BUG
|
|
|
|
SMELL YELLOW FLOWER
|
|
|
|
It smells just like a yellow flower!
|
|
The regal woman heads off to out of view.
|
|
She heads down the steps.
|
|
|
|
>D
|
|
|
|
(platform)
|
|
[You're facing to the west.]
|
|
You are standing on the concrete platform of the Frbz railway station. A
|
|
cantilevered roof looms overhead, with occasional drops of rain water falling
|
|
from its edge. To the west is the women's restroom. To the east is a passenger
|
|
train, the Glrp-Wien 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 couple here, reading a
|
|
newspaper.
|
|
The conductor walks past you from the south.
|
|
The regal woman walks past you from the north.
|
|
|
|
>FOLLOW REGAL WOMAN
|
|
|
|
You're in the same place as she!
|
|
The conductor heads off to the north.
|
|
He stops walking.
|
|
She heads off to the south.
|
|
|
|
>S
|
|
|
|
[Debugging info: you are entering platform #3.]
|
|
(platform)
|
|
[You're facing to the south.]
|
|
The regal woman is here, holding the briefcase and walking along. She heads off
|
|
to the south.
|
|
She finds a young woman.
|
|
|
|
>S
|
|
|
|
[Debugging info: you are entering platform #4.]
|
|
(platform)
|
|
The regal woman is here, still holding the briefcase and walking along. The
|
|
young woman is here, looking up and down the platform.
|
|
The regal woman shows the flower.
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The regal woman talks to the young woman.
|
|
Do you want to keep waiting? >Y
|
|
|
|
The young woman whispers something to the regal woman and vanishes into the
|
|
crowd.
|
|
The regal woman heads off to the north.
|
|
Do you want to keep waiting? >N
|
|
|
|
The time is now 11.30.
|
|
One part of the crowd catches your eye: There's an old man here, re-arranging
|
|
luggage.
|
|
|
|
>N
|
|
|
|
[Debugging info: you are entering platform #3.]
|
|
(platform)
|
|
[You're facing to the north.]
|
|
The regal woman is here, holding the briefcase and walking along. She heads off
|
|
to the north.
|
|
|
|
>N
|
|
|
|
[Debugging info: you are entering platform #2.]
|
|
(platform)
|
|
The regal woman is here, holding the briefcase and gazing out the window.
|
|
She enters the women's restroom.
|
|
|
|
>W
|
|
|
|
(women's restroom)
|
|
[You're facing to the west.]
|
|
This restroom is impressively tidy. That's a good thing, because it's one of
|
|
the only pair in the whole station.
|
|
The regal woman is here, holding the briefcase and about to leave.
|
|
She leaves.
|
|
[!! regal woman not on train!]
|
|
|
|
>L CASE
|
|
|
|
(You can't see any case here!)
|
|
|
|
>L BRIEFCASE
|
|
|
|
(You can't see any briefcase here!)
|
|
|
|
>E
|
|
|
|
(platform)
|
|
[You're facing to the east.]
|
|
The regal woman is here, still holding the briefcase and walking along. She
|
|
heads up the steps.
|
|
|
|
>E
|
|
|
|
(rear vestibule)
|
|
The regal woman is here, still holding the briefcase and walking along.
|
|
>FOLLOW WOMAN
|
|
|
|
You're in the same place as she!
|
|
|
|
>L
|
|
|
|
(rear vestibule)
|
|
(You're facing to the right side of the train, but you look in all directions
|
|
for a moment.)
|
|
This is a small vestibule at the rear end of the car. It's just like the
|
|
forward vestibule, except for a short flight of metal steps on the left side of
|
|
the train leading down off the train, and a narrow metal ladder leading up to
|
|
the roof. A small door leads to a restroom, and a big window is open to the
|
|
outside. A red handle is hanging by a short length of cord from the ceiling.
|
|
The train is stopped in a railway station.
|
|
The regal woman is here, still holding the briefcase and walking along.
|
|
|
|
>;;DESCRIPTION BUG
|
|
|
|
SAVE
|
|
|
|
(In this variation, 1 minute will pass in the story before you can type another
|
|
command. Are you sure you want to SAVE now? >Y
|
|
|
|
Okay.)
|
|
To file: 2.SL3.1Okay.
|
|
|
|
>GET BEHIND WOMAN
|
|
|
|
(Sorry, but I don't understand. Please reword that or try something else.)
|
|
|
|
>HIT WOMAN
|
|
|
|
She blocks your thrust and knocks you unconscious....
|
|
|
|
The train whistle blows once, and the conductor cries, "Gormnash floogle
|
|
nomnets!"
|
|
|
|
>L
|
|
|
|
(rear vestibule)
|
|
(You're facing to the right side of the train, but you look in all directions
|
|
for a moment.)
|
|
This is a small vestibule at the rear end of the car. It's just like the
|
|
forward vestibule, except for a short flight of metal steps on the left side of
|
|
the train leading down off the train, and a narrow metal ladder leading up to
|
|
the roof. A small door leads to a restroom, and a big window is open to the
|
|
outside. A red handle is hanging by a short length of cord from the ceiling.
|
|
The train is stopped in a railway station.
|
|
|
|
|
|
>N
|
|
|
|
(You stand up first.)
|
|
(You open the swinging door and close it again.)
|
|
|
|
(rear end)
|
|
[You're facing to the front.]
|
|
The fat man is in the fifth compartment.
|
|
The thin woman is off to the front.
|
|
|
|
>N
|
|
|
|
|
|
(rear middle)
|
|
The thin woman is off to the front.
|
|
The train slowly pulls out of Frbz station.
|
|
|
|
>N
|
|
|
|
(middle)
|
|
A girl is in the third compartment.
|
|
There's a thin woman here, smoking a cigarette.
|
|
|
|
>N
|
|
|
|
|
|
(forward middle)
|
|
The train is now steaming past a small town.
|
|
|
|
>N
|
|
|
|
|
|
(forward end)
|
|
|
|
>N
|
|
|
|
The train lurches a bit.
|
|
(You open the swinging door and close it again.)
|
|
(forward vestibule)
|
|
|
|
>N
|
|
|
|
[Debugging info: you are entering car #1.]
|
|
(rear vestibule)
|
|
|
|
>RESTORE
|
|
|
|
From file: (Sorry, but it didn't work. Maybe your instruction manual or Reference Card can
|
|
tell you why.)
|
|
You shake your head and come to.
|
|
The conductor stops here to punch tickets.
|
|
|
|
>RESTORE
|
|
|
|
From file: 2.SL3.1Okay.
|
|
(rear vestibule)
|
|
[You're facing to the right side of the train.]
|
|
The regal woman is here, still holding the briefcase and walking along.
|
|
>L
|
|
|
|
(rear vestibule)
|
|
(You're facing to the right side of the train, but you look in all directions
|
|
for a moment.)
|
|
This is a small vestibule at the rear end of the car. It's just like the
|
|
forward vestibule, except for a short flight of metal steps on the left side of
|
|
the train leading down off the train, and a narrow metal ladder leading up to
|
|
the roof. A small door leads to a restroom, and a big window is open to the
|
|
outside. A red handle is hanging by a short length of cord from the ceiling.
|
|
The train is stopped in a railway station.
|
|
The regal woman is here, still holding the briefcase and walking along.
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The train whistle blows once, and the conductor cries, "Gormnash floogle
|
|
nomnets!"
|
|
Do you want to keep waiting? >Y
|
|
|
|
Off to the rear a middle-aged couple appear from the forward end.
|
|
The train slowly pulls out of Frbz station.
|
|
A middle-aged couple walk past you from the rear.
|
|
Do you want to keep waiting? >Y
|
|
|
|
They open the swinging door for a moment and head off to the front.
|
|
The train is now hurtling past a small town.
|
|
The time is now 11.49.
|
|
|
|
>L
|
|
|
|
(rear vestibule)
|
|
(You're facing to the right side of the train, but you look in all directions
|
|
for a moment.)
|
|
This is a small vestibule at the rear end of the car. It's just like the
|
|
forward vestibule, except for a short flight of metal steps on the left side of
|
|
the train leading down off the train, and a narrow metal ladder leading up to
|
|
the roof. A small door leads to a restroom, and a big window is open to the
|
|
outside. A red handle is hanging by a short length of cord from the ceiling,
|
|
swinging in time to the train's rocking motion. The train is rocketing past a
|
|
small town.
|
|
The clatter of the wheels on the track is almost deafening.
|
|
The regal woman is here, still holding the briefcase and walking along.
|
|
|
|
>SHOOT WOMAN
|
|
|
|
(with the gun)
|
|
She drops the briefcase and slumps on the floor.
|
|
|
|
>THROW WOMAN OFF TRAIN
|
|
|
|
(taking the regal woman first)
|
|
(The window is closed!)
|
|
|
|
>U
|
|
|
|
You scramble up the first couple of rungs of the ladder, but the fierce wind
|
|
and the bucking train seem to conspire to shake you loose. As you reach for the
|
|
final rung, the train lurches around a turn. You lose your grip and plummet
|
|
back down to the vestibule floor.
|
|
|
|
>U
|
|
|
|
You scramble up the first couple of rungs of the ladder, but the fierce wind
|
|
and the bucking train seem to conspire to shake you loose. As you reach for the
|
|
final rung, the train lurches around a turn. You lose your grip and plummet
|
|
back down to the vestibule floor.
|
|
|
|
>U
|
|
|
|
You scramble up the first couple of rungs of the ladder, but the fierce wind
|
|
and the bucking train seem to conspire to shake you loose. As you reach for the
|
|
final rung, the train lurches around a turn. You lose your grip and plummet
|
|
back down to the vestibule floor.
|
|
|
|
>E
|
|
|
|
(You open the restroom door and close it again.)
|
|
(rear restroom)
|
|
As you'd expect, the restroom is tidy but small, almost too small for comfort.
|
|
But it does have the usual fixtures.
|
|
|
|
>LOCK DOOR
|
|
|
|
Okay, it is now locked.
|
|
|
|
>PUT WOMAN IN TOILET
|
|
|
|
There's not enough room.
|
|
|
|
>W
|
|
|
|
(You unlock and open the restroom door and close it again.)
|
|
(rear vestibule)
|
|
[You're facing to the left side of the train.]
|
|
A black briefcase with a chrome latch is here, closed.
|
|
|
|
>U
|
|
|
|
You scramble up the first couple of rungs of the ladder, but the fierce wind
|
|
and the bucking train seem to conspire to shake you loose. As you reach for the
|
|
final rung, the train lurches around a turn. You lose your grip and plummet
|
|
back down to the vestibule floor.
|
|
|
|
>OPEN WINDOW
|
|
|
|
The window opens all the way.
|
|
|
|
>THROW WOMAN OUT WINDOW
|
|
|
|
The regal woman is gone with the wind.
|
|
|
|
>GET CASE
|
|
|
|
You are now holding it.
|
|
The conductor stops here to punch tickets.
|
|
|
|
>GIVE TICKET TO CONDUCTOR
|
|
|
|
The train lurches a bit.
|
|
The conductor punches your ticket and then gives it back to you.
|
|
|
|
>GET CASE
|
|
|
|
The train lurches a bit.
|
|
(You already have it!)
|
|
|
|
>I
|
|
|
|
You're holding your ticket, and a briefcase.
|
|
And there's something in your pocket.
|
|
The train is now rocketing along a barren stubble-plain.
|
|
|
|
>E
|
|
|
|
(You open the restroom door and close it again.)
|
|
(rear restroom)
|
|
|
|
>LOCK DOOR
|
|
|
|
Okay, it is now locked.
|
|
|
|
>SIT
|
|
|
|
(on the toilet)
|
|
You're now sitting on it.
|
|
|
|
>TURN LATCH
|
|
|
|
A mechanical click comes from within the briefcase.
|
|
|
|
>OPEN LATCH
|
|
|
|
The metal latch snaps open.
|
|
|
|
>OPEN CASE
|
|
|
|
Opening it reveals a document, a scrap of newsprint, a magnifying glass, a
|
|
cassette of film, and a miniature camera.
|
|
|
|
>L AT DOCUMENT
|
|
|
|
The train lurches a bit.
|
|
It's not a very handsome document, scrawled in a hurry by a hand that wouldn't
|
|
win any prizes under the best of conditions. But it seems to contain crucial
|
|
information -- times, places, a crude map, even code words -- about a plan to
|
|
kidnap some high-ranking official tomorrow. Were the plan to succeed, several
|
|
governments would be embarrassed, if not in mortal danger, and the balance of
|
|
power would become precarious.
|
|
|
|
>GET SCRAP
|
|
|
|
You are now holding it.
|
|
|
|
>L AT SCRAP CAREFULLY
|
|
|
|
There are some shiny lines on the scrap of newsprint, maybe invisible ink.
|
|
|
|
>EXAMINE INK
|
|
|
|
(I don't know the word "ink".)
|
|
|
|
>DEVELOPE INK
|
|
|
|
(Sorry, but this story doesn't recognize the word "develope".)
|
|
|
|
>DEVELOP SCRAP
|
|
|
|
(Sorry, but the word "develop" is not in the vocabulary that you can use.)
|
|
|
|
>TRESTORE
|
|
|
|
(You don't need to use the word "trestore" to finish this story.)
|
|
|
|
>RESTORE
|
|
|
|
From file: 2.SL3.1Okay.
|
|
(rear vestibule)
|
|
[You're facing to the right side of the train.]
|
|
The regal woman is here, still holding the briefcase and walking along.
|
|
>SHOOT WOMAN
|
|
|
|
(with the gun)
|
|
She drops the briefcase and slumps on the floor.
|
|
|
|
>GET ALL
|
|
|
|
briefcase: You are now holding it.
|
|
regal woman: You try to pick up the body, but the briefcase keeps getting in
|
|
the way.
|
|
|
|
>THROW WOMAN OFF TRAIN
|
|
|
|
(taking the regal woman first)
|
|
(The window is closed!)
|
|
|
|
>;THE ONLY WAY I CAN GET HER IS BY A PRESUMPTIVE TAKE
|
|
|
|
L SEARCH WOMAN
|
|
|
|
(Sorry, but I don't understand the word "search" when you use it that way.)
|
|
|
|
>SEARCH WOMAN
|
|
|
|
You find a yellow flower and take it.
|
|
|
|
>G
|
|
|
|
You don't find anything interesting.
|
|
The train whistle blows once, and the conductor cries, "Gormnash floogle
|
|
nomnets!"
|
|
|
|
>OPEN WINDOW
|
|
|
|
The window opens all the way.
|
|
|
|
>THROW WOMAN OUT WINDOW
|
|
|
|
The regal woman drops out of sight.
|
|
Off to the rear a middle-aged couple appear from the forward end.
|
|
|
|
>GET ALL
|
|
|
|
(Please be more specific.)
|
|
|
|
>I
|
|
|
|
You're holding a yellow flower, a briefcase, and your ticket.
|
|
And there's something in your pocket.
|
|
The train slowly pulls out of Frbz station.
|
|
A middle-aged couple walk past you from the rear.
|
|
|
|
>L
|
|
|
|
(rear vestibule)
|
|
(You're facing to the right side of the train, but you look in all directions
|
|
for a moment.)
|
|
This is a small vestibule at the rear end of the car. It's just like the
|
|
forward vestibule, except for a short flight of metal steps on the left side of
|
|
the train leading down off the train, and a narrow metal ladder leading up to
|
|
the roof. A small door leads to a restroom, and a big window is open to the
|
|
outside. A red handle is hanging by a short length of cord from the ceiling,
|
|
swinging in time to the train's rocking motion. The train is passing through a
|
|
railway station.
|
|
The clatter of the wheels on the track is almost deafening.
|
|
|
|
The middle-aged couple are here, walking along. They open the swinging door for
|
|
a moment and head off to the front.
|
|
|
|
>L
|
|
|
|
(rear vestibule)
|
|
(You're facing to the right side of the train, but you look in all directions
|
|
for a moment.)
|
|
This is a small vestibule at the rear end of the car. It's just like the
|
|
forward vestibule, except for a short flight of metal steps on the left side of
|
|
the train leading down off the train, and a narrow metal ladder leading up to
|
|
the roof. A small door leads to a restroom, and a big window is open to the
|
|
outside. A red handle is hanging by a short length of cord from the ceiling,
|
|
swinging in time to the train's rocking motion. The train is passing through a
|
|
railway station.
|
|
The clatter of the wheels on the track is almost deafening.
|
|
|
|
The train is now speeding past a small town.
|
|
|
|
>I
|
|
|
|
You're holding a yellow flower, a briefcase, and your ticket.
|
|
And there's something in your pocket.
|
|
|
|
>N
|
|
|
|
(You open the swinging door and close it again.)
|
|
The relative quiet here is welcome.
|
|
(rear end)
|
|
[You're facing to the front.]
|
|
A fat man is in the fifth compartment.
|
|
A thin woman is off to the front.
|
|
The middle-aged couple are off to the front, heading away from you.
|
|
|
|
>W
|
|
|
|
(You open the compartment door and close it again.)
|
|
(fifth compartment)
|
|
[You're facing to the left side of the train.]
|
|
The fat man is here, gazing out the window.
|
|
|
|
>SIT
|
|
|
|
(on the train seat)
|
|
You're now sitting on it.
|
|
|
|
>OPEN CASE
|
|
|
|
The latch is closed.
|
|
|
|
>TURN LATCH
|
|
|
|
A mechanical click comes from within the briefcase.
|
|
|
|
>E
|
|
|
|
(You stand up first.)
|
|
(You open the compartment door and close it again.)
|
|
|
|
(rear end)
|
|
[You're facing to the right side of the train.]
|
|
The thin woman is off to the front.
|
|
|
|
>W
|
|
|
|
(You open the compartment door and close it again.)
|
|
(fifth compartment)
|
|
[You're facing to the left side of the train.]
|
|
The fat man is here, still gazing out the window.
|
|
|
|
>E
|
|
|
|
(You open the compartment door and close it again.)
|
|
|
|
(rear end)
|
|
[You're facing to the right side of the train.]
|
|
The thin woman is off to the front.
|
|
The conductor punches her ticket.
|
|
|
|
>N
|
|
|
|
|
|
(rear middle)
|
|
[You're facing to the front.]
|
|
The thin woman is off to the front.
|
|
|
|
>S
|
|
|
|
|
|
(rear end)
|
|
[You're facing to the rear.]
|
|
The fat man is in the fifth compartment.
|
|
|
|
>N
|
|
|
|
|
|
(rear middle)
|
|
[You're facing to the front.]
|
|
The thin woman is off to the front.
|
|
The conductor makes a gesture, asking for your ticket.
|
|
|
|
>GIVE TICKET TIO CONDUCTOR
|
|
|
|
(I don't know the word "tio".)
|
|
|
|
>GIVE GIVE TO CONDUCTOR
|
|
|
|
(Sorry, but I don't understand the word "give" when you use it that way.)
|
|
|
|
>GIVE TICKET TO CONDUCTOR
|
|
|
|
The conductor punches your ticket and then gives it back to you.
|
|
He punches an old man's ticket.
|
|
|
|
>N
|
|
|
|
The train lurches a bit.
|
|
(middle)
|
|
A girl is in the third compartment.
|
|
The thin woman is here, looking at you with suspicion.
|
|
|
|
>N
|
|
|
|
|
|
(forward middle)
|
|
|
|
>W
|
|
|
|
(You open the compartment door and close it again.)
|
|
(second compartment)
|
|
[You're facing to the left side of the train.]
|
|
|
|
>LOCK DOOR
|
|
|
|
Okay, it is now locked.
|
|
The train is now racing along a barren stubble-plain.
|
|
|
|
>CLOSE CURTAIN
|
|
|
|
Okay, it is now closed.
|
|
|
|
>OPEN LATCH
|
|
|
|
The metal latch snaps open.
|
|
|
|
>OPEN CASE
|
|
|
|
You open it a crack before you realize that everything inside would fall out.
|
|
You quickly close it again.
|
|
|
|
>SIT
|
|
|
|
(on the train seat)
|
|
You're now sitting on it.
|
|
|
|
>OPEN CASE
|
|
|
|
Opening it reveals a document, a scrap of newsprint, a magnifying glass, a
|
|
cassette of film, and a miniature camera.
|
|
|
|
>L DOCUMENT
|
|
|
|
(I assume you mean: look at it, not look in it nor look for it nor any other
|
|
preposition.)
|
|
It's not a very handsome document, scrawled in a hurry by a hand that wouldn't
|
|
win any prizes under the best of conditions. But it seems to contain crucial
|
|
information -- times, places, a crude map, even code words -- about a plan to
|
|
kidnap some high-ranking official tomorrow. Were the plan to succeed, several
|
|
governments would be embarrassed, if not in mortal danger, and the balance of
|
|
power would become precarious.
|
|
|
|
>L SCRAP
|
|
|
|
(I assume you mean: look at it, not look in it nor look for it nor any other
|
|
preposition.)
|
|
There doesn't seem to be anything written on the scrap of newsprint.
|
|
|
|
>L AT SCRAP CAREFULLY
|
|
|
|
There are some shiny lines on the scrap of newsprint, maybe invisible ink.
|
|
|
|
>READ DOCUMENT
|
|
|
|
It's not a very handsome document, scrawled in a hurry by a hand that wouldn't
|
|
win any prizes under the best of conditions. But it seems to contain crucial
|
|
information -- times, places, a crude map, even code words -- about a plan to
|
|
kidnap some high-ranking official tomorrow. Were the plan to succeed, several
|
|
governments would be embarrassed, if not in mortal danger, and the balance of
|
|
power would become precarious.
|
|
|
|
>L AT TICKET
|
|
|
|
All you can make out is the destination: Wien.
|
|
|
|
>OPEN CAMERA
|
|
|
|
The train lurches a bit.
|
|
Okay, it is now open.
|
|
|
|
>PUT FILM IN CAMERA
|
|
|
|
Okay.
|
|
|
|
>CLOSE CAMERA
|
|
|
|
Okay, it is now closed.
|
|
|
|
>COCK CAMERA
|
|
|
|
Okay.
|
|
|
|
>TAKE PICTURE OF DOCUMENT
|
|
|
|
The train lurches a bit.
|
|
"Click!"
|
|
|
|
>I
|
|
|
|
You're holding your ticket, a yellow flower, and a briefcase (which contains a
|
|
scrap of newsprint, a magnifying glass, and a miniature camera).
|
|
And there's something in your pocket.
|
|
|
|
>GET SCRAP
|
|
|
|
You are now holding it.
|
|
|
|
>GET CAMERA
|
|
|
|
You are now holding it.
|
|
The train is now speeding along the edge of a rocky precipice.
|
|
|
|
>TAKE A PICTURE OF DOCUMENT
|
|
|
|
(Sorry, but I don't understand. Please reword that or try something else.)
|
|
|
|
>; WHY DOESN'T THIS WORK IF ABOVE DOES
|
|
|
|
COCK CAMERA
|
|
|
|
Okay.
|
|
|
|
>PHOTOGRAPH DOCUMENT
|
|
|
|
"Click!"
|
|
|
|
>G
|
|
|
|
You push the button, but it won't move.
|
|
|
|
>COCK CAMERA
|
|
|
|
The train lurches a bit.
|
|
Okay.
|
|
|
|
>I
|
|
|
|
You're holding a miniature camera, a scrap of newsprint, your ticket, a yellow
|
|
flower, and a briefcase (which contains a magnifying glass).
|
|
And there's something in your pocket.
|
|
|
|
>PUT CAMERA IN CASE
|
|
|
|
Okay.
|
|
|
|
>WEAR FLOWER
|
|
|
|
You are now wearing it.
|
|
|
|
>I
|
|
|
|
You're holding a yellow flower (being worn), a scrap of newsprint, your ticket,
|
|
and a briefcase (which contains a miniature camera, and a magnifying glass).
|
|
And there's something in your pocket.
|
|
|
|
>CLOSE CASE
|
|
|
|
Closed.
|
|
|
|
>E
|
|
|
|
(You stand up first.)
|
|
(You unlock and open the compartment door and close it again.)
|
|
|
|
(forward middle)
|
|
[You're facing to the right side of the train.]
|
|
The thin woman is off to the rear.
|
|
|
|
>S
|
|
|
|
(middle)
|
|
[You're facing to the rear.]
|
|
The girl is in the third compartment.
|
|
The thin woman is here, still looking at you with suspicion.
|
|
|
|
>FIND FLOWER
|
|
|
|
You have it.
|
|
|
|
>FIND BLUE FLOWER
|
|
|
|
(You can't see any blue flower here!)
|
|
|
|
>S
|
|
|
|
|
|
(rear middle)
|
|
|
|
>S
|
|
|
|
|
|
(rear end)
|
|
The fat man is in the fifth compartment.
|
|
|
|
>S
|
|
|
|
(You open the swinging door and close it again.)
|
|
(rear vestibule)
|
|
|
|
>S
|
|
|
|
[Debugging info: you are entering car #3.]
|
|
(forward vestibule)
|
|
|
|
>S
|
|
|
|
The train lurches a bit.
|
|
(You open the swinging door and close it again.)
|
|
The relative quiet here is welcome. The smell of food is unmistakable.
|
|
(forward end)
|
|
This is the forward end of the corridor. On the left side of the train lies the
|
|
first booth.
|
|
An attractive woman is in the first booth.
|
|
|
|
>L WOMAN
|
|
|
|
(You can't see any woman here!)
|
|
|
|
>W
|
|
|
|
(first booth)
|
|
[You're facing to the left side of the train.]
|
|
This is a diner booth on the Glrp-Wien Express. In fact, it looks as if the
|
|
railway company just converted a first-class coach into a diner by removing the
|
|
door and adding a table to each compartment.
|
|
The train is racing along the edge of a rocky precipice.
|
|
The attractive woman is here, smoking a cigarette.
|
|
The train begins to slow down a bit.
|
|
|
|
>L AT ATTRACTIVE WOMAN
|
|
|
|
The train lurches a bit.
|
|
She looks almost too good for a nowhere country like this: sparkling eyes, good
|
|
bone structure, clear skin, tall and smooth. Of course, it's hard to tell
|
|
whether or not she can think in complete sentences.
|
|
She is holding a cigarette, and a lighter.
|
|
|
|
>GIVE FLOWER TO ATTRACTIVE WOMAN
|
|
|
|
She accepts your gift and smiles briefly.
|
|
|
|
The conductor cries, "Knut," and the train glides to a halt in the station.
|
|
|
|
>GET LIGHTER AND CIGARETT
|
|
|
|
(Sorry, but the word "cigarett" is not in the vocabulary that you can use.)
|
|
|
|
>GET CIGARETTE
|
|
|
|
The attractive woman holds it more tightly and looks at you defiantly.
|
|
|
|
>GIVE *20 TO WOMAN
|
|
|
|
She accepts your gift and smiles broadly.
|
|
A waiter enters, ready to take your order.
|
|
|
|
>GET LIGHTER
|
|
|
|
You are now holding it.
|
|
|
|
>GET CIGARETTE
|
|
|
|
You are now holding it.
|
|
|
|
>E
|
|
|
|
|
|
(forward end)
|
|
[You're facing to the right side of the train.]
|
|
|
|
>W
|
|
|
|
(first booth)
|
|
[You're facing to the left side of the train.]
|
|
The waiter is here, waiting for your order.
|
|
The attractive woman is here, looking at you with suspicion.
|
|
|
|
>GET FLOWER
|
|
|
|
You are now holding it.
|
|
|
|
>E
|
|
|
|
|
|
(forward end)
|
|
[You're facing to the right side of the train.]
|
|
|
|
>N
|
|
|
|
(You open the swinging door and close it again.)
|
|
(forward vestibule)
|
|
[You're facing to the front.]
|
|
|
|
>W
|
|
|
|
(You can't go in that direction.)
|
|
|
|
>N
|
|
|
|
[Debugging info: you are entering car #2.]
|
|
(rear vestibule)
|
|
|
|
>W
|
|
|
|
(platform)
|
|
[You're facing to the west.]
|
|
You are standing on the concrete platform of the Knut railway station. A
|
|
cantilevered roof looms overhead, with occasional drops of rain water falling
|
|
from its edge. To the west is the women's restroom. To the east is a passenger
|
|
train, the Glrp-Wien 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 a young man here, checking a
|
|
timetable.
|
|
|
|
>TURN ON LIGHTER
|
|
|
|
The lighter spurts to life for a minute until you turn it off again.
|
|
|
|
>PUT SCRAP OVER LIGHTER
|
|
|
|
(Sorry, but I don't understand. Please reword that or try something else.)
|
|
|
|
>PUT SCRAP ON LIGHTER
|
|
|
|
There's no good surface on the lighter.
|
|
|
|
>PUT LIGHTER UNDER SCRAP
|
|
|
|
There's not enough room.
|
|
|
|
>HEAT SCRAP
|
|
|
|
(What do you want to heat the scrap with?)
|
|
|
|
>LIGHTER
|
|
|
|
Heating it with the lighter reveals nothing intelligible.
|
|
The train whistle blows once, and the conductor cries, "Gormnash floogle
|
|
nomnets!"
|
|
|
|
>;NEED MORE SYNONYMS FOR THIS ACTION
|
|
|
|
READ SCRAP
|
|
|
|
Examining the scrap of newsprint reveals nothing intelligible.
|
|
|
|
>READ SCRAP CAREFULLY
|
|
|
|
You watch as the conductor boards the train, and it slowly pulls out of Knut
|
|
station without you.
|
|
Do you want to continue what you were doing? >Y
|
|
|
|
Examining the scrap of newsprint reveals nothing intelligible.
|
|
|
|
>; DO MEAN NOTHING INTELLIGIBLE OR SOMETHING UNINTELLIGIBLE?
|
|
|
|
W
|
|
|
|
(women's restroom)
|
|
|
|
>E
|
|
|
|
(platform)
|
|
[You're facing to the east.]
|
|
|
|
>S
|
|
|
|
[Debugging info: you are entering platform #3.]
|
|
(platform)
|
|
[You're facing to the south.]
|
|
One part of the crowd catches your eye: There's a young woman here, looking up
|
|
and down the platform.
|
|
|
|
A whistle sounds, and a passenger train comes screeching up to the platform. A
|
|
conductor leans out from one of the doors and shouts, "Potrzebie," then lowers
|
|
a short flight of metal steps and gets off.
|
|
|
|
>W
|
|
|
|
(waiting room)
|
|
[You're facing to the west.]
|
|
You are standing in the railway station. You can see a cafe on the north side
|
|
and the ticket counter on the south. The street is west. The place is crowded
|
|
with people.
|
|
|
|
>S
|
|
|
|
(ticket area)
|
|
[You're facing to the south.]
|
|
There's a clerk here, looking at you with suspicion.
|
|
|
|
>BUY TICKET TO GOLA
|
|
|
|
You don't have enough money.
|
|
|
|
>I
|
|
|
|
You're holding a yellow flower (being worn), a cigarette, a lighter, a scrap of
|
|
newsprint, your ticket, and a briefcase.
|
|
And there's something in your pocket.
|
|
|
|
>GIVE TRAVELLERS CHECK TO CLERK
|
|
|
|
He accepts your gift and smiles briefly.
|
|
|
|
>GET CHECK
|
|
|
|
You are now holding it.
|
|
|
|
>CASH TRAVELLERS CHECK
|
|
|
|
The clerk lends you a pen and then gives you *20 in exchange for the check.
|
|
|
|
>BUY TICKET TO GOLA
|
|
|
|
The clerk takes your money and stamps your ticket.
|
|
|
|
>I
|
|
|
|
You're holding your ticket, a pen, a yellow flower (being worn), a cigarette, a
|
|
lighter, a scrap of newsprint, and a briefcase.
|
|
And there's something in your pocket.
|
|
|
|
>N
|
|
|
|
(waiting room)
|
|
[You're facing to the north.]
|
|
[!! STUCK: middle-aged couple is in (car #3) the forward end.
|
|
GOAL: middle-aged couple is in (car #3) the other rear middle.
|
|
]
|
|
|
|
>E
|
|
|
|
(platform)
|
|
[You're facing to the east.]
|
|
[!! STUCK: middle-aged couple is in (car #3) the forward middle.
|
|
GOAL: middle-aged couple is in (car #3) the other rear middle.
|
|
]
|
|
|
|
>E
|
|
|
|
(rear vestibule)
|
|
[!! STUCK: middle-aged couple is in (car #3) the middle.
|
|
GOAL: middle-aged couple is in (car #3) the other rear middle.
|
|
]
|
|
|
|
>E
|
|
|
|
Too bad, but the restroom door is locked.
|
|
|
|
>S
|
|
|
|
[Debugging info: you are entering car #4.]
|
|
(forward vestibule)
|
|
[You're facing to the rear.]
|
|
|
|
>N
|
|
|
|
[Debugging info: you are entering car #3.]
|
|
(rear vestibule)
|
|
[You're facing to the front.]
|
|
The train whistle blows once, and the conductor cries, "Gormnash floogle
|
|
nomnets!"
|
|
|
|
>N
|
|
|
|
(You open the swinging door and close it again.)
|
|
|
|
(rear end)
|
|
A boy is off to the front.
|
|
A middle-aged couple, off to the front, open the swinging door for a moment and
|
|
disappear to the front.
|
|
|
|
>N
|
|
|
|
|
|
(rear middle)
|
|
The boy is here, looking at you with suspicion.
|
|
|
|
>N
|
|
|
|
(middle)
|
|
The train slowly pulls out of Knut station.
|
|
|
|
>W
|
|
|
|
(You open the compartment door and close it again.)
|
|
(third compartment)
|
|
[You're facing to the left side of the train.]
|
|
This is a once-luxurious first-class compartment on the Znuk-Potrzebie Express.
|
|
The plush red upholstery on the two facing seats, shiny and worn in spots, and
|
|
the greasy lace on the headrests, give the car an air of faded elegance. A red
|
|
handle is hanging by a short length of cord from the ceiling, swinging in time
|
|
to the train's rocking motion. The corridor is outside, past a window with a
|
|
red curtain on it.
|
|
The train is passing through a railway station.
|
|
There's a girl here, looking at you with suspicion.
|
|
|
|
>E
|
|
|
|
(You open the compartment door and close it again.)
|
|
(middle)
|
|
[You're facing to the right side of the train.]
|
|
A boy is off to the rear.
|
|
The train is now racing past a small town.
|
|
|
|
>I
|
|
|
|
You're holding your ticket, a pen, a yellow flower (being worn), a cigarette, a
|
|
lighter, a scrap of newsprint, and a briefcase.
|
|
And there's something in your pocket.
|
|
|
|
>L TICKET
|
|
|
|
(I assume you mean: look at it, not look in it nor look for it nor any other
|
|
preposition.)
|
|
All you can make out is the destination: Gola.
|
|
|
|
>N
|
|
|
|
|
|
(forward middle)
|
|
[You're facing to the front.]
|
|
|
|
>N
|
|
|
|
The train lurches a bit.
|
|
|
|
(forward end)
|
|
|
|
>N
|
|
|
|
(You open the swinging door and close it again.)
|
|
(forward vestibule)
|
|
The train is now steaming along a barren stubble-plain.
|
|
|
|
>N
|
|
|
|
[Debugging info: you are entering car #2.]
|
|
(rear vestibule)
|
|
|
|
>N
|
|
|
|
(You open the swinging door and close it again.)
|
|
The relative quiet here is welcome.
|
|
(rear end)
|
|
A fat man is off to the front.
|
|
The conductor, off to the front, stops to remove the regal woman's body.
|
|
|
|
>N
|
|
|
|
|
|
(rear middle)
|
|
The fat man is off to the front.
|
|
|
|
>N
|
|
|
|
The train lurches a bit.
|
|
(middle)
|
|
The middle-aged couple are in the third compartment.
|
|
The fat man is here, reading a newspaper.
|
|
The conductor punches an old couple's ticket.
|
|
|
|
>;BUT I THREW THE WOMAN'S BODY OFF THE TRAIN HOURS AGO ON A DIFFERENT TRAIN!!!!!
|
|
|
|
GIVE TICKET TO CONDUCTOR
|
|
|
|
(You can't see any conductor here!)
|
|
|
|
>N
|
|
|
|
|
|
(forward middle)
|
|
The conductor makes a gesture, asking for your ticket.
|
|
|
|
>GIVE TICKET TO CONDUCTOR
|
|
|
|
The train lurches a bit.
|
|
The conductor punches your ticket and then gives it back to you.
|
|
|
|
>; THE CONDUCTOR'S MOVEMENT IS NOT ALWAYS MENTIONED
|
|
|
|
N
|
|
|
|
|
|
(forward end)
|
|
|
|
>N
|
|
|
|
(You open the swinging door and close it again.)
|
|
(forward vestibule)
|
|
|
|
>N
|
|
|
|
The train lurches a bit.
|
|
[Debugging info: you are entering car #1.]
|
|
(rear vestibule)
|
|
|
|
>N
|
|
|
|
(You open the swinging door and close it again.)
|
|
The relative quiet here is welcome.
|
|
(rear end)
|
|
|
|
>N
|
|
|
|
|
|
(rear middle)
|
|
A thin man is in the fourth compartment.
|
|
|
|
>N
|
|
|
|
(middle)
|
|
|
|
>HELP
|
|
|
|
(yourself)
|
|
(You'll find plenty of help in your CHECKPOINT package.
|
|
If you're really stuck, you can order an InvisiClues (TM) hint booklet and map
|
|
from your dealer or via mail with the form in your package.)
|
|
|
|
>N
|
|
|
|
|
|
(forward middle)
|
|
|
|
>N
|
|
|
|
|
|
(forward end)
|
|
|
|
>N
|
|
|
|
(You open the swinging door and close it again.)
|
|
(forward vestibule)
|
|
|
|
>N
|
|
|
|
You can see the locomotive directly ahead, but there's no way to climb onto it.
|
|
|
|
>N
|
|
|
|
The train lurches a bit.
|
|
You can see the locomotive directly ahead, but there's no way to climb onto it.
|
|
|
|
>W
|
|
|
|
(You can't go in that direction.)
|
|
|
|
>E
|
|
|
|
(You open the restroom door and close it again.)
|
|
(forward restroom)
|
|
As you'd expect, the restroom is tidy but small, almost too small for comfort.
|
|
But it does have the usual fixtures.
|
|
|
|
>W
|
|
|
|
(You open the restroom door and close it again.)
|
|
(forward vestibule)
|
|
[You're facing to the left side of the train.]
|
|
|
|
>S
|
|
|
|
The train lurches a bit.
|
|
(You open the swinging door and close it again.)
|
|
The relative quiet here is welcome.
|
|
(forward end)
|
|
[You're facing to the rear.]
|
|
A girl, off to the rear, opens the swinging door for a moment and disappears to
|
|
the rear.
|
|
|
|
>W
|
|
|
|
(You open the compartment door and close it again.)
|
|
(first compartment)
|
|
[You're facing to the left side of the train.]
|
|
|
|
>E
|
|
|
|
(You open the compartment door and close it again.)
|
|
|
|
(forward end)
|
|
[You're facing to the right side of the train.]
|
|
The train is now hurtling past a dark, violent river.
|
|
|
|
>S
|
|
|
|
|
|
(forward middle)
|
|
[You're facing to the rear.]
|
|
|
|
>W
|
|
|
|
(You open the compartment door and close it again.)
|
|
(second compartment)
|
|
[You're facing to the left side of the train.]
|
|
|
|
>E
|
|
|
|
(You open the compartment door and close it again.)
|
|
|
|
(forward middle)
|
|
[You're facing to the right side of the train.]
|
|
|
|
>S
|
|
|
|
(middle)
|
|
[You're facing to the rear.]
|
|
|
|
>S
|
|
|
|
The train lurches a bit.
|
|
|
|
(rear middle)
|
|
The thin man is in the fourth compartment.
|
|
|
|
>W
|
|
|
|
(You open the compartment door and close it again.)
|
|
(fourth compartment)
|
|
[You're facing to the left side of the train.]
|
|
You notice marks and scratches on the walls.
|
|
The thin man is here, reading a newspaper.
|
|
|
|
>L THIN MAN
|
|
|
|
(I assume you mean: look at him, not look in him nor look for him nor any other
|
|
preposition.)
|
|
For this guy, the word "thin" was invented: thin hair, narrow eyes, thin lips,
|
|
pale bluish skin. If his expression weren't so pleasant, he'd look really
|
|
menacing.
|
|
He is holding a newspaper.
|
|
|
|
>COUNT MONEY
|
|
|
|
You are carrying *7.
|
|
|
|
>READ NEWSPAPER
|
|
|
|
It's all in some foreign language.
|
|
|
|
>E
|
|
|
|
(You open the compartment door and close it again.)
|
|
|
|
(rear middle)
|
|
[You're facing to the right side of the train.]
|
|
|
|
>S
|
|
|
|
|
|
(rear end)
|
|
[You're facing to the rear.]
|
|
|
|
>S
|
|
|
|
(You open the swinging door and close it again.)
|
|
(rear vestibule)
|
|
|
|
>E
|
|
|
|
(You open the restroom door and close it again.)
|
|
(rear restroom)
|
|
|
|
>W
|
|
|
|
(You open the restroom door and close it again.)
|
|
(rear vestibule)
|
|
[You're facing to the left side of the train.]
|
|
|
|
>S
|
|
|
|
[Debugging info: you are entering car #2.]
|
|
(forward vestibule)
|
|
[You're facing to the rear.]
|
|
|
|
>S
|
|
|
|
(You open the swinging door and close it again.)
|
|
The relative quiet here is welcome.
|
|
(forward end)
|
|
The fat man is off to the rear.
|
|
|
|
>S
|
|
|
|
|
|
(forward middle)
|
|
The fat man is off to the rear.
|
|
The girl opens the compartment door for a moment and walks past you.
|
|
|
|
>L GIRL
|
|
|
|
(I assume you mean: look at her, not look in her nor look for her nor any other
|
|
preposition.)
|
|
She is dressed for a long trip, in shades of red, with a brown-paper package.
|
|
Her glittering black eyes turn away whenever you try to look into them.
|
|
She heads off to the front.
|
|
|
|
>S
|
|
|
|
(middle)
|
|
A middle-aged couple are in the third compartment.
|
|
The fat man is here, still reading a newspaper.
|
|
|
|
>L FAT MAN
|
|
|
|
(I assume you mean: look at him, not look in him nor look for him nor any other
|
|
preposition.)
|
|
For this guy, the word "fat" was invented: oily hair, puffy eyes, fat lips,
|
|
pudgy pink skin. If his expression weren't so menacing, he'd look rather
|
|
pleasant.
|
|
The train is now racing along the edge of a rocky precipice.
|
|
|
|
>L COUPLE
|
|
|
|
(You can't see any couple here!)
|
|
|
|
>W
|
|
|
|
(You open the compartment door and close it again.)
|
|
(third compartment)
|
|
[You're facing to the left side of the train.]
|
|
The middle-aged couple are here, snoozing.
|
|
|
|
>L COUPLE
|
|
|
|
(I assume you mean: look at them, not look in them nor look for them nor any
|
|
other preposition.)
|
|
They are dressed for an outing, in shades of blue, with a beret.
|
|
|
|
>KISS COUPLE
|
|
|
|
The train lurches a bit.
|
|
They slap you right back. Wow, is your face red!
|
|
|
|
>L COUPLE
|
|
|
|
(I assume you mean: look at them, not look in them nor look for them nor any
|
|
other preposition.)
|
|
They are dressed for an outing, in shades of blue, with a beret. Their teeth
|
|
and fingers are well-stained with nicotine.
|
|
|
|
>L
|
|
|
|
The train lurches a bit.
|
|
(third compartment)
|
|
(You're facing to the left side of the train, but you look in all directions
|
|
for a moment.)
|
|
This is a once-luxurious first-class compartment on the Znuk-Potrzebie Express.
|
|
The plush red upholstery on the two facing seats, shiny and worn in spots, and
|
|
the greasy lace on the headrests, give the car an air of faded elegance. A red
|
|
handle is hanging by a short length of cord from the ceiling, swinging in time
|
|
to the train's rocking motion. The corridor is outside, past a window with a
|
|
red curtain on it.
|
|
The train is racing along the edge of a rocky precipice.
|
|
The fat man is just outside.
|
|
The middle-aged couple are here, looking at you with suspicion.
|
|
|
|
|
|
>E
|
|
|
|
(You open the compartment door and close it again.)
|
|
(middle)
|
|
[You're facing to the right side of the train.]
|
|
The fat man is here, still reading a newspaper.
|
|
|
|
>S
|
|
|
|
The train lurches a bit.
|
|
|
|
(rear middle)
|
|
[You're facing to the rear.]
|
|
|
|
>S
|
|
|
|
|
|
(rear end)
|
|
|
|
>S
|
|
|
|
(You open the swinging door and close it again.)
|
|
(rear vestibule)
|
|
|
|
>S
|
|
|
|
The train lurches a bit.
|
|
[Debugging info: you are entering car #3.]
|
|
(forward vestibule)
|
|
|
|
>S
|
|
|
|
The train lurches a bit.
|
|
(You open the swinging door and close it again.)
|
|
The relative quiet here is welcome.
|
|
(forward end)
|
|
A boy is off to the rear.
|
|
Off to the rear a middle-aged couple appear.
|
|
|
|
>S
|
|
|
|
|
|
(forward middle)
|
|
The boy is off to the rear.
|
|
The middle-aged couple are off to the rear, heading away from you.
|
|
|
|
>S
|
|
|
|
(middle)
|
|
The boy is off to the rear.
|
|
The middle-aged couple are off to the rear, heading away from you.
|
|
|
|
>S
|
|
|
|
|
|
(rear middle)
|
|
The boy is here, looking at you with suspicion.
|
|
The middle-aged couple, off to the rear, open the swinging door for a moment
|
|
and disappear to the rear.
|
|
|
|
>L BOY
|
|
|
|
(I assume you mean: look at him, not look in him nor look for him nor any other
|
|
preposition.)
|
|
He is dressed for business, in shades of brown, with an umbrella.
|
|
|
|
>S
|
|
|
|
|
|
(rear end)
|
|
A young couple are in the fifth compartment.
|
|
|
|
>W
|
|
|
|
(You open the compartment door and close it again.)
|
|
(fifth compartment)
|
|
[You're facing to the left side of the train.]
|
|
The young couple are here, exchanging kisses.
|
|
|
|
>L COUPLE
|
|
|
|
The train lurches a bit.
|
|
(I assume you mean: look at them, not look in them nor look for them nor any
|
|
other preposition.)
|
|
They are dressed for a holiday, in shades of green, with a string bag. Their
|
|
lucid blue eyes look straight into yours, without a flinch.
|
|
The train begins to slow down a bit.
|
|
|
|
>E
|
|
|
|
(You open the compartment door and close it again.)
|
|
|
|
(rear end)
|
|
[You're facing to the right side of the train.]
|
|
The boy is off to the front.
|
|
A girl is off to the front, heading away from you.
|
|
|
|
>L GIRL
|
|
|
|
The train lurches a bit.
|
|
(You can't see any girl here!)
|
|
|
|
>S
|
|
|
|
(You open the swinging door and close it again.)
|
|
(rear vestibule)
|
|
[You're facing to the rear.]
|
|
|
|
The conductor cries, "Grnz," and the train glides to a halt in the station.
|
|
|
|
>S
|
|
|
|
(You'd do better to go directly to the platform.)
|
|
|
|
>S
|
|
|
|
(You'd do better to go directly to the platform.)
|
|
|
|
>N
|
|
|
|
(You open the swinging door and close it again.)
|
|
|
|
(rear end)
|
|
[You're facing to the front.]
|
|
The boy is off to the front.
|
|
The girl is off to the front, heading away from you.
|
|
|
|
>N
|
|
|
|
|
|
(rear middle)
|
|
The boy is here, still looking at you with suspicion.
|
|
The girl, off to the front, opens the swinging door for a moment and disappears
|
|
to the front.
|
|
|
|
>N
|
|
|
|
(middle)
|
|
The conductor stops here to ask passengers to leave the train.
|
|
|
|
>N
|
|
|
|
|
|
(forward middle)
|
|
|
|
>N
|
|
|
|
|
|
(forward end)
|
|
|
|
The conductor approaches, accompanied by two grim-faced soldiers armed with
|
|
machine guns. They take things like homicide very seriously here. He isn't
|
|
smiling as he says, "E fimpro floomrkbob?"
|
|
|
|
After your arrest and a little gentle persuasion with beatings, cigarette burns
|
|
and starvation, you confess to the crime of espionage. Within days your
|
|
confession is front-page news around the world. And the Cold War gets a little
|
|
bit hotter...
|
|
|
|
|
|
Would you like to:
|
|
RESTORE your place from where you saved it,
|
|
RESTART the story from the beginning, or
|
|
QUIT for now?
|
|
>RESTART
|
|
|
|
Copyright (c) 1985 Infocom, Inc. All rights reserved.
|
|
|
|
Welcome to CHECKPOINT (TM) - interactive fiction from Infocom!
|
|
|
|
[Note to testers: this story has the command GO TO, and the concept of not
|
|
being able to see things behind your back. The unit of currency in this story
|
|
is the Frotzian slimpuk, whose symbol is "*".
|
|
|
|
Messages in square brackets [] will not be in the final release.
|
|
Remember: you can shorten your words only to NINE (9) letters.
|
|
But you can use C for COMPARTMENT, V for VESTIBULE, and F for FORWARD.]
|
|
|
|
Do you want the viewpoint of the traveler or the spy? >S
|
|
|
|
Do you want the short variation or the long one? >L
|
|
|
|
Then let the story begin!
|
|
Why did you want to be a spy anyway? You could have had a nice restful job,
|
|
like an air-traffic controller. You could have tended flowers behind a white
|
|
picket fence around your country cottage. At least they could let you grab a
|
|
few winks between one job and the next. But no -- you finish debriefing in some
|
|
dirty little city in Frotzerland, and before you can even find a phone book,
|
|
let alone a hotel, they volunteer you for another assignment.
|
|
|
|
"You've got to intercept a document!" they told you. "Then deliver it to our
|
|
agent in Gola so the leak can be traced. We don't know where it is for sure,
|
|
but we think it's in a briefcase that's leaving town on the next train. You're
|
|
the only agent that's close enough and experienced enough to be sent after it.
|
|
And at the end of the trip, there will be a plane ticket to home waiting for
|
|
you."
|
|
|
|
So that's why you're climbing all over this stupid train. Finding the briefcase
|
|
was easy enough, but the dude carrying it was something else. Even a
|
|
well-placed bullet didn't make him drop. Now, if only he'll take the bait and
|
|
follow you up here, you can .... Wait! Here he comes from the forward end! But
|
|
he's not carrying the case!
|
|
|
|
CHECKPOINT
|
|
Infocom interactive fiction - a story of intrigue
|
|
Copyright (c) 1985 by Infocom, Inc. All rights reserved.
|
|
CHECKPOINT is a trademark of Infocom, Inc.
|
|
Release 12 / Serial number 850403 / Spy's viewpoint, long variation
|
|
|
|
(roof)
|
|
You are on the roof of the train. The wind blows your hair, and the rocking,
|
|
lurching train threatens to buck you right off. It occurs to you that this
|
|
might not be the safest place to be right now.
|
|
The spy is here, preparing to knock you off.
|
|
|
|
|
|
Okay, what do you want to do now?
|
|
>KNOCK SPY OFF TRAIN
|
|
|
|
The train lurches a bit.
|
|
You go for him, but he dodges. The spy hesitates, then lunges at you!
|
|
He slips but then regains his footing.
|
|
|
|
What next?
|
|
>G
|
|
|
|
The train lurches a bit.
|
|
You lunge at him and almost miss, but he loses footing and falls off the edge
|
|
of the roof! The train quickly leaves his body behind.
|
|
|
|
What next?
|
|
>N
|
|
|
|
[Debugging info: you are entering car #2.]
|
|
|
|
What next?
|
|
>D
|
|
|
|
(rear vestibule)
|
|
This is a small vestibule at the rear end of the car. There's a short flight of
|
|
metal steps on the left side of the train leading down off the train, and a
|
|
narrow metal ladder leading up to the roof. A small door leads to a restroom,
|
|
and a big window is open to the outside. A red handle is hanging by a short
|
|
length of cord from the ceiling, swinging in time to the train's rocking
|
|
motion. The train is steaming along a barren stubble-plain.
|
|
The clatter of the wheels on the track is almost deafening.
|
|
|
|
What next?
|
|
>N
|
|
|
|
(You open the swinging door and close it again.)
|
|
The relative quiet here is welcome.
|
|
(rear end)
|
|
This is the rear end of the corridor. The floor and walls are covered with
|
|
cream-colored linoleum, worn away in spots to reveal the original hardwood
|
|
finish. A long series of windows, still framed by wood, runs along the corridor
|
|
on the right-hand side of the train. On the left side of the train, behind a
|
|
windowed door, lies the fifth compartment.
|
|
A young couple, a young man and a fat man are off to the front.
|
|
|
|
What next?
|
|
>N
|
|
|
|
|
|
(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 couple, the young man and the fat man are off to the front.
|
|
|
|
What next?
|
|
>N
|
|
|
|
(middle)
|
|
This is the middle of the corridor. On the left side of the train, behind a
|
|
windowed door, lies the third compartment.
|
|
A regal woman is in the third compartment.
|
|
The young couple and the young man are off to the front.
|
|
The fat man is here, looking at you with suspicion.
|
|
|
|
What next?
|
|
>W
|
|
|
|
(You open the compartment door and close it again.)
|
|
(third compartment)
|
|
[You're facing to the left side of the train.]
|
|
This is a once-luxurious first-class compartment on the Glrp-Wien Express. The
|
|
plush red upholstery on the two facing seats, shiny and worn in spots, and the
|
|
greasy lace on the headrests, give the car an air of faded elegance. A red
|
|
handle is hanging by a short length of cord from the ceiling, swinging in time
|
|
to the train's rocking motion. The corridor is outside, past a window with a
|
|
red curtain on it.
|
|
The train is speeding along a barren stubble-plain.
|
|
The regal woman is here, holding the briefcase and deep in thought.
|
|
Your sharp eyes notice a spot of blood on the floor.
|
|
|
|
(You won't see "What next?" any more.)
|
|
|
|
>L WOMAN
|
|
|
|
The train lurches a bit.
|
|
(I assume you mean: look at her, not look in her nor look for her nor any other
|
|
preposition.)
|
|
She was clearly beautiful as a young woman. Now her heavy make-up and cologne,
|
|
her fur piece and black net veil make her beauty a matter of personal
|
|
preference.
|
|
She is holding a briefcase.
|
|
|
|
>SAVE
|
|
|
|
(In this variation, 1 minute will pass in the story before you can type another
|
|
command. Are you sure you want to SAVE now? >Y
|
|
|
|
Okay.)
|
|
To file: SL.WOMAN.1Okay.
|
|
The train is now speeding past a dark, violent river.
|
|
|
|
>LOCK DOOR
|
|
|
|
Okay, it is now locked.
|
|
|
|
>CLOSE CURTAIN
|
|
|
|
Okay, it is now closed.
|
|
|
|
>OPEN WINDOW
|
|
|
|
The window opens only a bit, but it is enough to ventilate the room.
|
|
|
|
>CLOSE WINDOW
|
|
|
|
The train lurches a bit.
|
|
Okay, it is now closed.
|
|
|
|
>OPEN WINDOW
|
|
|
|
The window opens only a bit, but it is enough to ventilate the room.
|
|
|
|
>G
|
|
|
|
(It is already open!)
|
|
|
|
>L WOMAN
|
|
|
|
(I assume you mean: look at her, not look in her nor look for her nor any other
|
|
preposition.)
|
|
She was clearly beautiful as a young woman. Now her heavy make-up and cologne,
|
|
her fur piece and black net veil make her beauty a matter of personal
|
|
preference.
|
|
She is holding a briefcase.
|
|
She examines the briefcase latch.
|
|
|
|
>GET GUN
|
|
|
|
You are now holding it.
|
|
|
|
>POINT GUN AT WOMAN
|
|
|
|
An old couple stare at it for a moment, not believing their eyes. Then they
|
|
leave in a hurry.
|
|
She opens her eyes wider and says, "O qwaglip vubzitstev."
|
|
The regal woman, carrying the briefcase, opens the compartment door for a
|
|
moment and leaves.
|
|
|
|
>RESTORE
|
|
|
|
From file: SL.WOMAN.1Okay.
|
|
(third compartment)
|
|
[You're facing to the left side of the train.]
|
|
The regal woman is here, still holding the briefcase and deep in thought.
|
|
A spot of blood is still on the floor.
|
|
The train is now rocketing past a dark, violent river.
|
|
|
|
>L
|
|
|
|
(third compartment)
|
|
(You're facing to the left side of the train, but you look in all directions
|
|
for a moment.)
|
|
This is a once-luxurious first-class compartment on the Glrp-Wien Express. The
|
|
plush red upholstery on the two facing seats, shiny and worn in spots, and the
|
|
greasy lace on the headrests, give the car an air of faded elegance. A red
|
|
handle is hanging by a short length of cord from the ceiling, swinging in time
|
|
to the train's rocking motion. The corridor is outside, past a window with a
|
|
red curtain on it.
|
|
The train is hurtling past a dark, violent river.
|
|
The fat man is just outside.
|
|
There's an old couple here, snoozing.
|
|
The regal woman is here, still holding the briefcase and deep in thought.
|
|
A spot of blood is still on the floor.
|
|
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The old couple open the compartment door for a moment and leave.
|
|
The regal woman examines the briefcase latch.
|
|
Do you want to keep waiting? >N
|
|
|
|
The time is now 10.16.
|
|
|
|
>LOCK DOOR
|
|
|
|
Okay, it is now locked.
|
|
|
|
>CLOSE CURTIAN
|
|
|
|
(You don't need to use the word "curtian" to finish this story.)
|
|
|
|
>CLOSE CURTAIN
|
|
|
|
Okay, it is now closed.
|
|
|
|
>SAVE
|
|
|
|
(In this variation, 1 minute will pass in the story before you can type another
|
|
command. Are you sure you want to SAVE now? >Y
|
|
|
|
Okay.)
|
|
To file: SL.WOM.1Okay.
|
|
|
|
>GET GUN
|
|
|
|
You are now holding it.
|
|
You hear a knock on the door.
|
|
|
|
>PUT GUN IN POCKET
|
|
|
|
The train lurches a bit.
|
|
Okay.
|
|
|
|
The conductor appears and makes a gesture, asking for your ticket.
|
|
|
|
>GIVE TICKET TO CONDUCTOR
|
|
|
|
The conductor punches your ticket and then gives it back to you.
|
|
He punches the regal woman's ticket.
|
|
|
|
>LOCK DOOR
|
|
|
|
Okay, it is now locked.
|
|
The conductor touches a finger to his cap and opens it for a moment and leaves.
|
|
|
|
>LOCK DOOR
|
|
|
|
Okay, it is now locked.
|
|
The regal woman turns the briefcase latch.
|
|
|
|
>GET GUN
|
|
|
|
You are now holding it.
|
|
The regal woman opens the briefcase latch.
|
|
|
|
>POINT GUN AT WOMAN
|
|
|
|
She opens her eyes wider and says, "Y fim quidstevmrk qwa jef chopronoshzrk."
|
|
The regal woman, carrying the briefcase, opens the compartment door for a
|
|
moment and leaves.
|
|
|
|
>RESTORE
|
|
|
|
From file: SL.WOM.1Okay.
|
|
(third compartment)
|
|
[You're facing to the left side of the train.]
|
|
A spot of blood is still on the floor.
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
You hear a knock on the door.
|
|
Do you want to keep waiting? >N
|
|
|
|
The time is now 10.20.
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
|
|
The conductor appears and makes a gesture, asking for your ticket.
|
|
Do you want to keep waiting? >N
|
|
|
|
The time is now 10.21.
|
|
|
|
>GIVE TICKET TO CONDUCTOR
|
|
|
|
The conductor punches your ticket and then gives it back to you.
|
|
He punches the regal woman's ticket.
|
|
|
|
>L CASE
|
|
|
|
The train lurches a bit.
|
|
You are not holding it.
|
|
The conductor touches a finger to his cap and opens the compartment door for a
|
|
moment and leaves.
|
|
|
|
>L WOMAN
|
|
|
|
(I assume you mean: look at her, not look in her nor look for her nor any other
|
|
preposition.)
|
|
She was clearly beautiful as a young woman. Now her heavy make-up and cologne,
|
|
her fur piece and black net veil make her beauty a matter of personal
|
|
preference.
|
|
She is holding a briefcase.
|
|
She turns the briefcase latch.
|
|
|
|
>L IN CASE
|
|
|
|
You are not holding it.
|
|
The regal woman opens the briefcase latch.
|
|
|
|
>L IN CASE
|
|
|
|
You are not holding it.
|
|
The regal woman opens it.
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The regal woman examines the scrap of newsprint.
|
|
Do you want to keep waiting? >Y
|
|
|
|
She examines the briefcase.
|
|
Do you want to keep waiting? >Y
|
|
|
|
She closes the briefcase.
|
|
Do you want to keep waiting? >Y
|
|
|
|
She closes the briefcase latch.
|
|
The train is now speeding through a dark tunnel.
|
|
Do you want to keep waiting? >Y
|
|
|
|
She turns the briefcase latch.
|
|
Do you want to keep waiting? >Y
|
|
|
|
She picks up the briefcase.
|
|
The regal woman, carrying the briefcase, opens the compartment door for a
|
|
moment and leaves.
|
|
Do you want to keep waiting? >N
|
|
|
|
The time is now 10.32.
|
|
|
|
>E
|
|
|
|
(You open the compartment door and close it again.)
|
|
(middle)
|
|
[You're facing to the right side of the train.]
|
|
The young couple and the young man are off to the front.
|
|
The fat man is here, still looking at you with suspicion.
|
|
The regal woman is here, holding the briefcase and walking along. She heads off
|
|
to the rear.
|
|
|
|
>S
|
|
|
|
|
|
(rear middle)
|
|
[You're facing to the rear.]
|
|
An old woman opens the compartment door for a moment and walks past you.
|
|
The regal woman is here, still holding the briefcase and walking along. She
|
|
heads off to the rear.
|
|
|
|
>S
|
|
|
|
|
|
(rear end)
|
|
The old woman walks along with you.
|
|
The regal woman is here, still holding the briefcase and walking along. She
|
|
opens the swinging door for a moment and heads off to the rear.
|
|
|
|
>S
|
|
|
|
(You open the swinging door and close it again.)
|
|
(rear vestibule)
|
|
The regal woman is here, holding the briefcase and waiting.
|
|
The old woman opens the swinging door for a moment and walks along with you.
|
|
|
|
>L WOMAN
|
|
|
|
(Which woman do you mean, the old woman or the regal woman?)
|
|
|
|
>REGAL
|
|
|
|
(I assume you mean: look at her, not look in her nor look for her nor any other
|
|
preposition.)
|
|
She was clearly beautiful as a young woman. Now her heavy make-up and cologne,
|
|
her fur piece and black net veil make her beauty a matter of personal
|
|
preference.
|
|
She is holding a briefcase.
|
|
The old woman heads off to the rear.
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The old woman, off to the rear, opens the swinging door for a moment and
|
|
disappears to the rear.
|
|
Do you want to keep waiting? >Y
|
|
|
|
A middle-aged couple open the swinging door for a moment and walk past you from
|
|
the front.
|
|
Do you want to keep waiting? >Y
|
|
|
|
They head off to the rear.
|
|
The time is now 10.47.
|
|
|
|
>SAVE
|
|
|
|
(In this variation, 1 minute will pass in the story before you can type another
|
|
command. Are you sure you want to SAVE now? >SL.WAIT
|
|
|
|
(Please type YES or NO.) >Y
|
|
|
|
Okay.)
|
|
To file: SL.WAIT.1Okay.
|
|
The middle-aged couple, off to the rear, open the swinging door for a moment
|
|
and disappear to the rear.
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
An old couple open the swinging door for a moment and walk past you from the
|
|
front.
|
|
Do you want to keep waiting? >Y
|
|
|
|
They head off to the rear.
|
|
The train is now rocketing past a wild meadow.
|
|
Do you want to keep waiting? >Y
|
|
|
|
The regal woman heads down the ladder.
|
|
They open the swinging door for a moment and disappear to the rear.
|
|
Do you want to keep waiting? >N
|
|
|
|
The time is now 10.53.
|
|
|
|
>D
|
|
|
|
(The train is moving pretty quickly. If you want to jump, say so.)
|
|
|
|
>;HOW DOES THE REGAL WOMAN HEAD DOWN THE LADDER?
|
|
|
|
U
|
|
|
|
The rungs of the ladder are cold, the wind fierce, and the train bucks like a
|
|
wild animal, but somehow you manage to make it to the roof. Your sense of
|
|
satisfaction, however, is short-lived when you notice that the train is rapidly
|
|
approaching a tunnel.
|
|
(roof)
|
|
|
|
>D
|
|
|
|
The train lurches a bit.
|
|
(rear vestibule)
|
|
The regal woman stops here.
|
|
|
|
>L AT WOMAN
|
|
|
|
She was clearly beautiful as a young woman. Now her heavy make-up and cologne,
|
|
her fur piece and black net veil make her beauty a matter of personal
|
|
preference.
|
|
She is holding a yellow flower, and a briefcase.
|
|
The train is now steaming through a dark tunnel.
|
|
|
|
>KILL WOMAN
|
|
|
|
(with the gun)
|
|
The train lurches a bit.
|
|
She drops the briefcase and slumps on the floor.
|
|
|
|
>THROW WOMAN
|
|
|
|
(at yourself)
|
|
(taking the regal woman first)
|
|
You duck as it flies by.
|
|
|
|
>U
|
|
|
|
It's too dark inside the tunnel to climb the ladder.
|
|
|
|
>E
|
|
|
|
Too bad, but the restroom door is locked.
|
|
Off to the rear the old couple appear from the forward end.
|
|
|
|
>OPEN WINDOW
|
|
|
|
The window opens all the way.
|
|
The old couple walk past you from the rear.
|
|
|
|
>THROW WOMAN OUT WINDOW
|
|
|
|
(taking the regal woman first)
|
|
The old couple stare at it for a moment, not believing their eyes. Then they
|
|
leave in a hurry.
|
|
|
|
>RESTORE
|
|
|
|
From file: SL.WAIT.1Okay.
|
|
(rear vestibule)
|
|
[You're facing to the rear.]
|
|
The regal woman is here, still holding the briefcase and waiting.
|
|
The middle-aged couple, off to the rear, open the swinging door for a moment
|
|
and disappear to the rear.
|
|
|
|
>OPEN WUNDOW
|
|
|
|
(I don't know the word "wundow".)
|
|
|
|
>OPEN WINDOW
|
|
|
|
The window opens all the way.
|
|
|
|
>L
|
|
|
|
(rear vestibule)
|
|
(You're facing to the rear, but you look in all directions for a moment.)
|
|
This is a small vestibule at the rear end of the car. There's a short flight of
|
|
metal steps on the left side of the train leading down off the train, and a
|
|
narrow metal ladder leading up to the roof. A small door leads to a restroom,
|
|
and a big window is open to the outside. A red handle is hanging by a short
|
|
length of cord from the ceiling, swinging in time to the train's rocking
|
|
motion. The train is hurtling through a dark tunnel.
|
|
The clatter of the wheels on the track is almost deafening.
|
|
The regal woman is here, still holding the briefcase and waiting.
|
|
|
|
|
|
>SHOOT WOMAN
|
|
|
|
(with the gun)
|
|
She drops the briefcase and slumps on the floor.
|
|
|
|
>THOW WOMAN OUT WINDOW
|
|
|
|
(You don't need to use the word "thow" to finish this story.)
|
|
|
|
>THROW WOMAN OUT WINDOW
|
|
|
|
(taking the regal woman first)
|
|
The regal woman is gone with the wind.
|
|
The train is now rocketing past a wild meadow.
|
|
The air fills with the high-pitched whine of metal on metal, and you are thrown
|
|
violently forward as the train comes to an emergency stop.
|
|
|
|
>D
|
|
|
|
(beside the tracks)
|
|
[You're facing to the west.]
|
|
You are standing beside the train. The meadow looks too full of knolls and
|
|
bumps for farming, but livestock can graze in it. A wild flower grows here and
|
|
there. There's a cow on the tracks in front of the locomotive, with several
|
|
people trying to push her out of the way.
|
|
|
|
>GET FLOWER
|
|
|
|
You haven't found a yellow flower yet!
|
|
|
|
>FIND YELLOW FLOWER
|
|
|
|
You find a yellow flower in short order and take it.
|
|
|
|
>FIND BLUE FLOWER
|
|
|
|
(You can't see any blue flower here!)
|
|
|
|
>FIND GREEN FLOWER
|
|
|
|
(I don't know the word "green".)
|
|
|
|
>FIND RED FLOWER
|
|
|
|
(You can't see any red flower here!)
|
|
|
|
>GET COW
|
|
|
|
(Sorry, but the word "cow" is not in the vocabulary that you can use.)
|
|
|
|
>L AT COW
|
|
|
|
(Sorry, but the word "cow" is not in the vocabulary that you can use.)
|
|
|
|
>L
|
|
|
|
(beside the tracks)
|
|
(You're facing to the west, but you look in all directions for a moment.)
|
|
You are standing beside the train. The meadow looks too full of knolls and
|
|
bumps for farming, but livestock can graze in it. A wild flower grows here and
|
|
there. There's a cow on the tracks in front of the locomotive, with several
|
|
people trying to push her out of the way.
|
|
|
|
|
|
>L AT WILD FLOWER
|
|
|
|
You haven't found a blue flower yet!
|
|
|
|
>SEARCH FOR BLUE FLOWER
|
|
|
|
(You can't see any blue flower here!)
|
|
|
|
>U
|
|
|
|
(rear vestibule)
|
|
[You're facing to the right side of the train.]
|
|
A black briefcase with a chrome latch is here, closed.
|
|
|
|
>GET CASE
|
|
|
|
You are now holding it.
|
|
A whistle sounds, and the train briefly shudders and starts moving again.
|
|
|
|
>I
|
|
|
|
You're holding a briefcase, a yellow flower, and your ticket.
|
|
And there's something in your pocket.
|
|
Off to the rear the middle-aged couple appear from the forward end.
|
|
|
|
>E
|
|
|
|
Too bad, but the restroom door is locked.
|
|
The middle-aged couple walk past you from the rear.
|
|
|
|
>UNLOCK DOOR
|
|
|
|
(Which door do you mean, the restroom door or the swinging door?)
|
|
|
|
>RESTROOM
|
|
|
|
You can't unlock it from here.
|
|
The middle-aged couple open the swinging door for a moment and head off to the
|
|
front.
|
|
|
|
>S
|
|
|
|
[Debugging info: you are entering car #3.]
|
|
(forward vestibule)
|
|
[You're facing to the rear.]
|
|
This is a small vestibule at the forward end of the car. It's just like the
|
|
rear vestibule, but with no steps or ladder.
|
|
|
|
>E
|
|
|
|
The train lurches a bit.
|
|
(You open the restroom door and close it again.)
|
|
(forward restroom)
|
|
As you'd expect, the restroom is tidy but small, almost too small for comfort.
|
|
But it does have the usual fixtures.
|
|
|
|
>LOCK DOOR
|
|
|
|
The train lurches a bit.
|
|
Okay, it is now locked.
|
|
|
|
>SIT
|
|
|
|
(on the toilet)
|
|
You're now sitting on it.
|
|
|
|
>TURN LATCH
|
|
|
|
A mechanical click comes from within the briefcase.
|
|
|
|
>OPEN LATCH
|
|
|
|
The metal latch snaps open.
|
|
|
|
>OPEN CASE
|
|
|
|
Opening it reveals a scrap of newsprint, a magnifying glass, a cassette of
|
|
film, and a miniature camera.
|
|
|
|
>GET PRINT
|
|
|
|
You are now holding it.
|
|
|
|
>CLOSE CASE
|
|
|
|
Closed.
|
|
|
|
>W
|
|
|
|
(You stand up first.)
|
|
(You unlock and open the restroom door and close it again.)
|
|
(forward vestibule)
|
|
[You're facing to the left side of the train.]
|
|
The conductor, off to the front, disappears to the front.
|
|
|
|
>S
|
|
|
|
(You open the swinging door and close it again.)
|
|
The relative quiet here is welcome. The smell of food is unmistakable.
|
|
(forward end)
|
|
[You're facing to the rear.]
|
|
This is the forward end of the corridor. On the left side of the train lies the
|
|
first booth.
|
|
|
|
>S
|
|
|
|
|
|
(forward middle)
|
|
This is the forward middle of the corridor. On the left side of the train lies
|
|
the second booth.
|
|
|
|
>S
|
|
|
|
The train lurches a bit.
|
|
(middle)
|
|
This is the middle of the corridor. On the left side of the train lies the
|
|
third booth.
|
|
The old woman and an attractive woman are in the third booth.
|
|
|
|
>W
|
|
|
|
(third booth)
|
|
[You're facing to the left side of the train.]
|
|
This is a diner booth on the Glrp-Wien Express. In fact, it looks as if the
|
|
railway company just converted a first-class coach into a diner by removing the
|
|
door and adding a table to each compartment.
|
|
The train is rocketing past a wild meadow.
|
|
The old woman is here, chewing gum.
|
|
The attractive woman is here, smoking a cigarette.
|
|
|
|
>L ATTRACTIVE
|
|
|
|
(I assume you mean: the attractive woman.)
|
|
(I assume you mean: look at her, not look in her nor look for her nor any other
|
|
preposition.)
|
|
She looks almost too good for a nowhere country like this: sparkling eyes, good
|
|
bone structure, clear skin, tall and smooth. Of course, it's hard to tell
|
|
whether or not she can think in complete sentences.
|
|
She is holding a cigarette, and a lighter.
|
|
|
|
>BORROW CIGARETTE
|
|
|
|
(I don't know the word "borrow".)
|
|
|
|
>ASK ATTRACTIVE WOMAN FOR CIGARETTE
|
|
|
|
"I liznoshzrk frob nom?"
|
|
A waiter enters, ready to take your order.
|
|
|
|
>ORDER FOOD
|
|
|
|
The waiter returns in an instant with a plate of thin gruel and takes *1 from
|
|
you.
|
|
|
|
>GIVE ATTRACTIVE WOMAN *20
|
|
|
|
She accepts your gift and smiles broadly.
|
|
|
|
>GET LIGHTER
|
|
|
|
You are now holding it.
|
|
|
|
>GET CIGARETTE
|
|
|
|
You are now holding it.
|
|
|
|
>GET *20
|
|
|
|
Flashing your bankroll is not a good idea.
|
|
|
|
>GET ALL FROM WOMAN
|
|
|
|
(Which woman do you mean, the old woman or the attractive woman?)
|
|
|
|
>ATTRACTIVE
|
|
|
|
(Please be more specific.)
|
|
|
|
>GET *20 FROM ATTRACTIVE WOMAN
|
|
|
|
(You can't take it.)
|
|
|
|
>L ATTRACTIVE WOMAN
|
|
|
|
(I assume you mean: look at her, not look in her nor look for her nor any other
|
|
preposition.)
|
|
She looks almost too good for a nowhere country like this: sparkling eyes, good
|
|
bone structure, clear skin, tall and smooth. Of course, it's hard to tell
|
|
whether or not she can think in complete sentences.
|
|
|
|
>E
|
|
|
|
(middle)
|
|
[You're facing to the right side of the train.]
|
|
|
|
>N
|
|
|
|
|
|
(forward middle)
|
|
[You're facing to the front.]
|
|
The train begins to slow down a bit.
|
|
|
|
>N
|
|
|
|
|
|
(forward end)
|
|
|
|
>HEAT SCRAP WITH LIGHTER
|
|
|
|
Heating it with the lighter shows two things written on it, which you easily
|
|
translate into English:
|
|
white scarf
|
|
flower
|
|
|
|
The conductor cries, "Frbz," and the train glides to a halt in the station.
|
|
|
|
>D
|
|
|
|
(You can't go in that direction.)
|
|
|
|
>N
|
|
|
|
(You open the swinging door and close it again.)
|
|
(forward vestibule)
|
|
Off to the front the middle-aged couple appear from the rear end.
|
|
|
|
>W
|
|
|
|
(You can't go in that direction.)
|
|
|
|
>N
|
|
|
|
[Debugging info: you are entering car #2.]
|
|
(rear vestibule)
|
|
The middle-aged couple are here, walking along. They head off to the rear.
|
|
|
|
>W
|
|
|
|
(platform)
|
|
[You're facing to the west.]
|
|
You are standing on the concrete platform of the Frbz railway station. A
|
|
cantilevered roof looms overhead, with occasional drops of rain water falling
|
|
from its edge. To the west is the women's restroom. To the east is a passenger
|
|
train, the Glrp-Wien 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 couple here, looking at
|
|
you with suspicion.
|
|
|
|
>L COUPLE
|
|
|
|
(I assume you mean: look at them, not look in them nor look for them nor any
|
|
other preposition.)
|
|
They are dressed for business, in shades of gray, with a strange odor. They
|
|
have a birthmark on one cheek like a wine stain.
|
|
|
|
>S
|
|
|
|
[Debugging info: you are entering platform #3.]
|
|
(platform)
|
|
[You're facing to the south.]
|
|
One part of the crowd catches your eye: There's a young woman here, looking up
|
|
and down the platform.
|
|
|
|
>L WOMAN
|
|
|
|
(I assume you mean: look at her, not look in her nor look for her nor any other
|
|
preposition.)
|
|
She is dressed for a long trip, in shades of blue, with a strange odor. Her
|
|
teeth and fingers are well-stained with nicotine.
|
|
|
|
>S
|
|
|
|
[Debugging info: you are entering platform #4.]
|
|
(platform)
|
|
One part of the crowd catches your eye: There's a young couple here, looking up
|
|
and down the platform.
|
|
|
|
>L COUPLE
|
|
|
|
(I assume you mean: look at them, not look in them nor look for them nor any
|
|
other preposition.)
|
|
They are dressed for a holiday, in shades of green, with a string bag. Their
|
|
lucid blue eyes look straight into yours, without a flinch.
|
|
|
|
>S
|
|
|
|
[Debugging info: you are entering platform #5.]
|
|
(platform)
|
|
One part of the crowd catches your eye: There's a girl here, checking a
|
|
timetable.
|
|
|
|
>L GIRL
|
|
|
|
(I assume you mean: look at her, not look in her nor look for her nor any other
|
|
preposition.)
|
|
She is dressed for a long trip, in shades of red, with a brown-paper package.
|
|
Her glittering black eyes turn away whenever you try to look into them.
|
|
|
|
>N
|
|
|
|
[Debugging info: you are entering platform #4.]
|
|
(platform)
|
|
[You're facing to the north.]
|
|
|
|
>N
|
|
|
|
[Debugging info: you are entering platform #3.]
|
|
(platform)
|
|
One part of the crowd catches your eye: The young woman is here, still looking
|
|
up and down the platform.
|
|
|
|
>L WOMAN
|
|
|
|
(I assume you mean: look at her, not look in her nor look for her nor any other
|
|
preposition.)
|
|
She is dressed for a long trip, in shades of blue, with a strange odor. Her
|
|
teeth and fingers are well-stained with nicotine.
|
|
|
|
>N
|
|
|
|
[Debugging info: you are entering platform #2.]
|
|
(platform)
|
|
|
|
>N
|
|
|
|
[Debugging info: you are entering platform #1.]
|
|
(platform)
|
|
One part of the crowd catches your eye: There's a guard here, looking up and
|
|
down the platform.
|
|
|
|
>W
|
|
|
|
(men's restroom)
|
|
[You're facing to the west.]
|
|
This restroom is impressively tidy. That's a good thing, because it's one of
|
|
the only pair in the whole station.
|
|
|
|
>E
|
|
|
|
(platform)
|
|
[You're facing to the east.]
|
|
The young woman is off to the south.
|
|
The guard is here, still looking up and down the platform.
|
|
|
|
>S
|
|
|
|
[Debugging info: you are entering platform #2.]
|
|
(platform)
|
|
[You're facing to the south.]
|
|
The young woman is off to the south.
|
|
|
|
>W
|
|
|
|
(women's restroom)
|
|
[You're facing to the west.]
|
|
This restroom is impressively tidy. That's a good thing, because it's one of
|
|
the only pair in the whole station.
|
|
|
|
>E
|
|
|
|
(platform)
|
|
[You're facing to the east.]
|
|
The young woman is off to the south.
|
|
The guard is off to the north.
|
|
The train whistle blows once, and the conductor cries, "Gormnash floogle
|
|
nomnets!"
|
|
|
|
>RESTORE
|
|
|
|
From file: SL.WAIT.1Okay.
|
|
(rear vestibule)
|
|
[You're facing to the rear.]
|
|
The regal woman is here, still holding the briefcase and waiting.
|
|
The middle-aged couple, off to the rear, open the swinging door for a moment
|
|
and disappear to the rear.
|
|
|
|
>RESTORE
|
|
|
|
From file: SL.WOMAN.1Okay.
|
|
(third compartment)
|
|
[You're facing to the left side of the train.]
|
|
The regal woman is here, still holding the briefcase and deep in thought.
|
|
A spot of blood is still on the floor.
|
|
The train is now hurtling past a dark, violent river.
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
An old couple open the compartment door for a moment and leave.
|
|
The regal woman examines the briefcase latch.
|
|
Do you want to keep waiting? >Y
|
|
|
|
|
|
The conductor appears and makes a gesture, asking for your ticket.
|
|
Do you want to keep waiting? >N
|
|
|
|
The time is now 10.20.
|
|
|
|
>GIVE TICKET TO CONDUCTOR
|
|
|
|
The conductor punches your ticket and then gives it back to you.
|
|
He punches the regal woman's ticket.
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The conductor touches a finger to his cap and opens the compartment door for a
|
|
moment and leaves.
|
|
The regal woman turns the briefcase latch.
|
|
Do you want to keep waiting? >Y
|
|
|
|
She opens the briefcase latch.
|
|
Do you want to keep waiting? >Y
|
|
|
|
She opens the briefcase.
|
|
Do you want to keep waiting? >Y
|
|
|
|
She examines the scrap of newsprint.
|
|
Do you want to keep waiting? >Y
|
|
|
|
She examines the briefcase.
|
|
Do you want to keep waiting? >Y
|
|
|
|
She closes the briefcase.
|
|
Do you want to keep waiting? >Y
|
|
|
|
She closes the briefcase latch.
|
|
Do you want to keep waiting? >Y
|
|
|
|
She turns the briefcase latch.
|
|
The train is now rocketing through a dark tunnel.
|
|
Do you want to keep waiting? >Y
|
|
|
|
She picks up the briefcase.
|
|
The regal woman, carrying the briefcase, opens the compartment door for a
|
|
moment and leaves.
|
|
Do you want to keep waiting? >N
|
|
|
|
The time is now 10.31.
|
|
|
|
>E
|
|
|
|
(You open the compartment door and close it again.)
|
|
(middle)
|
|
[You're facing to the right side of the train.]
|
|
The young couple and the young man are off to the front.
|
|
The fat man is here, still looking at you with suspicion.
|
|
The regal woman is here, holding the briefcase and walking along. She heads off
|
|
to the rear.
|
|
|
|
>S
|
|
|
|
|
|
(rear middle)
|
|
[You're facing to the rear.]
|
|
The regal woman is here, still holding the briefcase and walking along. She
|
|
heads off to the rear.
|
|
|
|
>S
|
|
|
|
|
|
(rear end)
|
|
The regal woman is here, still holding the briefcase and walking along. She
|
|
opens the swinging door for a moment and heads off to the rear.
|
|
|
|
>S
|
|
|
|
(You open the swinging door and close it again.)
|
|
(rear vestibule)
|
|
The regal woman is here, holding the briefcase and waiting.
|
|
|
|
>OPEN WINDOW
|
|
|
|
The window opens all the way.
|
|
An old couple open the swinging door for a moment and walk past you from the
|
|
front.
|
|
|
|
>SAVE
|
|
|
|
(In this variation, 1 minute will pass in the story before you can type another
|
|
command. Are you sure you want to SAVE now? >Y
|
|
|
|
Okay.)
|
|
To file: SL.RE.1Okay.
|
|
The old couple head off to the rear.
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The old couple, off to the rear, open the swinging door for a moment and
|
|
disappear to the rear.
|
|
Do you want to keep waiting? >N
|
|
|
|
The time is now 10.38.
|
|
|
|
>SHOOT WOMAN
|
|
|
|
(with the gun)
|
|
The train lurches a bit.
|
|
She drops the briefcase and slumps on the floor.
|
|
|
|
>THROW WOMAN OUT WINDOW
|
|
|
|
(taking the regal woman first)
|
|
The regal woman is gone with the wind.
|
|
|
|
>GET CASE
|
|
|
|
You are now holding it.
|
|
|
|
>S
|
|
|
|
[Debugging info: you are entering car #3.]
|
|
(forward vestibule)
|
|
This is a small vestibule at the forward end of the car. It's just like the
|
|
rear vestibule, but with no steps or ladder.
|
|
|
|
>S
|
|
|
|
(You open the swinging door and close it again.)
|
|
The relative quiet here is welcome. The smell of food is unmistakable.
|
|
(forward end)
|
|
This is the forward end of the corridor. On the left side of the train lies the
|
|
first booth.
|
|
The old couple are in the first booth.
|
|
A waiter walks past you from the rear.
|
|
|
|
>S
|
|
|
|
|
|
(forward middle)
|
|
This is the forward middle of the corridor. On the left side of the train lies
|
|
the second booth.
|
|
|
|
>S
|
|
|
|
(middle)
|
|
This is the middle of the corridor. On the left side of the train lies the
|
|
third booth.
|
|
An attractive woman is in the third booth.
|
|
|
|
>W
|
|
|
|
(third booth)
|
|
[You're facing to the left side of the train.]
|
|
This is a diner booth on the Glrp-Wien Express. In fact, it looks as if the
|
|
railway company just converted a first-class coach into a diner by removing the
|
|
door and adding a table to each compartment.
|
|
The train is rocketing through a dark tunnel.
|
|
The attractive woman is here, chewing gum.
|
|
|
|
>L WOMAN
|
|
|
|
(I assume you mean: look at her, not look in her nor look for her nor any other
|
|
preposition.)
|
|
She looks almost too good for a nowhere country like this: sparkling eyes, good
|
|
bone structure, clear skin, tall and smooth. Of course, it's hard to tell
|
|
whether or not she can think in complete sentences.
|
|
|
|
>E
|
|
|
|
(middle)
|
|
[You're facing to the right side of the train.]
|
|
The waiter is here, gazing out the window.
|
|
He enters the third booth.
|
|
|
|
>N
|
|
|
|
|
|
(forward middle)
|
|
[You're facing to the front.]
|
|
|
|
>N
|
|
|
|
The train lurches a bit.
|
|
|
|
(forward end)
|
|
A middle-aged couple and the old couple are in the first booth.
|
|
|
|
>W
|
|
|
|
(first booth)
|
|
[You're facing to the left side of the train.]
|
|
The middle-aged couple are here, reading a newspaper.
|
|
The old couple are here, snoozing.
|
|
|
|
>E
|
|
|
|
|
|
(forward end)
|
|
[You're facing to the right side of the train.]
|
|
The waiter is off to the rear, heading toward you.
|
|
The middle-aged couple walk along with you.
|
|
The train is now rocketing past a wild meadow.
|
|
The air fills with the high-pitched whine of metal on metal, and you are thrown
|
|
violently forward as the train comes to an emergency stop.
|
|
Off to the rear a cook appears.
|
|
|
|
>N
|
|
|
|
(You open the swinging door and close it again.)
|
|
(forward vestibule)
|
|
[You're facing to the front.]
|
|
|
|
>N
|
|
|
|
[Debugging info: you are entering car #2.]
|
|
(rear vestibule)
|
|
|
|
>W
|
|
|
|
(beside the tracks)
|
|
[You're facing to the west.]
|
|
You are standing beside the train. The meadow looks too full of knolls and
|
|
bumps for farming, but livestock can graze in it. A wild flower grows here and
|
|
there. There's a cow on the tracks in front of the locomotive, with several
|
|
people trying to push her out of the way.
|
|
|
|
>GET FLOWER
|
|
|
|
You haven't found a yellow flower yet!
|
|
|
|
>FIND FLOWER
|
|
|
|
You find a yellow flower in short order and take it.
|
|
|
|
>E
|
|
|
|
(rear vestibule)
|
|
[You're facing to the right side of the train.]
|
|
|
|
>SAVE
|
|
|
|
(In this variation, 1 minute will pass in the story before you can type another
|
|
command. Are you sure you want to SAVE now? >SL.FLOWER
|
|
|
|
(Please type YES or NO.) >Y
|
|
|
|
Okay.)
|
|
To file: SL.FLOWER.1Okay.
|
|
A whistle sounds, and the train briefly shudders and starts moving again.
|
|
|
|
>E
|
|
|
|
Too bad, but the restroom door is locked.
|
|
|
|
>S
|
|
|
|
[Debugging info: you are entering car #3.]
|
|
(forward vestibule)
|
|
[You're facing to the rear.]
|
|
|
|
>E
|
|
|
|
(You open the restroom door and close it again.)
|
|
(forward restroom)
|
|
As you'd expect, the restroom is tidy but small, almost too small for comfort.
|
|
But it does have the usual fixtures.
|
|
|
|
>SIT
|
|
|
|
(on the toilet)
|
|
You're now sitting on it.
|
|
|
|
>OPEN CASE
|
|
|
|
The latch is closed.
|
|
|
|
>TURN LATCH.OPEN LATCH.OPEN CASE
|
|
|
|
A mechanical click comes from within the briefcase.
|
|
|
|
The metal latch snaps open.
|
|
|
|
Opening it reveals a scrap of newsprint, a magnifying glass, a cassette of
|
|
film, and a miniature camera.
|
|
|
|
>L AT SCRAP
|
|
|
|
There doesn't seem to be anything written on the scrap of newsprint.
|
|
|
|
>GET SCRAP
|
|
|
|
You are now holding it.
|
|
|
|
>CLOSE CASE
|
|
|
|
Closed.
|
|
|
|
>W
|
|
|
|
(You stand up first.)
|
|
(You open the restroom door and close it again.)
|
|
(forward vestibule)
|
|
[You're facing to the left side of the train.]
|
|
The conductor, off to the front, disappears to the front.
|
|
|
|
>S
|
|
|
|
(You open the swinging door and close it again.)
|
|
The relative quiet here is welcome.
|
|
(forward end)
|
|
[You're facing to the rear.]
|
|
The old couple are in the first booth.
|
|
The middle-aged couple are off to the rear, heading toward you.
|
|
|
|
>S
|
|
|
|
|
|
(forward middle)
|
|
The middle-aged couple walk past you from the rear.
|
|
|
|
>S
|
|
|
|
The train lurches a bit.
|
|
(middle)
|
|
The attractive woman is in the third booth.
|
|
|
|
>W
|
|
|
|
(third booth)
|
|
[You're facing to the left side of the train.]
|
|
The attractive woman is here, still chewing gum.
|
|
|
|
>L ATTRACTIVE WOMAN
|
|
|
|
(I assume you mean: look at her, not look in her nor look for her nor any other
|
|
preposition.)
|
|
She looks almost too good for a nowhere country like this: sparkling eyes, good
|
|
bone structure, clear skin, tall and smooth. Of course, it's hard to tell
|
|
whether or not she can think in complete sentences.
|
|
|
|
>I
|
|
|
|
You're holding a scrap of newsprint, a yellow flower, a briefcase, and your
|
|
ticket.
|
|
And there's something in your pocket.
|
|
The waiter enters, ready to take your order.
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The train begins to slow down a bit.
|
|
Do you want to keep waiting? >RESTORE
|
|
|
|
(Please type YES or NO.) >Y
|
|
|
|
The time is now 11.27.
|
|
|
|
>RESTORE
|
|
|
|
From file: SL.FLOWER.1Okay.
|
|
(rear vestibule)
|
|
[You're facing to the right side of the train.]
|
|
A whistle sounds, and the train briefly shudders and starts moving again.
|
|
|
|
>S
|
|
|
|
[Debugging info: you are entering car #3.]
|
|
(forward vestibule)
|
|
[You're facing to the rear.]
|
|
|
|
>S
|
|
|
|
(You open the swinging door and close it again.)
|
|
The relative quiet here is welcome.
|
|
(forward end)
|
|
The old couple are in the first booth.
|
|
|
|
>W
|
|
|
|
(first booth)
|
|
[You're facing to the left side of the train.]
|
|
The old couple are here, still snoozing.
|
|
|
|
>TURN LATCH
|
|
|
|
The train lurches a bit.
|
|
A mechanical click comes from within the briefcase.
|
|
|
|
>I
|
|
|
|
You're holding a yellow flower, a briefcase, and your ticket.
|
|
And there's something in your pocket.
|
|
|
|
>OPEN LATCH
|
|
|
|
The metal latch snaps open.
|
|
|
|
>OPEN CASE
|
|
|
|
You open it a crack before you realize that everything inside would fall out.
|
|
You quickly close it again.
|
|
The waiter enters, ready to take your order.
|
|
|
|
>SIT
|
|
|
|
(on the train seat)
|
|
You're now sitting on it.
|
|
|
|
>OPEN CASE
|
|
|
|
Opening it reveals a scrap of newsprint, a magnifying glass, a cassette of
|
|
film, and a miniature camera.
|
|
Just outside the conductor appears from the forward middle.
|
|
|
|
>GET SCRAP
|
|
|
|
You are now holding it.
|
|
The conductor, just outside, opens the swinging door for a moment and
|
|
disappears to the front.
|
|
|
|
>CLOSE CASE
|
|
|
|
The train lurches a bit.
|
|
Closed.
|
|
|
|
>E
|
|
|
|
(You stand up first.)
|
|
|
|
(forward end)
|
|
[You're facing to the right side of the train.]
|
|
|
|
>S
|
|
|
|
|
|
(forward middle)
|
|
[You're facing to the rear.]
|
|
|
|
>S
|
|
|
|
(middle)
|
|
The attractive woman is in the third booth.
|
|
|
|
>W
|
|
|
|
(third booth)
|
|
[You're facing to the left side of the train.]
|
|
The attractive woman is here, still chewing gum.
|
|
|
|
>L WOMAN
|
|
|
|
(I assume you mean: look at her, not look in her nor look for her nor any other
|
|
preposition.)
|
|
She looks almost too good for a nowhere country like this: sparkling eyes, good
|
|
bone structure, clear skin, tall and smooth. Of course, it's hard to tell
|
|
whether or not she can think in complete sentences.
|
|
|
|
>OPEN CASE
|
|
|
|
You open it a crack before you realize that everything inside would fall out.
|
|
You quickly close it again.
|
|
|
|
>E
|
|
|
|
(middle)
|
|
[You're facing to the right side of the train.]
|
|
The waiter is here, gazing out the window.
|
|
He enters the third booth.
|
|
|
|
>N
|
|
|
|
|
|
(forward middle)
|
|
[You're facing to the front.]
|
|
|
|
>N
|
|
|
|
|
|
(forward end)
|
|
The old couple are in the first booth.
|
|
|
|
>N
|
|
|
|
(You open the swinging door and close it again.)
|
|
(forward vestibule)
|
|
|
|
>N
|
|
|
|
The train lurches a bit.
|
|
[Debugging info: you are entering car #2.]
|
|
(rear vestibule)
|
|
|
|
>N
|
|
|
|
(You open the swinging door and close it again.)
|
|
The relative quiet here is welcome.
|
|
(rear end)
|
|
A young couple, a young man and the fat man are off to the front.
|
|
|
|
>N
|
|
|
|
|
|
(rear middle)
|
|
The young couple, the young man and the fat man are off to the front.
|
|
|
|
>N
|
|
|
|
(middle)
|
|
The young couple and the young man are off to the front.
|
|
The fat man is here, still looking at you with suspicion.
|
|
A middle-aged couple open the compartment door for a moment and walk past you.
|
|
|
|
>N
|
|
|
|
|
|
(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 young couple are off to the front.
|
|
The young man is here, gazing out the window.
|
|
|
|
>N
|
|
|
|
The train lurches a bit.
|
|
|
|
(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 young couple are here, looking at you with suspicion.
|
|
The train begins to slow down a bit.
|
|
|
|
>N
|
|
|
|
(You open the swinging door and close it again.)
|
|
(forward vestibule)
|
|
|
|
>N
|
|
|
|
[Debugging info: you are entering car #1.]
|
|
(rear vestibule)
|
|
|
|
The conductor cries, "Frbz," and the train glides to a halt in the station.
|
|
|
|
>D
|
|
|
|
(platform)
|
|
[You're facing to the west.]
|
|
You are standing at the north end of the concrete platform of the Frbz railway
|
|
station. A cantilevered roof looms overhead, with occasional drops of rain
|
|
water falling from its edge. To the west is the men's restroom. To the east is
|
|
a passenger train, the Glrp-Wien 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.
|
|
The conductor is here, walking to the front of the train. One part of the crowd
|
|
catches your eye: There's a guard here, looking at you with suspicion.
|
|
He stops walking.
|
|
|
|
>S
|
|
|
|
[Debugging info: you are entering platform #2.]
|
|
(platform)
|
|
[You're facing to the south.]
|
|
One part of the crowd catches your eye: There's an old woman here, re-arranging
|
|
luggage.
|
|
|
|
>S
|
|
|
|
[Debugging info: you are entering platform #3.]
|
|
(platform)
|
|
One part of the crowd catches your eye: There's a young woman here, looking up
|
|
and down the platform.
|
|
|
|
>S
|
|
|
|
[Debugging info: you are entering platform #4.]
|
|
(platform)
|
|
One part of the crowd catches your eye: There's an old man here, reading a
|
|
newspaper.
|
|
|
|
>S
|
|
|
|
[Debugging info: you are entering platform #5.]
|
|
(platform)
|
|
One part of the crowd catches your eye: There's a young man here, looking at
|
|
you with suspicion.
|
|
|
|
>S
|
|
|
|
This is the end of the platform.
|
|
|
|
>E
|
|
|
|
(rear vestibule)
|
|
[You're facing to the right side of the train.]
|
|
You notice some graffitti on the wall.
|
|
|
|
>READ GRAFFITTI
|
|
|
|
(You don't need to use the word "graffitti" to finish this story.)
|
|
|
|
>N
|
|
|
|
(You open the swinging door and close it again.)
|
|
|
|
(rear end)
|
|
[You're facing to the front.]
|
|
|
|
>N
|
|
|
|
|
|
(rear middle)
|
|
|
|
>N
|
|
|
|
(middle)
|
|
A thin woman is in the third compartment.
|
|
|
|
>N
|
|
|
|
|
|
(forward middle)
|
|
|
|
>N
|
|
|
|
|
|
(forward end)
|
|
|
|
>I
|
|
|
|
You're holding a scrap of newsprint, a yellow flower, a briefcase, and your
|
|
ticket.
|
|
And there's something in your pocket.
|
|
|
|
>L IN POCKET
|
|
|
|
Your pocket contains a gun, a timetable, a traveler's check, and your passport.
|
|
And some money.
|
|
|
|
>RESTORE
|
|
|
|
From file: SL.WOMAN.1Okay.
|
|
(third compartment)
|
|
[You're facing to the left side of the train.]
|
|
The regal woman is here, still holding the briefcase and deep in thought.
|
|
A spot of blood is still on the floor.
|
|
The train is now racing past a dark, violent river.
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The regal woman examines the briefcase latch.
|
|
Do you want to keep waiting? >Y
|
|
|
|
She turns the briefcase latch.
|
|
Do you want to keep waiting? >Y
|
|
|
|
|
|
The conductor appears and makes a gesture, asking for your ticket.
|
|
Do you want to keep waiting? >N
|
|
|
|
The time is now 10.20.
|
|
|
|
>GIVE TICKET TO CONDUCTOR
|
|
|
|
The conductor punches your ticket and then gives it back to you.
|
|
He punches an old couple's ticket.
|
|
|
|
>Z
|
|
|
|
The train lurches a bit.
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The conductor punches the regal woman's ticket.
|
|
Do you want to keep waiting? >Y
|
|
|
|
He touches a finger to his cap and opens the compartment door for a moment and
|
|
leaves.
|
|
The regal woman opens the briefcase latch.
|
|
Do you want to keep waiting? >Y
|
|
|
|
She opens the briefcase.
|
|
Do you want to keep waiting? >Y
|
|
|
|
She examines the scrap of newsprint.
|
|
Do you want to keep waiting? >Y
|
|
|
|
She examines the briefcase.
|
|
Do you want to keep waiting? >Y
|
|
|
|
She closes the briefcase.
|
|
Do you want to keep waiting? >Y
|
|
|
|
She closes the briefcase latch.
|
|
Do you want to keep waiting? >Y
|
|
|
|
She turns the briefcase latch.
|
|
The train is now racing through a dark tunnel.
|
|
Do you want to keep waiting? >Y
|
|
|
|
She picks up the briefcase.
|
|
The regal woman, carrying the briefcase, opens the compartment door for a
|
|
moment and leaves.
|
|
Do you want to keep waiting? >N
|
|
|
|
The time is now 10.31.
|
|
|
|
>E
|
|
|
|
(You open the compartment door and close it again.)
|
|
(middle)
|
|
[You're facing to the right side of the train.]
|
|
The young couple and the young man are off to the front.
|
|
The fat man is here, still looking at you with suspicion.
|
|
A middle-aged couple are off to the front, heading toward you.
|
|
The regal woman is here, holding the briefcase and walking along. She heads off
|
|
to the rear.
|
|
|
|
>FOLLOW WOMAN
|
|
|
|
|
|
(rear middle)
|
|
[You're facing to the rear.]
|
|
The regal woman is here, still holding the briefcase and walking along. She
|
|
heads off to the rear.
|
|
|
|
>G
|
|
|
|
|
|
(rear end)
|
|
The regal woman is here, still holding the briefcase and walking along. She
|
|
opens the swinging door for a moment and heads off to the rear.
|
|
|
|
>G
|
|
|
|
(You can't see the regal woman any more.)
|
|
|
|
>S
|
|
|
|
(You open the swinging door and close it again.)
|
|
(rear vestibule)
|
|
The regal woman is here, holding the briefcase and waiting.
|
|
|
|
>L AT WOMAN
|
|
|
|
She was clearly beautiful as a young woman. Now her heavy make-up and cologne,
|
|
her fur piece and black net veil make her beauty a matter of personal
|
|
preference.
|
|
She is holding a briefcase.
|
|
The middle-aged couple open the swinging door for a moment and walk past you
|
|
from the front.
|
|
|
|
>SAVE
|
|
|
|
(In this variation, 1 minute will pass in the story before you can type another
|
|
command. Are you sure you want to SAVE now? >Y
|
|
|
|
Okay.)
|
|
To file: SL.REAR.1Okay.
|
|
The middle-aged couple head off to the rear.
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The middle-aged couple, off to the rear, open the swinging door for a moment
|
|
and disappear to the rear.
|
|
Do you want to keep waiting? >Y
|
|
|
|
Off to the rear they appear from the forward end.
|
|
The time is now 10.47.
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The middle-aged couple walk past you from the rear.
|
|
They open the swinging door for a moment and head off to the front.
|
|
The train is now steaming past a wild meadow.
|
|
Do you want to keep waiting? >Y
|
|
|
|
The regal woman heads down the ladder.
|
|
She stops here.
|
|
Do you want to keep waiting? >N
|
|
|
|
The time is now 10.55.
|
|
|
|
>;WHERE IS THE DESCRIPTION OF THE TRAIN STOPPING?
|
|
|
|
L WOMAN
|
|
|
|
(I assume you mean: look at her, not look in her nor look for her nor any other
|
|
preposition.)
|
|
She was clearly beautiful as a young woman. Now her heavy make-up and cologne,
|
|
her fur piece and black net veil make her beauty a matter of personal
|
|
preference.
|
|
She is holding a yellow flower, and a briefcase.
|
|
|
|
>S
|
|
|
|
[Debugging info: you are entering car #3.]
|
|
(forward vestibule)
|
|
This is a small vestibule at the forward end of the car. It's just like the
|
|
rear vestibule, but with no steps or ladder.
|
|
|
|
>S
|
|
|
|
The train lurches a bit.
|
|
(You open the swinging door and close it again.)
|
|
The relative quiet here is welcome. The smell of food is unmistakable.
|
|
(forward end)
|
|
This is the forward end of the corridor. On the left side of the train lies the
|
|
first booth.
|
|
|
|
>S
|
|
|
|
The train lurches a bit.
|
|
|
|
(forward middle)
|
|
This is the forward middle of the corridor. On the left side of the train lies
|
|
the second booth.
|
|
|
|
>S
|
|
|
|
The train lurches a bit.
|
|
(middle)
|
|
This is the middle of the corridor. On the left side of the train lies the
|
|
third booth.
|
|
An attractive woman is in the third booth.
|
|
|
|
>W
|
|
|
|
(third booth)
|
|
[You're facing to the left side of the train.]
|
|
This is a diner booth on the Glrp-Wien Express. In fact, it looks as if the
|
|
railway company just converted a first-class coach into a diner by removing the
|
|
door and adding a table to each compartment.
|
|
The train is rocketing past a wild meadow.
|
|
The attractive woman is here, reading a newspaper.
|
|
|
|
>E
|
|
|
|
(middle)
|
|
[You're facing to the right side of the train.]
|
|
A waiter walks past you from the rear.
|
|
A young couple are off to the front, heading away from you.
|
|
|
|
>N
|
|
|
|
|
|
(forward middle)
|
|
[You're facing to the front.]
|
|
The young couple, off to the front, open the swinging door for a moment and
|
|
disappear to the front.
|
|
|
|
>N
|
|
|
|
|
|
(forward end)
|
|
|
|
>N
|
|
|
|
(You open the swinging door and close it again.)
|
|
(forward vestibule)
|
|
The regal woman is off to the front.
|
|
The young couple, off to the front, disappear to the front.
|
|
|
|
>N
|
|
|
|
[Debugging info: you are entering car #2.]
|
|
(rear vestibule)
|
|
The regal woman is here, still holding the briefcase and walking along.
|
|
>L WOMAN
|
|
|
|
(I assume you mean: look at her, not look in her nor look for her nor any other
|
|
preposition.)
|
|
She was clearly beautiful as a young woman. Now her heavy make-up and cologne,
|
|
her fur piece and black net veil make her beauty a matter of personal
|
|
preference.
|
|
She is holding a yellow flower, and a briefcase.
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The conductor walks past you from the rear.
|
|
He opens the swinging door for a moment and heads off to the front.
|
|
The time is now 11.17.
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The train begins to slow down a bit.
|
|
Do you want to keep waiting? >Y
|
|
|
|
A young man opens the swinging door for a moment and walks past you from the
|
|
front.
|
|
Do you want to keep waiting? >Y
|
|
|
|
He heads off to the rear.
|
|
The conductor cries, "Frbz," and the train glides to a halt in the station.
|
|
Do you want to keep waiting? >N
|
|
|
|
The time is now 11.22.
|
|
|
|
>L WOMAN
|
|
|
|
(I assume you mean: look at her, not look in her nor look for her nor any other
|
|
preposition.)
|
|
She was clearly beautiful as a young woman. Now her heavy make-up and cologne,
|
|
her fur piece and black net veil make her beauty a matter of personal
|
|
preference.
|
|
She is holding a yellow flower, and a briefcase.
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The regal woman heads off to out of view.
|
|
She heads down the steps.
|
|
Do you want to keep waiting? >N
|
|
|
|
The time is now 11.29.
|
|
|
|
>D
|
|
|
|
(platform)
|
|
[You're facing to the west.]
|
|
You are standing on the concrete platform of the Frbz railway station. A
|
|
cantilevered roof looms overhead, with occasional drops of rain water falling
|
|
from its edge. To the west is the women's restroom. To the east is a passenger
|
|
train, the Glrp-Wien 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.
|
|
The regal woman is here, holding the briefcase and gazing out the window.
|
|
She enters the women's restroom.
|
|
|
|
>W
|
|
|
|
(women's restroom)
|
|
This restroom is impressively tidy. That's a good thing, because it's one of
|
|
the only pair in the whole station.
|
|
The regal woman is here, holding the briefcase and about to leave.
|
|
She leaves.
|
|
[!! regal woman not on train!]
|
|
|
|
>E
|
|
|
|
(platform)
|
|
[You're facing to the east.]
|
|
The regal woman is here, still holding the briefcase and walking along. She
|
|
heads up the steps.
|
|
|
|
>E
|
|
|
|
(rear vestibule)
|
|
The regal woman is here, still holding the briefcase and walking along.
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
An old man opens the swinging door for a moment and walks past you from the
|
|
front.
|
|
Do you want to keep waiting? >Y
|
|
|
|
He heads off to the rear.
|
|
He opens the swinging door for a moment and disappears to the rear.
|
|
Do you want to keep waiting? >Y
|
|
|
|
The train whistle blows once, and the conductor cries, "Gormnash floogle
|
|
nomnets!"
|
|
Do you want to keep waiting? >N
|
|
|
|
The time is now 11.42.
|
|
|
|
>OPEN WINDOW
|
|
|
|
The window opens all the way.
|
|
|
|
>SAVE
|
|
|
|
(In this variation, 1 minute will pass in the story before you can type another
|
|
command. Are you sure you want to SAVE now? >Y
|
|
|
|
Okay.)
|
|
To file: SL.FRBZ.1Okay.
|
|
|
|
>L
|
|
|
|
(rear vestibule)
|
|
(You're facing to the right side of the train, but you look in all directions
|
|
for a moment.)
|
|
This is a small vestibule at the rear end of the car. It's just like the
|
|
forward vestibule, except for a short flight of metal steps on the left side of
|
|
the train leading down off the train, and a narrow metal ladder leading up to
|
|
the roof. A small door leads to a restroom, and a big window is open to the
|
|
outside. A red handle is hanging by a short length of cord from the ceiling.
|
|
The train is stopped in a railway station.
|
|
The regal woman is here, still holding the briefcase and walking along.
|
|
The train slowly pulls out of Frbz station.
|
|
|
|
>OPEN WINDOW
|
|
|
|
(It is already open!)
|
|
|
|
>L
|
|
|
|
(rear vestibule)
|
|
(You're facing to the right side of the train, but you look in all directions
|
|
for a moment.)
|
|
This is a small vestibule at the rear end of the car. It's just like the
|
|
forward vestibule, except for a short flight of metal steps on the left side of
|
|
the train leading down off the train, and a narrow metal ladder leading up to
|
|
the roof. A small door leads to a restroom, and a big window is open to the
|
|
outside. A red handle is hanging by a short length of cord from the ceiling,
|
|
swinging in time to the train's rocking motion. The train is passing through a
|
|
railway station.
|
|
The clatter of the wheels on the track is almost deafening.
|
|
The regal woman is here, still holding the briefcase and walking along.
|
|
|
|
>L
|
|
|
|
(rear vestibule)
|
|
(You're facing to the right side of the train, but you look in all directions
|
|
for a moment.)
|
|
This is a small vestibule at the rear end of the car. It's just like the
|
|
forward vestibule, except for a short flight of metal steps on the left side of
|
|
the train leading down off the train, and a narrow metal ladder leading up to
|
|
the roof. A small door leads to a restroom, and a big window is open to the
|
|
outside. A red handle is hanging by a short length of cord from the ceiling,
|
|
swinging in time to the train's rocking motion. The train is passing through a
|
|
railway station.
|
|
The clatter of the wheels on the track is almost deafening.
|
|
The regal woman is here, still holding the briefcase and walking along.
|
|
Off to the rear an old man appears from the forward end.
|
|
The train is now steaming past a small town.
|
|
|
|
>L
|
|
|
|
(rear vestibule)
|
|
(You're facing to the right side of the train, but you look in all directions
|
|
for a moment.)
|
|
This is a small vestibule at the rear end of the car. It's just like the
|
|
forward vestibule, except for a short flight of metal steps on the left side of
|
|
the train leading down off the train, and a narrow metal ladder leading up to
|
|
the roof. A small door leads to a restroom, and a big window is open to the
|
|
outside. A red handle is hanging by a short length of cord from the ceiling,
|
|
swinging in time to the train's rocking motion. The train is rocketing past a
|
|
small town.
|
|
The clatter of the wheels on the track is almost deafening.
|
|
The regal woman is here, still holding the briefcase and walking along.
|
|
The old man walks past you from the rear.
|
|
|
|
>L
|
|
|
|
The train lurches a bit.
|
|
(rear vestibule)
|
|
(You're facing to the right side of the train, but you look in all directions
|
|
for a moment.)
|
|
This is a small vestibule at the rear end of the car. It's just like the
|
|
forward vestibule, except for a short flight of metal steps on the left side of
|
|
the train leading down off the train, and a narrow metal ladder leading up to
|
|
the roof. A small door leads to a restroom, and a big window is open to the
|
|
outside. A red handle is hanging by a short length of cord from the ceiling,
|
|
swinging in time to the train's rocking motion. The train is hurtling past a
|
|
small town.
|
|
The clatter of the wheels on the track is almost deafening.
|
|
The regal woman is here, still holding the briefcase and walking along.
|
|
The old man is here, walking along. He opens the swinging door for a moment and
|
|
heads off to the front.
|
|
|
|
>L
|
|
|
|
(rear vestibule)
|
|
(You're facing to the right side of the train, but you look in all directions
|
|
for a moment.)
|
|
This is a small vestibule at the rear end of the car. It's just like the
|
|
forward vestibule, except for a short flight of metal steps on the left side of
|
|
the train leading down off the train, and a narrow metal ladder leading up to
|
|
the roof. A small door leads to a restroom, and a big window is open to the
|
|
outside. A red handle is hanging by a short length of cord from the ceiling,
|
|
swinging in time to the train's rocking motion. The train is steaming past a
|
|
small town.
|
|
The clatter of the wheels on the track is almost deafening.
|
|
The regal woman is here, still holding the briefcase and walking along.
|
|
|
|
>L
|
|
|
|
(rear vestibule)
|
|
(You're facing to the right side of the train, but you look in all directions
|
|
for a moment.)
|
|
This is a small vestibule at the rear end of the car. It's just like the
|
|
forward vestibule, except for a short flight of metal steps on the left side of
|
|
the train leading down off the train, and a narrow metal ladder leading up to
|
|
the roof. A small door leads to a restroom, and a big window is open to the
|
|
outside. A red handle is hanging by a short length of cord from the ceiling,
|
|
swinging in time to the train's rocking motion. The train is racing past a
|
|
small town.
|
|
The clatter of the wheels on the track is almost deafening.
|
|
The regal woman is here, still holding the briefcase and walking along.
|
|
|
|
>L
|
|
|
|
(rear vestibule)
|
|
(You're facing to the right side of the train, but you look in all directions
|
|
for a moment.)
|
|
This is a small vestibule at the rear end of the car. It's just like the
|
|
forward vestibule, except for a short flight of metal steps on the left side of
|
|
the train leading down off the train, and a narrow metal ladder leading up to
|
|
the roof. A small door leads to a restroom, and a big window is open to the
|
|
outside. A red handle is hanging by a short length of cord from the ceiling,
|
|
swinging in time to the train's rocking motion. The train is rocketing past a
|
|
small town.
|
|
The clatter of the wheels on the track is almost deafening.
|
|
The regal woman is here, still holding the briefcase and walking along.
|
|
|
|
>L
|
|
|
|
(rear vestibule)
|
|
(You're facing to the right side of the train, but you look in all directions
|
|
for a moment.)
|
|
This is a small vestibule at the rear end of the car. It's just like the
|
|
forward vestibule, except for a short flight of metal steps on the left side of
|
|
the train leading down off the train, and a narrow metal ladder leading up to
|
|
the roof. A small door leads to a restroom, and a big window is open to the
|
|
outside. A red handle is hanging by a short length of cord from the ceiling,
|
|
swinging in time to the train's rocking motion. The train is hurtling past a
|
|
small town.
|
|
The clatter of the wheels on the track is almost deafening.
|
|
The regal woman is here, still holding the briefcase and walking along.
|
|
|
|
>L
|
|
|
|
(rear vestibule)
|
|
(You're facing to the right side of the train, but you look in all directions
|
|
for a moment.)
|
|
This is a small vestibule at the rear end of the car. It's just like the
|
|
forward vestibule, except for a short flight of metal steps on the left side of
|
|
the train leading down off the train, and a narrow metal ladder leading up to
|
|
the roof. A small door leads to a restroom, and a big window is open to the
|
|
outside. A red handle is hanging by a short length of cord from the ceiling,
|
|
swinging in time to the train's rocking motion. The train is speeding past a
|
|
small town.
|
|
The clatter of the wheels on the track is almost deafening.
|
|
The regal woman is here, still holding the briefcase and walking along.
|
|
|
|
>L
|
|
|
|
(rear vestibule)
|
|
(You're facing to the right side of the train, but you look in all directions
|
|
for a moment.)
|
|
This is a small vestibule at the rear end of the car. It's just like the
|
|
forward vestibule, except for a short flight of metal steps on the left side of
|
|
the train leading down off the train, and a narrow metal ladder leading up to
|
|
the roof. A small door leads to a restroom, and a big window is open to the
|
|
outside. A red handle is hanging by a short length of cord from the ceiling,
|
|
swinging in time to the train's rocking motion. The train is speeding past a
|
|
small town.
|
|
The clatter of the wheels on the track is almost deafening.
|
|
The regal woman is here, still holding the briefcase and walking along.
|
|
|
|
>L
|
|
|
|
(rear vestibule)
|
|
(You're facing to the right side of the train, but you look in all directions
|
|
for a moment.)
|
|
This is a small vestibule at the rear end of the car. It's just like the
|
|
forward vestibule, except for a short flight of metal steps on the left side of
|
|
the train leading down off the train, and a narrow metal ladder leading up to
|
|
the roof. A small door leads to a restroom, and a big window is open to the
|
|
outside. A red handle is hanging by a short length of cord from the ceiling,
|
|
swinging in time to the train's rocking motion. The train is steaming past a
|
|
small town.
|
|
The clatter of the wheels on the track is almost deafening.
|
|
The regal woman is here, still holding the briefcase and walking along.
|
|
|
|
>L
|
|
|
|
(rear vestibule)
|
|
(You're facing to the right side of the train, but you look in all directions
|
|
for a moment.)
|
|
This is a small vestibule at the rear end of the car. It's just like the
|
|
forward vestibule, except for a short flight of metal steps on the left side of
|
|
the train leading down off the train, and a narrow metal ladder leading up to
|
|
the roof. A small door leads to a restroom, and a big window is open to the
|
|
outside. A red handle is hanging by a short length of cord from the ceiling,
|
|
swinging in time to the train's rocking motion. The train is rocketing past a
|
|
small town.
|
|
The clatter of the wheels on the track is almost deafening.
|
|
The regal woman is here, still holding the briefcase and walking along.
|
|
|
|
>L
|
|
|
|
(rear vestibule)
|
|
(You're facing to the right side of the train, but you look in all directions
|
|
for a moment.)
|
|
This is a small vestibule at the rear end of the car. It's just like the
|
|
forward vestibule, except for a short flight of metal steps on the left side of
|
|
the train leading down off the train, and a narrow metal ladder leading up to
|
|
the roof. A small door leads to a restroom, and a big window is open to the
|
|
outside. A red handle is hanging by a short length of cord from the ceiling,
|
|
swinging in time to the train's rocking motion. The train is speeding past a
|
|
small town.
|
|
The clatter of the wheels on the track is almost deafening.
|
|
The regal woman is here, still holding the briefcase and walking along.
|
|
|
|
>L
|
|
|
|
(rear vestibule)
|
|
(You're facing to the right side of the train, but you look in all directions
|
|
for a moment.)
|
|
This is a small vestibule at the rear end of the car. It's just like the
|
|
forward vestibule, except for a short flight of metal steps on the left side of
|
|
the train leading down off the train, and a narrow metal ladder leading up to
|
|
the roof. A small door leads to a restroom, and a big window is open to the
|
|
outside. A red handle is hanging by a short length of cord from the ceiling,
|
|
swinging in time to the train's rocking motion. The train is rocketing past a
|
|
small town.
|
|
The clatter of the wheels on the track is almost deafening.
|
|
The regal woman is here, still holding the briefcase and walking along.
|
|
|
|
>L
|
|
|
|
The train lurches a bit.
|
|
(rear vestibule)
|
|
(You're facing to the right side of the train, but you look in all directions
|
|
for a moment.)
|
|
This is a small vestibule at the rear end of the car. It's just like the
|
|
forward vestibule, except for a short flight of metal steps on the left side of
|
|
the train leading down off the train, and a narrow metal ladder leading up to
|
|
the roof. A small door leads to a restroom, and a big window is open to the
|
|
outside. A red handle is hanging by a short length of cord from the ceiling,
|
|
swinging in time to the train's rocking motion. The train is steaming past a
|
|
small town.
|
|
The clatter of the wheels on the track is almost deafening.
|
|
The regal woman is here, still holding the briefcase and walking along.
|
|
|
|
>L
|
|
|
|
(rear vestibule)
|
|
(You're facing to the right side of the train, but you look in all directions
|
|
for a moment.)
|
|
This is a small vestibule at the rear end of the car. It's just like the
|
|
forward vestibule, except for a short flight of metal steps on the left side of
|
|
the train leading down off the train, and a narrow metal ladder leading up to
|
|
the roof. A small door leads to a restroom, and a big window is open to the
|
|
outside. A red handle is hanging by a short length of cord from the ceiling,
|
|
swinging in time to the train's rocking motion. The train is racing past a
|
|
small town.
|
|
The clatter of the wheels on the track is almost deafening.
|
|
The regal woman is here, still holding the briefcase and walking along.
|
|
|
|
>L
|
|
|
|
(rear vestibule)
|
|
(You're facing to the right side of the train, but you look in all directions
|
|
for a moment.)
|
|
This is a small vestibule at the rear end of the car. It's just like the
|
|
forward vestibule, except for a short flight of metal steps on the left side of
|
|
the train leading down off the train, and a narrow metal ladder leading up to
|
|
the roof. A small door leads to a restroom, and a big window is open to the
|
|
outside. A red handle is hanging by a short length of cord from the ceiling,
|
|
swinging in time to the train's rocking motion. The train is speeding past a
|
|
small town.
|
|
The clatter of the wheels on the track is almost deafening.
|
|
The regal woman is here, still holding the briefcase and walking along.
|
|
|
|
>L
|
|
|
|
(rear vestibule)
|
|
(You're facing to the right side of the train, but you look in all directions
|
|
for a moment.)
|
|
This is a small vestibule at the rear end of the car. It's just like the
|
|
forward vestibule, except for a short flight of metal steps on the left side of
|
|
the train leading down off the train, and a narrow metal ladder leading up to
|
|
the roof. A small door leads to a restroom, and a big window is open to the
|
|
outside. A red handle is hanging by a short length of cord from the ceiling,
|
|
swinging in time to the train's rocking motion. The train is rocketing past a
|
|
small town.
|
|
The clatter of the wheels on the track is almost deafening.
|
|
The regal woman is here, still holding the briefcase and walking along.
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The train is now speeding along a barren stubble-plain.
|
|
The conductor stops here to punch tickets.
|
|
Do you want to keep waiting? >N
|
|
|
|
The time is now 12.06.
|
|
|
|
>GIVE TICKET TO CONDUCTOR
|
|
|
|
The conductor punches your ticket and then gives it back to you.
|
|
He punches the regal woman's ticket.
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 12.17.
|
|
|
|
>L
|
|
|
|
The train lurches a bit.
|
|
(rear vestibule)
|
|
(You're facing to the right side of the train, but you look in all directions
|
|
for a moment.)
|
|
This is a small vestibule at the rear end of the car. It's just like the
|
|
forward vestibule, except for a short flight of metal steps on the left side of
|
|
the train leading down off the train, and a narrow metal ladder leading up to
|
|
the roof. A small door leads to a restroom, and a big window is open to the
|
|
outside. A red handle is hanging by a short length of cord from the ceiling,
|
|
swinging in time to the train's rocking motion. The train is racing along a
|
|
barren stubble-plain.
|
|
The clatter of the wheels on the track is almost deafening.
|
|
The regal woman is here, still holding the briefcase and walking along.
|
|
|
|
>KILL WOMAN
|
|
|
|
(with the gun)
|
|
She drops the briefcase and slumps on the floor.
|
|
|
|
>THROW WOMAN OUT WINDOW
|
|
|
|
(taking the regal woman first)
|
|
The regal woman is gone with the wind.
|
|
|
|
>GET CASE
|
|
|
|
You are now holding it.
|
|
An old couple open the swinging door for a moment and walk past you from the
|
|
front.
|
|
|
|
>S
|
|
|
|
[Debugging info: you are entering car #3.]
|
|
(forward vestibule)
|
|
[You're facing to the rear.]
|
|
An old couple walk past you from the front.
|
|
|
|
>S
|
|
|
|
(You open the swinging door and close it again.)
|
|
The relative quiet here is welcome.
|
|
(forward end)
|
|
The old couple open the swinging door for a moment and walk along with you.
|
|
|
|
>S
|
|
|
|
|
|
(forward middle)
|
|
A young man is in the second booth.
|
|
The old couple walk along with you.
|
|
The train is now speeding along the edge of a rocky precipice.
|
|
|
|
>S
|
|
|
|
(middle)
|
|
An attractive woman is in the third booth.
|
|
|
|
>W
|
|
|
|
(third booth)
|
|
[You're facing to the left side of the train.]
|
|
The attractive woman is here, looking at you with suspicion.
|
|
|
|
>L WOMAN
|
|
|
|
(I assume you mean: look at her, not look in her nor look for her nor any other
|
|
preposition.)
|
|
She looks almost too good for a nowhere country like this: sparkling eyes, good
|
|
bone structure, clear skin, tall and smooth. Of course, it's hard to tell
|
|
whether or not she can think in complete sentences.
|
|
She is holding a newspaper.
|
|
|
|
>L NEWSPAPER
|
|
|
|
(I assume you mean: look at it, not look in it nor look for it nor any other
|
|
preposition.)
|
|
It's all in some foreign language.
|
|
The waiter enters, ready to take your order.
|
|
|
|
>SIT
|
|
|
|
(on the train seat)
|
|
You're now sitting on it.
|
|
|
|
>OPEN CASE
|
|
|
|
The latch is closed.
|
|
|
|
>TURN LATCH
|
|
|
|
The train lurches a bit.
|
|
A mechanical click comes from within the briefcase.
|
|
Just outside the old couple appear from the forward middle.
|
|
|
|
>OPEN LATCH
|
|
|
|
The metal latch snaps open.
|
|
The old couple, just outside, disappear to the rear.
|
|
|
|
>E
|
|
|
|
(You stand up first.)
|
|
(middle)
|
|
[You're facing to the right side of the train.]
|
|
The old couple are off to the rear, heading away from you.
|
|
|
|
>N
|
|
|
|
|
|
(forward middle)
|
|
[You're facing to the front.]
|
|
The young man is in the second booth.
|
|
|
|
>W
|
|
|
|
(second booth)
|
|
[You're facing to the left side of the train.]
|
|
The young man is here, looking at you with suspicion.
|
|
|
|
>E
|
|
|
|
|
|
(forward middle)
|
|
[You're facing to the right side of the train.]
|
|
The waiter walks past you from the rear.
|
|
|
|
>N
|
|
|
|
|
|
(forward end)
|
|
[You're facing to the front.]
|
|
|
|
>N
|
|
|
|
(You open the swinging door and close it again.)
|
|
(forward vestibule)
|
|
|
|
>E
|
|
|
|
The train lurches a bit.
|
|
(You open the restroom door and close it again.)
|
|
(forward restroom)
|
|
As you'd expect, the restroom is tidy but small, almost too small for comfort.
|
|
But it does have the usual fixtures.
|
|
|
|
>SIT
|
|
|
|
(on the toilet)
|
|
You're now sitting on it.
|
|
|
|
>OPEN CASE
|
|
|
|
Opening it reveals a document, a scrap of newsprint, a magnifying glass, a
|
|
cassette of film, and a miniature camera.
|
|
|
|
>GET DOCUMENT
|
|
|
|
You are now holding it.
|
|
The train begins to slow down a bit.
|
|
|
|
>L AT DOCUMENT CAREFULLY
|
|
|
|
|
|
The conductor cries, "Knut," and the train glides to a halt in the station.
|
|
Do you want to continue what you were doing? >Y
|
|
|
|
It's not a very handsome document, scrawled in a hurry by a hand that wouldn't
|
|
win any prizes under the best of conditions. But it seems to contain crucial
|
|
information -- times, places, a crude map, even code words -- about a plan to
|
|
kidnap some high-ranking official tomorrow. Were the plan to succeed, several
|
|
governments would be embarrassed, if not in mortal danger, and the balance of
|
|
power would become precarious.
|
|
|
|
>PUT DOCUMENT IN CASE
|
|
|
|
Okay.
|
|
|
|
>CLOSE CASE
|
|
|
|
Closed.
|
|
|
|
>W
|
|
|
|
(You stand up first.)
|
|
(You open the restroom door and close it again.)
|
|
(forward vestibule)
|
|
[You're facing to the left side of the train.]
|
|
|
|
>N
|
|
|
|
[Debugging info: you are entering car #2.]
|
|
(rear vestibule)
|
|
[You're facing to the front.]
|
|
|
|
>W
|
|
|
|
(platform)
|
|
[You're facing to the west.]
|
|
You are standing on the concrete platform of the Knut railway station. A
|
|
cantilevered roof looms overhead, with occasional drops of rain water falling
|
|
from its edge. To the west is the women's restroom. To the east is a passenger
|
|
train, the Glrp-Wien 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 a boy here, checking a
|
|
timetable.
|
|
|
|
>W
|
|
|
|
(women's restroom)
|
|
|
|
>E
|
|
|
|
(platform)
|
|
[You're facing to the east.]
|
|
|
|
>S
|
|
|
|
[Debugging info: you are entering platform #3.]
|
|
(platform)
|
|
[You're facing to the south.]
|
|
One part of the crowd catches your eye: There's a girl here, looking up and
|
|
down the platform.
|
|
|
|
>W
|
|
|
|
(waiting room)
|
|
[You're facing to the west.]
|
|
You are standing in the railway station. You can see a cafe on the north side
|
|
and the ticket counter on the south. The street is west. The place is crowded
|
|
with people.
|
|
|
|
>S
|
|
|
|
(ticket area)
|
|
[You're facing to the south.]
|
|
There's a clerk here, re-arranging luggage.
|
|
|
|
>BUY TICKET TO GOLA
|
|
|
|
The clerk takes your money and stamps your ticket.
|
|
|
|
>CASH TRAVELERS CHECK
|
|
|
|
The clerk lends you a pen and then gives you *20 in exchange for the check.
|
|
|
|
>GET ALL
|
|
|
|
(Please be more specific.)
|
|
|
|
>L CLERK
|
|
|
|
(I assume you mean: look at him, not look in him nor look for him nor any other
|
|
preposition.)
|
|
He has the uniform jacket of the Frotzian Railway, and a tie worn loosely with
|
|
an open collar, but blue jeans below. It seems a sensible outfit for both
|
|
selling tickets and hauling luggage.
|
|
He is holding a traveler's check.
|
|
The train whistle blows once, and the conductor cries, "Gormnash floogle
|
|
nomnets!"
|
|
|
|
>GET CHECK
|
|
|
|
The clerk holds it more tightly and looks at you defiantly.
|
|
|
|
>E
|
|
|
|
(You can't go in that direction.)
|
|
|
|
>N
|
|
|
|
(waiting room)
|
|
[You're facing to the north.]
|
|
|
|
>L TICKET
|
|
|
|
(I assume you mean: look at it, not look in it nor look for it nor any other
|
|
preposition.)
|
|
All you can make out is the destination: Gola.
|
|
You hear the noise as the train slowly pulls out of Knut station without you.
|
|
|
|
>E
|
|
|
|
(platform)
|
|
[You're facing to the east.]
|
|
|
|
>E
|
|
|
|
Walking on the tracks looks too dangerous!
|
|
|
|
>RESTORE
|
|
|
|
From file: SL.FRBZ.1Okay.
|
|
(rear vestibule)
|
|
[You're facing to the right side of the train.]
|
|
The regal woman is here, still holding the briefcase and walking along.
|
|
>L
|
|
|
|
(rear vestibule)
|
|
(You're facing to the right side of the train, but you look in all directions
|
|
for a moment.)
|
|
This is a small vestibule at the rear end of the car. It's just like the
|
|
forward vestibule, except for a short flight of metal steps on the left side of
|
|
the train leading down off the train, and a narrow metal ladder leading up to
|
|
the roof. A small door leads to a restroom, and a big window is open to the
|
|
outside. A red handle is hanging by a short length of cord from the ceiling.
|
|
The train is stopped in a railway station.
|
|
The regal woman is here, still holding the briefcase and walking along.
|
|
The train slowly pulls out of Frbz station.
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
Off to the rear an old man appears from the forward end.
|
|
The train is now rocketing past a small town.
|
|
The old man walks past you from the rear.
|
|
He opens the swinging door for a moment and heads off to the front.
|
|
The time is now 11.55.
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The train is now speeding along a barren stubble-plain.
|
|
The time is now 12.05.
|
|
|
|
>OPEN WINDOW
|
|
|
|
(It is already open!)
|
|
|
|
>KILL WOMAN
|
|
|
|
(with the gun)
|
|
She drops the briefcase and slumps on the floor.
|
|
The conductor stops here to remove the regal woman's body.He stares at you for
|
|
a moment, not believing his eyes. Then he leaves in a hurry.
|
|
|
|
|
|
>RESTORE
|
|
|
|
From file: SL.FRBZ.1Okay.
|
|
(rear vestibule)
|
|
[You're facing to the right side of the train.]
|
|
The regal woman is here, still holding the briefcase and walking along.
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The train slowly pulls out of Frbz station.
|
|
Do you want to keep waiting? >Y
|
|
|
|
Off to the rear an old man appears from the forward end.
|
|
The train is now speeding past a small town.
|
|
The old man walks past you from the rear.
|
|
He opens the swinging door for a moment and heads off to the front.
|
|
The time is now 11.54.
|
|
|
|
>OPEN WINDOW
|
|
|
|
(It is already open!)
|
|
|
|
>L.L.L.L.L
|
|
|
|
(rear vestibule)
|
|
(You're facing to the right side of the train, but you look in all directions
|
|
for a moment.)
|
|
This is a small vestibule at the rear end of the car. It's just like the
|
|
forward vestibule, except for a short flight of metal steps on the left side of
|
|
the train leading down off the train, and a narrow metal ladder leading up to
|
|
the roof. A small door leads to a restroom, and a big window is open to the
|
|
outside. A red handle is hanging by a short length of cord from the ceiling,
|
|
swinging in time to the train's rocking motion. The train is hurtling past a
|
|
small town.
|
|
The clatter of the wheels on the track is almost deafening.
|
|
The regal woman is here, still holding the briefcase and walking along.
|
|
|
|
(rear vestibule)
|
|
(You're facing to the right side of the train, but you look in all directions
|
|
for a moment.)
|
|
This is a small vestibule at the rear end of the car. It's just like the
|
|
forward vestibule, except for a short flight of metal steps on the left side of
|
|
the train leading down off the train, and a narrow metal ladder leading up to
|
|
the roof. A small door leads to a restroom, and a big window is open to the
|
|
outside. A red handle is hanging by a short length of cord from the ceiling,
|
|
swinging in time to the train's rocking motion. The train is speeding past a
|
|
small town.
|
|
The clatter of the wheels on the track is almost deafening.
|
|
The regal woman is here, still holding the briefcase and walking along.
|
|
|
|
(rear vestibule)
|
|
(You're facing to the right side of the train, but you look in all directions
|
|
for a moment.)
|
|
This is a small vestibule at the rear end of the car. It's just like the
|
|
forward vestibule, except for a short flight of metal steps on the left side of
|
|
the train leading down off the train, and a narrow metal ladder leading up to
|
|
the roof. A small door leads to a restroom, and a big window is open to the
|
|
outside. A red handle is hanging by a short length of cord from the ceiling,
|
|
swinging in time to the train's rocking motion. The train is steaming past a
|
|
small town.
|
|
The clatter of the wheels on the track is almost deafening.
|
|
The regal woman is here, still holding the briefcase and walking along.
|
|
|
|
(rear vestibule)
|
|
(You're facing to the right side of the train, but you look in all directions
|
|
for a moment.)
|
|
This is a small vestibule at the rear end of the car. It's just like the
|
|
forward vestibule, except for a short flight of metal steps on the left side of
|
|
the train leading down off the train, and a narrow metal ladder leading up to
|
|
the roof. A small door leads to a restroom, and a big window is open to the
|
|
outside. A red handle is hanging by a short length of cord from the ceiling,
|
|
swinging in time to the train's rocking motion. The train is speeding past a
|
|
small town.
|
|
The clatter of the wheels on the track is almost deafening.
|
|
The regal woman is here, still holding the briefcase and walking along.
|
|
|
|
(rear vestibule)
|
|
(You're facing to the right side of the train, but you look in all directions
|
|
for a moment.)
|
|
This is a small vestibule at the rear end of the car. It's just like the
|
|
forward vestibule, except for a short flight of metal steps on the left side of
|
|
the train leading down off the train, and a narrow metal ladder leading up to
|
|
the roof. A small door leads to a restroom, and a big window is open to the
|
|
outside. A red handle is hanging by a short length of cord from the ceiling,
|
|
swinging in time to the train's rocking motion. The train is hurtling past a
|
|
small town.
|
|
The clatter of the wheels on the track is almost deafening.
|
|
The regal woman is here, still holding the briefcase and walking along.
|
|
|
|
>L
|
|
|
|
(rear vestibule)
|
|
(You're facing to the right side of the train, but you look in all directions
|
|
for a moment.)
|
|
This is a small vestibule at the rear end of the car. It's just like the
|
|
forward vestibule, except for a short flight of metal steps on the left side of
|
|
the train leading down off the train, and a narrow metal ladder leading up to
|
|
the roof. A small door leads to a restroom, and a big window is open to the
|
|
outside. A red handle is hanging by a short length of cord from the ceiling,
|
|
swinging in time to the train's rocking motion. The train is speeding past a
|
|
small town.
|
|
The clatter of the wheels on the track is almost deafening.
|
|
The regal woman is here, still holding the briefcase and walking along.
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The train is now steaming along a barren stubble-plain.
|
|
The conductor stops here to punch tickets.
|
|
Do you want to keep waiting? >N
|
|
|
|
The time is now 12.06.
|
|
|
|
>GIVE TICKET TO CONDUCTOR
|
|
|
|
The conductor punches your ticket and then gives it back to you.
|
|
He punches the regal woman's ticket.
|
|
|
|
>L
|
|
|
|
(rear vestibule)
|
|
(You're facing to the right side of the train, but you look in all directions
|
|
for a moment.)
|
|
This is a small vestibule at the rear end of the car. It's just like the
|
|
forward vestibule, except for a short flight of metal steps on the left side of
|
|
the train leading down off the train, and a narrow metal ladder leading up to
|
|
the roof. A small door leads to a restroom, and a big window is open to the
|
|
outside. A red handle is hanging by a short length of cord from the ceiling,
|
|
swinging in time to the train's rocking motion. The train is steaming along a
|
|
barren stubble-plain.
|
|
The clatter of the wheels on the track is almost deafening.
|
|
The regal woman is here, still holding the briefcase and walking along.
|
|
|
|
>SAVE
|
|
|
|
(In this variation, 1 minute will pass in the story before you can type another
|
|
command. Are you sure you want to SAVE now? >Y
|
|
|
|
Okay.)
|
|
To file: SL.CON.1Okay.
|
|
|
|
>KILL WOMAN
|
|
|
|
(with the gun)
|
|
She drops the briefcase and slumps on the floor.
|
|
|
|
>SEARCH WOMAN
|
|
|
|
You find a yellow flower and take it.
|
|
|
|
>G
|
|
|
|
You don't find anything interesting.
|
|
|
|
>THROW WOMAN OUT WINDOW
|
|
|
|
(You don't seem to be holding the regal woman!)
|
|
|
|
>THROW WINDOW OFF TRAIN
|
|
|
|
(You don't seem to be holding the window!)
|
|
|
|
>THROW WOMAN OUT WINDOW
|
|
|
|
(You don't seem to be holding the regal woman!)
|
|
|
|
>GET WOMAN
|
|
|
|
The train lurches a bit.
|
|
You try to pick up the body, but the yellow flower keeps getting in the way.
|
|
|
|
>DROP ALL
|
|
|
|
yellow flower: Okay, it is now on the floor.
|
|
your ticket: Okay, it is now on the floor.
|
|
|
|
>THROW WOMAN OUT WINDOW
|
|
|
|
(taking the regal woman first)
|
|
The regal woman is gone with the wind.
|
|
The old man opens the swinging door for a moment and walks past you from the
|
|
front.
|
|
|
|
>GET ALL
|
|
|
|
your ticket: You are now holding it.
|
|
yellow flower: You are now holding it.
|
|
briefcase: You are now holding it.
|
|
The old man heads off to the rear.
|
|
|
|
>E
|
|
|
|
(You open the restroom door and close it again.)
|
|
(rear restroom)
|
|
As you'd expect, the restroom is tidy but small, almost too small for comfort.
|
|
But it does have the usual fixtures.
|
|
|
|
>SIT
|
|
|
|
(on the toilet)
|
|
You're now sitting on it.
|
|
|
|
>TURN LATCH.OPEN LATCH.OPEN CASE
|
|
|
|
A mechanical click comes from within the briefcase.
|
|
|
|
The train lurches a bit.
|
|
The metal latch snaps open.
|
|
|
|
Opening it reveals a document, a scrap of newsprint, a magnifying glass, a
|
|
cassette of film, and a miniature camera.
|
|
|
|
>GET SCRAP
|
|
|
|
You are now holding it.
|
|
|
|
>CAREFULLY EXAMINE SCRAP
|
|
|
|
The train is now steaming along the edge of a rocky precipice.
|
|
There are some shiny lines on the scrap of newsprint, maybe invisible ink.
|
|
|
|
>CLOSE CASE
|
|
|
|
Closed.
|
|
|
|
>W
|
|
|
|
(You stand up first.)
|
|
(You open the restroom door and close it again.)
|
|
(rear vestibule)
|
|
[You're facing to the left side of the train.]
|
|
|
|
>S
|
|
|
|
[Debugging info: you are entering car #3.]
|
|
(forward vestibule)
|
|
[You're facing to the rear.]
|
|
|
|
>S
|
|
|
|
(You open the swinging door and close it again.)
|
|
The relative quiet here is welcome.
|
|
(forward end)
|
|
The old man is in the first booth.
|
|
|
|
>S
|
|
|
|
|
|
(forward middle)
|
|
A young man is in the second booth.
|
|
|
|
>S
|
|
|
|
The train lurches a bit.
|
|
(middle)
|
|
An attractive woman is in the third booth.
|
|
|
|
>W
|
|
|
|
(third booth)
|
|
[You're facing to the left side of the train.]
|
|
The attractive woman is here, gazing out the window.
|
|
|
|
>E
|
|
|
|
(middle)
|
|
[You're facing to the right side of the train.]
|
|
The waiter walks past you from the rear.
|
|
Off to the front an old couple appear from the forward vestibule.
|
|
|
|
>N
|
|
|
|
|
|
(forward middle)
|
|
[You're facing to the front.]
|
|
The young man is in the second booth.
|
|
The old couple walk past you from the front.
|
|
|
|
>W
|
|
|
|
(second booth)
|
|
[You're facing to the left side of the train.]
|
|
The young man is here, snoozing.
|
|
|
|
>E
|
|
|
|
|
|
(forward middle)
|
|
[You're facing to the right side of the train.]
|
|
The waiter walks past you from the rear.
|
|
|
|
>N
|
|
|
|
|
|
(forward end)
|
|
[You're facing to the front.]
|
|
The old man is in the first booth.
|
|
|
|
>W
|
|
|
|
(first booth)
|
|
[You're facing to the left side of the train.]
|
|
The old man is here, chewing gum.
|
|
|
|
>E
|
|
|
|
|
|
(forward end)
|
|
[You're facing to the right side of the train.]
|
|
The waiter walks past you from the rear.
|
|
|
|
>N
|
|
|
|
(You open the swinging door and close it again.)
|
|
(forward vestibule)
|
|
[You're facing to the front.]
|
|
|
|
>N
|
|
|
|
[Debugging info: you are entering car #2.]
|
|
(rear vestibule)
|
|
|
|
>I
|
|
|
|
You're holding a scrap of newsprint, a briefcase, a yellow flower, and your
|
|
ticket.
|
|
And there's something in your pocket.
|
|
The train begins to slow down a bit.
|
|
|
|
>L IN POCKET
|
|
|
|
Your pocket contains a gun, a timetable, a traveler's check, and your passport.
|
|
And some money.
|
|
The old couple walk past you from the rear.
|
|
|
|
>WEAR FLOWER
|
|
|
|
You are now wearing it.
|
|
The old couple open the swinging door for a moment and head off to the front.
|
|
|
|
The conductor cries, "Knut," and the train glides to a halt in the station.
|
|
|
|
>D
|
|
|
|
(platform)
|
|
[You're facing to the west.]
|
|
You are standing on the concrete platform of the Knut railway station. A
|
|
cantilevered roof looms overhead, with occasional drops of rain water falling
|
|
from its edge. To the west is the women's restroom. To the east is a passenger
|
|
train, the Glrp-Wien 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 a boy here, re-arranging
|
|
luggage.
|
|
|
|
>S
|
|
|
|
[Debugging info: you are entering platform #3.]
|
|
(platform)
|
|
[You're facing to the south.]
|
|
|
|
>W
|
|
|
|
(waiting room)
|
|
[You're facing to the west.]
|
|
You are standing in the railway station. You can see a cafe on the north side
|
|
and the ticket counter on the south. The street is west. The place is crowded
|
|
with people.
|
|
|
|
>SAVE
|
|
|
|
(In this variation, 1 minute will pass in the story before you can type another
|
|
command. Are you sure you want to SAVE now? >Y
|
|
|
|
Okay.)
|
|
To file: SL.TRAIN.1Okay.
|
|
|
|
>L
|
|
|
|
(waiting room)
|
|
(You're facing to the west, but you look in all directions for a moment.)
|
|
You are standing in the railway station. You can see a cafe on the north side
|
|
and the ticket counter on the south. The street is west. The place is crowded
|
|
with people.
|
|
|
|
|
|
>L
|
|
|
|
(waiting room)
|
|
(You're facing to the west, but you look in all directions for a moment.)
|
|
You are standing in the railway station. You can see a cafe on the north side
|
|
and the ticket counter on the south. The street is west. The place is crowded
|
|
with people.
|
|
|
|
|
|
>L
|
|
|
|
(waiting room)
|
|
(You're facing to the west, but you look in all directions for a moment.)
|
|
You are standing in the railway station. You can see a cafe on the north side
|
|
and the ticket counter on the south. The street is west. The place is crowded
|
|
with people.
|
|
|
|
|
|
>TURN AROUND
|
|
|
|
Okay, you're now facing to the east.
|
|
|
|
>E
|
|
|
|
(platform)
|
|
One part of the crowd catches your eye: There's an old couple here, checking a
|
|
timetable.
|
|
|
|
>E
|
|
|
|
(rear vestibule)
|
|
A cigarette machine stands in one corner, waiting to be either used or
|
|
discarded -- it's hard to say which.
|
|
|
|
>W
|
|
|
|
(platform)
|
|
[You're facing to the west.]
|
|
|
|
>L
|
|
|
|
(platform)
|
|
(You're facing to the west, but you look in all directions for a moment.)
|
|
You are standing on the concrete platform of the Knut 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 Glrp-Wien 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.
|
|
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The train whistle blows once, and the conductor cries, "Gormnash floogle
|
|
nomnets!"
|
|
Do you want to keep waiting? >Y
|
|
|
|
You watch as the conductor boards the train, and it slowly pulls out of Knut
|
|
station without you.
|
|
Do you want to keep waiting? >Y
|
|
|
|
A whistle sounds, and a passenger train comes screeching up to the platform. A
|
|
conductor leans out from one of the doors and shouts, "Potrzebie," then lowers
|
|
a short flight of metal steps and gets off.
|
|
Do you want to keep waiting? >N
|
|
|
|
The time is now 13.06.
|
|
|
|
>W
|
|
|
|
(waiting room)
|
|
|
|
>S
|
|
|
|
(ticket area)
|
|
[You're facing to the south.]
|
|
There's a clerk here, snoozing.
|
|
|
|
>BUY TICKET TO GOLA
|
|
|
|
The clerk takes your money and stamps your ticket.
|
|
|
|
>CASH CHECK
|
|
|
|
The clerk lends you a pen and then gives you *20 in exchange for the check.
|
|
|
|
>E
|
|
|
|
(You can't go in that direction.)
|
|
|
|
>I
|
|
|
|
You're holding a pen, your ticket, a yellow flower (being worn), a scrap of
|
|
newsprint, and a briefcase.
|
|
And there's something in your pocket.
|
|
|
|
>N
|
|
|
|
(waiting room)
|
|
[You're facing to the north.]
|
|
|
|
>E
|
|
|
|
(platform)
|
|
[You're facing to the east.]
|
|
|
|
>E
|
|
|
|
(rear vestibule)
|
|
|
|
>L
|
|
|
|
(rear vestibule)
|
|
(You're facing to the right side of the train, but you look in all directions
|
|
for a moment.)
|
|
This is a small vestibule at the rear end of the car. It's just like the
|
|
forward vestibule, except for a short flight of metal steps on the left side of
|
|
the train leading down off the train, and a narrow metal ladder leading up to
|
|
the roof. A small door leads to a restroom, and a big window is open to the
|
|
outside. A red handle is hanging by a short length of cord from the ceiling.
|
|
The train is stopped in a railway station.
|
|
|
|
An attractive woman opens the restroom door for a moment and walks past you.
|
|
|
|
>E
|
|
|
|
(You open the restroom door and close it again.)
|
|
(rear restroom)
|
|
|
|
>W
|
|
|
|
(You open the restroom door and close it again.)
|
|
(rear vestibule)
|
|
[You're facing to the left side of the train.]
|
|
The middle-aged couple open the swinging door for a moment and walk past you
|
|
from the front.
|
|
The attractive woman, off to the rear, opens the swinging door for a moment and
|
|
disappears to the rear.
|
|
|
|
>S
|
|
|
|
[Debugging info: you are entering car #4.]
|
|
(forward vestibule)
|
|
[You're facing to the rear.]
|
|
A middle-aged couple walk past you from the front.
|
|
|
|
>N
|
|
|
|
[Debugging info: you are entering car #3.]
|
|
(rear vestibule)
|
|
[You're facing to the front.]
|
|
|
|
>N
|
|
|
|
(You open the swinging door and close it again.)
|
|
|
|
(rear end)
|
|
|
|
>N
|
|
|
|
|
|
(rear middle)
|
|
The train whistle blows once, and the conductor cries, "Gormnash floogle
|
|
nomnets!"
|
|
|
|
>N
|
|
|
|
(middle)
|
|
An old man is in the third compartment.
|
|
|
|
>W
|
|
|
|
(You open the compartment door and close it again.)
|
|
(third compartment)
|
|
[You're facing to the left side of the train.]
|
|
This is a once-luxurious first-class compartment on the Znuk-Potrzebie Express.
|
|
The plush red upholstery on the two facing seats, shiny and worn in spots, and
|
|
the greasy lace on the headrests, give the car an air of faded elegance. A red
|
|
handle is hanging by a short length of cord from the ceiling.
|
|
The corridor is outside, past a window with a red curtain on it.
|
|
The train is stopped in a railway station.
|
|
The old man is here, snoozing.
|
|
|
|
>E
|
|
|
|
(You open the compartment door and close it again.)
|
|
(middle)
|
|
[You're facing to the right side of the train.]
|
|
The train slowly pulls out of Knut station.
|
|
A young couple, off to the rear, open the swinging door for a moment and
|
|
disappear to the rear.
|
|
|
|
>N
|
|
|
|
|
|
(forward middle)
|
|
[You're facing to the front.]
|
|
This is the forward middle of the corridor. On the left side of the train,
|
|
behind a windowed door, lies the second compartment.
|
|
|
|
>W
|
|
|
|
(You open the compartment door and close it again.)
|
|
(second compartment)
|
|
[You're facing to the left side of the train.]
|
|
There's a young man here, chewing gum.
|
|
The train is now hurtling past a small town.
|
|
|
|
>E
|
|
|
|
(You open the compartment door and close it again.)
|
|
|
|
(forward middle)
|
|
[You're facing to the right side of the train.]
|
|
|
|
>N
|
|
|
|
|
|
(forward end)
|
|
[You're facing to the front.]
|
|
This is the forward end of the corridor. On the left side of the train, behind
|
|
a windowed door, lies the first compartment.
|
|
|
|
>W
|
|
|
|
(You open the compartment door and close it again.)
|
|
(first compartment)
|
|
[You're facing to the left side of the train.]
|
|
There's a young woman here, gazing out the window.
|
|
|
|
>L WOMAN
|
|
|
|
(I assume you mean: look at her, not look in her nor look for her nor any other
|
|
preposition.)
|
|
She is dressed for a long trip, in shades of blue, with a strange odor. Her
|
|
teeth and fingers are well-stained with nicotine.
|
|
|
|
>L FOR LIGHTER
|
|
|
|
An old man probably has it.
|
|
The train is now racing along a barren stubble-plain.
|
|
|
|
>E
|
|
|
|
(You open the compartment door and close it again.)
|
|
|
|
(forward end)
|
|
[You're facing to the right side of the train.]
|
|
|
|
>SAVE
|
|
|
|
(In this variation, 1 minute will pass in the story before you can type another
|
|
command. Are you sure you want to SAVE now? >Y
|
|
|
|
Okay.)
|
|
To file: SL.OLDMAN.1Okay.
|
|
|
|
>N
|
|
|
|
(You open the swinging door and close it again.)
|
|
(forward vestibule)
|
|
[You're facing to the front.]
|
|
|
|
>N
|
|
|
|
[Debugging info: you are entering car #2.]
|
|
(rear vestibule)
|
|
|
|
>N
|
|
|
|
The train lurches a bit.
|
|
(You open the swinging door and close it again.)
|
|
The relative quiet here is welcome.
|
|
(rear end)
|
|
|
|
>S
|
|
|
|
(You open the swinging door and close it again.)
|
|
(rear vestibule)
|
|
[You're facing to the rear.]
|
|
|
|
>S
|
|
|
|
[Debugging info: you are entering car #3.]
|
|
(forward vestibule)
|
|
|
|
>S
|
|
|
|
(You open the swinging door and close it again.)
|
|
The relative quiet here is welcome.
|
|
(forward end)
|
|
A young woman is in the first compartment.
|
|
|
|
>S
|
|
|
|
|
|
(forward middle)
|
|
A young man is in the second compartment.
|
|
|
|
>S
|
|
|
|
(middle)
|
|
An old man is in the third compartment.
|
|
|
|
>W
|
|
|
|
(You open the compartment door and close it again.)
|
|
(third compartment)
|
|
[You're facing to the left side of the train.]
|
|
The old man is here, chewing gum.
|
|
|
|
>L OLD MAN
|
|
|
|
(I assume you mean: look at him, not look in him nor look for him nor any other
|
|
preposition.)
|
|
He is dressed for a holiday, in shades of gray, with facial sores. He has a
|
|
birthmark on one cheek like a wine stain.
|
|
|
|
>FIND LIGHTER
|
|
|
|
It's right here.
|
|
|
|
>;THERE IS NO DESCRIPTION OF HIM HAVING IT
|
|
|
|
GIVE MAN *20
|
|
|
|
The train lurches a bit.
|
|
He accepts your gift and smiles broadly.
|
|
|
|
>GET LIGHTER
|
|
|
|
You are now holding it.
|
|
|
|
>L AT MAN
|
|
|
|
He is dressed for a holiday, in shades of gray, with facial sores. He has a
|
|
birthmark on one cheek like a wine stain.
|
|
|
|
>GET ALL
|
|
|
|
(Please be more specific.)
|
|
|
|
>GET NEWSPAPER
|
|
|
|
(You can't see any newspaper here!)
|
|
|
|
>E
|
|
|
|
(You open the compartment door and close it again.)
|
|
(middle)
|
|
[You're facing to the right side of the train.]
|
|
The conductor makes a gesture, asking for your ticket.
|
|
|
|
>GIVE TICKET TO CONDUCTOR
|
|
|
|
The conductor punches your ticket and then gives it back to you.
|
|
|
|
>E
|
|
|
|
(You can't go in that direction.)
|
|
|
|
>N
|
|
|
|
|
|
(forward middle)
|
|
[You're facing to the front.]
|
|
The young man is in the second compartment.
|
|
|
|
>N
|
|
|
|
|
|
(forward end)
|
|
The young woman is in the first compartment.
|
|
|
|
>N
|
|
|
|
The train lurches a bit.
|
|
(You open the swinging door and close it again.)
|
|
(forward vestibule)
|
|
|
|
>E
|
|
|
|
(You open the restroom door and close it again.)
|
|
(forward restroom)
|
|
The train is now steaming past a dark, violent river.
|
|
|
|
>SIT
|
|
|
|
(on the toilet)
|
|
You're now sitting on it.
|
|
|
|
>HEAT SCRAP WITH LIGHTER
|
|
|
|
Heating it with the lighter reveals nothing intelligible.
|
|
|
|
>L AT SCRAP
|
|
|
|
Examining the scrap of newsprint reveals nothing intelligible.
|
|
|
|
>EXAMINE SCRAP CAREFULLY
|
|
|
|
Examining the scrap of newsprint reveals nothing intelligible.
|
|
|
|
>E
|
|
|
|
(You stand up first.)
|
|
(You can't go in that direction.)
|
|
|
|
>SIT
|
|
|
|
(on the toilet)
|
|
You're now sitting on it.
|
|
|
|
>OPEN CASE
|
|
|
|
Opening it reveals a miniature camera, a cassette of film, a magnifying glass,
|
|
and a document.
|
|
|
|
>OPEN CAMERA
|
|
|
|
Okay, it is now open.
|
|
|
|
>PUT FILM IN CAMERA
|
|
|
|
Okay.
|
|
|
|
>CLOSE CAMERA
|
|
|
|
Okay, it is now closed.
|
|
|
|
>COCK CAMERA
|
|
|
|
Okay.
|
|
|
|
>GET GLASS,CAMERA
|
|
|
|
magnifying glass: You are now holding it.
|
|
miniature camera: You are now holding it.
|
|
|
|
>TAKE PICTURE OF DOCUMENT
|
|
|
|
"Click!"
|
|
|
|
>COCK CAMERA
|
|
|
|
Okay.
|
|
|
|
>PHOTOGRAPH DOCUMENT
|
|
|
|
The train lurches a bit.
|
|
"Click!"
|
|
|
|
>COCK CAMERA
|
|
|
|
Okay.
|
|
|
|
>PHOTOGRAPH DOCUMENT
|
|
|
|
The train lurches a bit.
|
|
"Click!"
|
|
|
|
>COCK CAMERA
|
|
|
|
Okay.
|
|
|
|
>I
|
|
|
|
You're holding a miniature camera, a magnifying glass, your ticket, a lighter,
|
|
a pen, a yellow flower (being worn), a scrap of newsprint, and a briefcase ().
|
|
And there's something in your pocket.
|
|
|
|
>L IN POCKET
|
|
|
|
Your pocket contains a gun, a timetable, and your passport.
|
|
And some money.
|
|
|
|
>PHOTOGRAPH CAMERA
|
|
|
|
What a fruitcake!
|
|
The train is now speeding along the edge of a rocky precipice.
|
|
|
|
>PHOTOGRAPH DOCUMENT
|
|
|
|
"Click!"
|
|
|
|
>COCK CAMERA
|
|
|
|
You try to cock it, but the lever won't move.
|
|
|
|
>SAVE
|
|
|
|
(In this variation, 1 minute will pass in the story before you can type another
|
|
command. Are you sure you want to SAVE now? >Y
|
|
|
|
Okay.)
|
|
To file: SL.CAM.1Okay.
|
|
|
|
>OPEN CAMERA
|
|
|
|
You open it and see a cassette of film.
|
|
|
|
>GET FILM
|
|
|
|
You are now holding it.
|
|
|
|
>L AT FILM WITH GLASS
|
|
|
|
With the aid of the magnifying glass you can just make out what's on the film.
|
|
Picture 1 is a picture of a document.
|
|
Picture 2 is a picture of a document.
|
|
Picture 3 is a picture of a document.
|
|
Picture 4 is a picture of a document.
|
|
|
|
>PUT FILM,GLASS IN POCKET
|
|
|
|
cassette of film: Okay.
|
|
magnifying glass: There's not enough room.
|
|
|
|
>PUT GUN,CAMERA,CASE IN TOILET
|
|
|
|
gun: Okay.
|
|
miniature camera: Okay.
|
|
briefcase: There's not enough room.
|
|
|
|
>FLUSH TOILET
|
|
|
|
Say goodbye to the miniature camera, and the gun. "Whhoooossshhhhh!"
|
|
|
|
>PUT CASE IN TOILET
|
|
|
|
There's not enough room.
|
|
|
|
>I
|
|
|
|
You're holding a magnifying glass, your ticket, a lighter, a pen, a yellow
|
|
flower (being worn), a scrap of newsprint, and a briefcase ().
|
|
And there's something in your pocket.
|
|
|
|
>RUB PEN OVER SCRAP
|
|
|
|
Fiddling with it won't help any.
|
|
|
|
>RUB SCRAP WITH PEN
|
|
|
|
Fiddling with it won't help any.
|
|
|
|
>PUT SCRAP IN TOILET
|
|
|
|
Okay.
|
|
|
|
>L IN POCKET
|
|
|
|
Your pocket contains a cassette of film, a timetable, and your passport.
|
|
And some money.
|
|
|
|
>FLUSH TOILET
|
|
|
|
Say goodbye to the scrap of newsprint. "Whhoooossshhhhh!"
|
|
|
|
>I
|
|
|
|
You're holding a magnifying glass, your ticket, a lighter, a pen, a yellow
|
|
flower (being worn), and a briefcase ().
|
|
And there's something in your pocket.
|
|
|
|
>PUT ALL IN POCKET
|
|
|
|
magnifying glass: Okay.
|
|
your ticket: Okay.
|
|
lighter: Okay.
|
|
pen: Okay.
|
|
yellow flower: Okay.
|
|
briefcase: There's not enough room.
|
|
document: There's not enough room.
|
|
The train begins to slow down a bit.
|
|
|
|
>I
|
|
|
|
You're holding a briefcase ().
|
|
And there's something in your pocket.
|
|
|
|
>;BUT I DON'T HAVE THE DOCUMENT
|
|
|
|
L IN POCKET
|
|
|
|
Your pocket contains a yellow flower (being worn), a pen, a lighter, your
|
|
ticket, a magnifying glass, a cassette of film, a timetable, and your passport.
|
|
And some money.
|
|
|
|
The conductor cries, "Grnz," and the train glides to a halt in the station.
|
|
|
|
>W
|
|
|
|
(You close the briefcase and stand up first.)
|
|
(You open the restroom door and close it again.)
|
|
(forward vestibule)
|
|
[You're facing to the left side of the train.]
|
|
The conductor makes a gesture, asking you to leave the train.
|
|
|
|
>W
|
|
|
|
(You can't go in that direction.)
|
|
|
|
>D
|
|
|
|
(You can't go in that direction.)
|
|
|
|
>S
|
|
|
|
(You open the swinging door and close it again.)
|
|
|
|
(forward end)
|
|
[You're facing to the rear.]
|
|
The conductor stops here to ask passengers to leave the train.
|
|
|
|
>D
|
|
|
|
(You can't go in that direction.)
|
|
|
|
>W
|
|
|
|
The conductor gestures for you to leave the train.
|
|
He makes a gesture again, asking you to leave the train.
|
|
|
|
>S
|
|
|
|
|
|
(forward middle)
|
|
The conductor stops here to ask passengers to leave the train.
|
|
|
|
>S
|
|
|
|
(middle)
|
|
The conductor stops here to ask passengers to leave the train.
|
|
|
|
>S
|
|
|
|
|
|
(rear middle)
|
|
The conductor stops here to ask passengers to leave the train.
|
|
|
|
>S
|
|
|
|
|
|
(rear end)
|
|
The conductor stops here to ask passengers to leave the train.
|
|
|
|
>D
|
|
|
|
(You can't go in that direction.)
|
|
|
|
>S
|
|
|
|
(You open the swinging door and close it again.)
|
|
(rear vestibule)
|
|
The conductor stops here to ask passengers to leave the train.
|
|
|
|
>W
|
|
|
|
You notice a pair of customs inspectors boarding the train to search it.
|
|
(platform)
|
|
[You're facing to the west.]
|
|
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.
|
|
|
|
>SAVE
|
|
|
|
(In this variation, 1 minute will pass in the story before you can type another
|
|
command. Are you sure you want to SAVE now? >Y
|
|
|
|
Okay.)
|
|
To file: SL.GRNZ.1Okay.
|
|
One part of the crowd catches your eye: There's an old couple here, looking at
|
|
you with suspicion.
|
|
The conductor stops walking.
|
|
|
|
>N
|
|
|
|
[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.
|
|
|
|
>READ 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., written and
|
|
directed by Stu Galley, with a little help from his friends."
|
|
|
|
>N
|
|
|
|
The customs agent makes a gesture, asking for your passport.
|
|
|
|
>SHOW PASSPORT TO CONDUCTOR
|
|
|
|
(You can't see any conductor here!)
|
|
|
|
>SHOW PASSPORT
|
|
|
|
(Whom do you want to show the passport to?)
|
|
|
|
>AGENT
|
|
|
|
The customs agent looks at you and your passport, barely suppresses a smirk,
|
|
stamps it, and then gives it back to you.
|
|
Then he notices the briefcase, points to it and says, "Fleegle quidpro
|
|
mushnets?"
|
|
|
|
>OPEN CASE
|
|
|
|
You open it a crack before you realize that everything inside would fall out.
|
|
You quickly close it again.
|
|
|
|
>GIVE CASE TO AGENT
|
|
|
|
He refuses it, making an "open it" gesture.
|
|
|
|
>OPEN CASE
|
|
|
|
You open it a crack before you realize that everything inside would fall out.
|
|
You quickly close it again.
|
|
|
|
>DROP CASE
|
|
|
|
Okay, it is now on the floor.
|
|
|
|
>OPEN CASE
|
|
|
|
Opening it reveals a document.
|
|
|
|
>GET DOCUMENT
|
|
|
|
You are now holding it.
|
|
|
|
>W
|
|
|
|
(women's restroom)
|
|
[You're facing to the west.]
|
|
|
|
>PUT DOCUMENT IN TOILET
|
|
|
|
Okay.
|
|
|
|
>FLUSH TOILET
|
|
|
|
Say goodbye to the document. "Whhoooossshhhhh!"
|
|
|
|
>E
|
|
|
|
(platform)
|
|
[You're facing to the east.]
|
|
A black briefcase with a chrome latch is here, open.
|
|
A sign on the wall announces something in large, unfriendly letters.
|
|
|
|
>N
|
|
|
|
The customs agent makes a gesture, as if to say, "Empty your pocket."
|
|
|
|
>L IN POCKETS
|
|
|
|
Your pocket contains a yellow flower (being worn), a pen, a lighter, your
|
|
ticket, a magnifying glass, a cassette of film, and a timetable.
|
|
And some money.
|
|
|
|
>EMPTY POCKETS
|
|
|
|
You are now holding the yellow flower, the pen, the lighter, your ticket, the
|
|
magnifying glass, the cassette of film, and the timetable.
|
|
|
|
>N
|
|
|
|
[Debugging info: you are entering platform #1.]
|
|
The customs agent smiles approvingly.
|
|
(platform)
|
|
[You're facing to the north.]
|
|
One part of the crowd catches your eye: There's a guard here, re-arranging
|
|
luggage.
|
|
|
|
>E
|
|
|
|
(rear vestibule)
|
|
[You're facing to the right side of the train.]
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The train whistle blows once, and the conductor cries, "Gormnash floogle
|
|
nomnets!"
|
|
Do you want to keep waiting? >Y
|
|
|
|
The train slowly pulls out of Grnz station.
|
|
Do you want to keep waiting? >Y
|
|
|
|
The train is now speeding past a small town.
|
|
The time is now 15.12.
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The conductor stops here to punch tickets.
|
|
Do you want to keep waiting? >N
|
|
|
|
The time is now 15.16.
|
|
|
|
>GIVE TICKET TO CONDUCTOR
|
|
|
|
The conductor punches your ticket and then gives it back to you.
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
Do you want to keep waiting? >Y
|
|
|
|
Do you want to keep waiting? >Y
|
|
|
|
The train is now speeding through a mysterious forest.
|
|
The time is now 15.27.
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
Do you want to keep waiting? >Y
|
|
|
|
Do you want to keep waiting? >Y
|
|
|
|
The time is now 15.37.
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
A girl opens the swinging door for a moment and walks past you from the front.
|
|
Do you want to keep waiting? >Y
|
|
|
|
She heads off to the rear.
|
|
She disappears to the rear.
|
|
Do you want to keep waiting? >Y
|
|
|
|
The train is now rocketing along a barren stubble-plain.
|
|
The time is now 15.47.
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 15.57.
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
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? >Z
|
|
|
|
(Please type YES or NO.) >N
|
|
|
|
The time is now 16.07.
|
|
|
|
>W
|
|
|
|
As you reach the platform, a police officer seizes you, searches you, and
|
|
arrests you for the murder of the regal woman. For years and years, you
|
|
languish in prison, awaiting trial and wishing you had disposed of the body.
|
|
|
|
|
|
Would you like to:
|
|
RESTORE your place from where you saved it,
|
|
RESTART the story from the beginning, or
|
|
QUIT for now?
|
|
>; HOW DO THEY KNOW I KILLED HER, I DUMPED THE BODY IN AN UNIHABITED AREA?
|
|
|
|
RESTOR
|
|
|
|
From file: SL.REAR.1Okay.
|
|
(rear vestibule)
|
|
[You're facing to the rear.]
|
|
The regal woman is here, still holding the briefcase and waiting.
|
|
The middle-aged couple are here, walking along. They head off to the rear.
|
|
|
|
>Z
|
|
|
|
The train lurches a bit.
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The middle-aged couple, off to the rear, open the swinging door for a moment
|
|
and disappear to the rear.
|
|
Do you want to keep waiting? >N
|
|
|
|
The time is now 10.38.
|
|
|
|
>HIT WOMAN
|
|
|
|
She blocks your thrust and delivers a chop to your breadbasket.
|
|
|
|
>KNOCK OUT WOMAN
|
|
|
|
She drops the briefcase and slumps on the floor.
|
|
|
|
>THROW WOMAN OUT WINDOW
|
|
|
|
(taking the regal woman first)
|
|
(The window is closed!)
|
|
|
|
>OPEN WINDOW
|
|
|
|
The window opens all the way.
|
|
|
|
>L
|
|
|
|
(rear vestibule)
|
|
(You're facing to the rear, but you look in all directions for a moment.)
|
|
This is a small vestibule at the rear end of the car. There's a short flight of
|
|
metal steps on the left side of the train leading down off the train, and a
|
|
narrow metal ladder leading up to the roof. A small door leads to a restroom,
|
|
and a big window is open to the outside. A red handle is hanging by a short
|
|
length of cord from the ceiling, swinging in time to the train's rocking
|
|
motion. The train is steaming through a dark tunnel.
|
|
The clatter of the wheels on the track is almost deafening.
|
|
A black briefcase with a chrome latch is here, closed.
|
|
|
|
|
|
>THROW WOMAN OUT WINDOW
|
|
|
|
The regal woman is gone with the wind.
|
|
|
|
>GET CASE
|
|
|
|
You are now holding it.
|
|
|
|
>FIND LIGHTER
|
|
|
|
It's far away from here.
|
|
|
|
>GET CASE
|
|
|
|
(You already have it!)
|
|
|
|
>I
|
|
|
|
You're holding a briefcase, and your ticket.
|
|
And there's something in your pocket.
|
|
A young couple open the swinging door for a moment and walk past you from the
|
|
front.
|
|
|
|
>RESTORE
|
|
|
|
From file: (Sorry, but it didn't work. Maybe your instruction manual or Reference Card can
|
|
tell you why.)
|
|
The young couple head off to the rear.
|
|
|
|
>
|
|
|
|
I beg your pardon?
|
|
|
|
>RESTORE
|
|
|
|
From file: SL.CON.1Okay.
|
|
(rear vestibule)
|
|
[You're facing to the right side of the train.]
|
|
The regal woman is here, still holding the briefcase and walking along.
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The old man opens the swinging door for a moment and walks past you from the
|
|
front.
|
|
Do you want to keep waiting? >Y
|
|
|
|
He heads off to the rear.
|
|
He opens the swinging door for a moment and disappears to the rear.
|
|
Do you want to keep waiting? >N
|
|
|
|
The time is now 12.17.
|
|
|
|
>KNOCK OUT WOMAN
|
|
|
|
She blocks your thrust and delivers a chop to your nose.
|
|
|
|
>G
|
|
|
|
She blocks your thrust and delivers a chop to your nose.
|
|
|
|
>G
|
|
|
|
She blocks your thrust and knocks you unconscious....
|
|
|
|
You shake your head and come to.
|
|
|
|
>L
|
|
|
|
(rear vestibule)
|
|
(You're facing to the right side of the train, but you look in all directions
|
|
for a moment.)
|
|
This is a small vestibule at the rear end of the car. It's just like the
|
|
forward vestibule, except for a short flight of metal steps on the left side of
|
|
the train leading down off the train, and a narrow metal ladder leading up to
|
|
the roof. A small door leads to a restroom, and a big window is open to the
|
|
outside. A red handle is hanging by a short length of cord from the ceiling,
|
|
swinging in time to the train's rocking motion. The train is steaming along the
|
|
edge of a rocky precipice.
|
|
The clatter of the wheels on the track is almost deafening.
|
|
|
|
|
|
>N
|
|
|
|
(You stand up first.)
|
|
(You open the swinging door and close it again.)
|
|
The relative quiet here is welcome.
|
|
(rear end)
|
|
[You're facing to the front.]
|
|
A fat man is off to the front.
|
|
|
|
>N
|
|
|
|
|
|
(rear middle)
|
|
The fat man is off to the front.
|
|
|
|
>N
|
|
|
|
(middle)
|
|
An old couple are in the third compartment.
|
|
The fat man is here, gazing out the window.
|
|
|
|
>N
|
|
|
|
|
|
(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.
|
|
|
|
>N
|
|
|
|
|
|
(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.
|
|
|
|
>N
|
|
|
|
(You open the swinging door and close it again.)
|
|
(forward vestibule)
|
|
|
|
>N
|
|
|
|
[Debugging info: you are entering car #1.]
|
|
(rear vestibule)
|
|
|
|
>N
|
|
|
|
(You open the swinging door and close it again.)
|
|
The relative quiet here is welcome.
|
|
(rear end)
|
|
A middle-aged couple and a young couple are in the fifth compartment.
|
|
A girl is off to the front.
|
|
There's a boy here, chewing gum.
|
|
|
|
>N
|
|
|
|
|
|
(rear middle)
|
|
You notice a worn spot on the floor.
|
|
The girl is here, smoking a cigarette.
|
|
The train begins to slow down a bit.
|
|
|
|
>N
|
|
|
|
The train lurches a bit.
|
|
(middle)
|
|
|
|
>S
|
|
|
|
|
|
(rear middle)
|
|
[You're facing to the rear.]
|
|
The boy is off to the rear.
|
|
You notice a worn spot on the floor.
|
|
The girl is here, still smoking a cigarette.
|
|
|
|
The conductor cries, "Knut," and the train glides to a halt in the station.
|
|
|
|
>W
|
|
|
|
(You open the compartment door and close it again.)
|
|
(fourth compartment)
|
|
[You're facing to the left side of the train.]
|
|
There's a middle-aged couple here, exchanging kisses.
|
|
[!! STUCK: regal woman is in (car #2) the platform (2).
|
|
GOAL: regal woman is in (car #2) the waiting room.
|
|
]
|
|
[!! STUCK (regal woman): GOAL=counter]
|
|
|
|
>RESTORE
|
|
|
|
From file: SL.CON.1Okay.
|
|
(rear vestibule)
|
|
[You're facing to the right side of the train.]
|
|
The regal woman is here, still holding the briefcase and walking along.
|
|
>L WOMAN
|
|
|
|
(I assume you mean: look at her, not look in her nor look for her nor any other
|
|
preposition.)
|
|
She was clearly beautiful as a young woman. Now her heavy make-up and cologne,
|
|
her fur piece and black net veil make her beauty a matter of personal
|
|
preference.
|
|
She is holding a yellow flower, and a briefcase.
|
|
|
|
>;WHAT DIRECTION IS SHE FACING; CAN I HIT HER FROM BEHIND?
|
|
|
|
GET GUN
|
|
|
|
You are now holding it.
|
|
|
|
>HIT WOMAN WITH GUN
|
|
|
|
She blocks your thrust and delivers a chop to your nose.
|
|
|
|
>G
|
|
|
|
She drops the briefcase and slumps on the floor.
|
|
|
|
>GET CASE
|
|
|
|
You are now holding it.
|
|
|
|
>GET WOMAN
|
|
|
|
You are now holding her.
|
|
The old man opens the swinging door for a moment and walks past you from the
|
|
front.
|
|
|
|
>E
|
|
|
|
(You open the restroom door and close it again.)
|
|
(rear restroom)
|
|
As you'd expect, the restroom is tidy but small, almost too small for comfort.
|
|
But it does have the usual fixtures.
|
|
|
|
>DROP WOMAN
|
|
|
|
Okay, she is now on the floor.
|
|
|
|
>SEARCH WOMAN
|
|
|
|
You find a yellow flower and take it.
|
|
|
|
>G
|
|
|
|
You don't find anything interesting.
|
|
|
|
>W
|
|
|
|
(You open the restroom door and close it again.)
|
|
(rear vestibule)
|
|
[You're facing to the left side of the train.]
|
|
|
|
>S
|
|
|
|
The train lurches a bit.
|
|
[Debugging info: you are entering car #3.]
|
|
(forward vestibule)
|
|
[You're facing to the rear.]
|
|
|
|
>S
|
|
|
|
(You open the swinging door and close it again.)
|
|
The relative quiet here is welcome.
|
|
(forward end)
|
|
The waiter is off to the rear, heading toward you.
|
|
|
|
>S
|
|
|
|
|
|
(forward middle)
|
|
The old man and a young man are in the second booth.
|
|
The waiter is here, gazing out the window.
|
|
He enters the second booth.
|
|
|
|
>W
|
|
|
|
(second booth)
|
|
[You're facing to the left side of the train.]
|
|
The old man is here, about to leave.
|
|
The young man is here, gazing out the window.
|
|
The waiter is here, waiting for your order.
|
|
He leaves.
|
|
The old man leaves.
|
|
The train is now rocketing along the edge of a rocky precipice.
|
|
|
|
>E
|
|
|
|
|
|
(forward middle)
|
|
[You're facing to the right side of the train.]
|
|
The waiter is here, still walking along. He heads off to the rear.
|
|
The old man is here, still walking along. He heads off to the front.
|
|
The regal woman stops here.
|
|
|
|
>L WOMAN
|
|
|
|
(I assume you mean: look at her, not look in her nor look for her nor any other
|
|
preposition.)
|
|
She was clearly beautiful as a young woman. Now her heavy make-up and cologne,
|
|
her fur piece and black net veil make her beauty a matter of personal
|
|
preference.
|
|
She is holding a blue flower.
|
|
The waiter is off to the rear, heading away from you.
|
|
The old man, off to the front, opens the swinging door for a moment and
|
|
disappears to the front.
|
|
|
|
>; HOW DID SHE GET A BLUE FLOWER?
|
|
|
|
GET BLUE FLOWER
|
|
|
|
The regal woman holds it more tightly and looks at you defiantly.
|
|
The waiter, off to the rear, enters the pantry.
|
|
|
|
>E
|
|
|
|
(You can't go in that direction.)
|
|
|
|
>S
|
|
|
|
(middle)
|
|
[You're facing to the rear.]
|
|
An attractive woman is in the third booth.
|
|
|
|
>W
|
|
|
|
(third booth)
|
|
[You're facing to the left side of the train.]
|
|
The attractive woman is here, chewing gum.
|
|
|
|
>FIND LIGHTER
|
|
|
|
It's far away from here.
|
|
|
|
>E
|
|
|
|
(middle)
|
|
[You're facing to the right side of the train.]
|
|
The regal woman is off to the front.
|
|
The waiter is here, gazing out the window.
|
|
He enters the third booth.
|
|
|
|
>S
|
|
|
|
|
|
(rear middle)
|
|
[You're facing to the rear.]
|
|
This is the rear middle of the corridor. On the left side of the train lies the
|
|
pantry.
|
|
|
|
>S
|
|
|
|
|
|
(rear end)
|
|
This is the rear end of the corridor. On the left side of the train lies the
|
|
galley.
|
|
A cook is in the galley.
|
|
|
|
>E
|
|
|
|
(You can't go in that direction.)
|
|
|
|
>S
|
|
|
|
(You open the swinging door and close it again.)
|
|
(rear vestibule)
|
|
A cigarette machine stands in one corner, waiting to be either used or
|
|
discarded -- it's hard to say which.
|
|
|
|
>E
|
|
|
|
(You open the restroom door and close it again.)
|
|
(rear restroom)
|
|
|
|
>LOCK DOOR
|
|
|
|
Okay, it is now locked.
|
|
|
|
>SIT
|
|
|
|
(on the toilet)
|
|
You're now sitting on it.
|
|
|
|
>OPEN CASE
|
|
|
|
The latch is closed.
|
|
|
|
>TURN LATCH.OPEN LATCH.OPEN CASE
|
|
|
|
A mechanical click comes from within the briefcase.
|
|
|
|
The metal latch snaps open.
|
|
|
|
Opening it reveals a document, a scrap of newsprint, a magnifying glass, a
|
|
cassette of film, and a miniature camera.
|
|
|
|
>OPEN CAMERA
|
|
|
|
The train lurches a bit.
|
|
Okay, it is now open.
|
|
The train begins to slow down a bit.
|
|
|
|
>L DOCUMENT
|
|
|
|
(I assume you mean: look at it, not look in it nor look for it nor any other
|
|
preposition.)
|
|
It's not a very handsome document, scrawled in a hurry by a hand that wouldn't
|
|
win any prizes under the best of conditions. But it seems to contain crucial
|
|
information -- times, places, a crude map, even code words -- about a plan to
|
|
kidnap some high-ranking official tomorrow. Were the plan to succeed, several
|
|
governments would be embarrassed, if not in mortal danger, and the balance of
|
|
power would become precarious.
|
|
|
|
>PUT FILM IN XCAMERA
|
|
|
|
(You don't need to use the word "xcamera" to finish this story.)
|
|
|
|
>PUT FILM IN CAMERA
|
|
|
|
Okay.
|
|
|
|
The conductor cries, "Knut," and the train glides to a halt in the station.
|
|
|
|
>CLOSE CASE
|
|
|
|
Closed.
|
|
|
|
>W
|
|
|
|
(You stand up first.)
|
|
(You unlock and open the restroom door and close it again.)
|
|
(rear vestibule)
|
|
[You're facing to the left side of the train.]
|
|
A cigarette machine stands in one corner, waiting to be either used or
|
|
discarded -- it's hard to say which.
|
|
|
|
>W
|
|
|
|
(platform)
|
|
You are standing on the concrete platform of the Knut 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 Glrp-Wien 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 a girl here, looking up and
|
|
down the platform.
|
|
The conductor stops walking.
|
|
|
|
>W
|
|
|
|
(waiting room)
|
|
You are standing in the railway station. You can see a cafe on the north side
|
|
and the ticket counter on the south. The street is west. The place is crowded
|
|
with people.
|
|
|
|
>S
|
|
|
|
(ticket area)
|
|
[You're facing to the south.]
|
|
There's a clerk here, chewing gum.
|
|
|
|
>BUY TICKET TO GOLA
|
|
|
|
The clerk takes your money and stamps your ticket.
|
|
|
|
>CASH CHECK
|
|
|
|
The clerk lends you a pen and then gives you *20 in exchange for the check.
|
|
|
|
>N
|
|
|
|
(waiting room)
|
|
[You're facing to the north.]
|
|
|
|
>I
|
|
|
|
You're holding a pen, your ticket, a yellow flower, a briefcase, and a gun.
|
|
And there's something in your pocket.
|
|
|
|
>PUT GUN IN POCKET
|
|
|
|
Okay.
|
|
|
|
>N
|
|
|
|
(cafe)
|
|
Through a blue haze of cigarette smoke, you can see travelers sipping their
|
|
food while waiting for their trains.
|
|
The waitress is here, waiting.
|
|
|
|
>S
|
|
|
|
(waiting room)
|
|
[You're facing to the south.]
|
|
|
|
>E
|
|
|
|
(platform)
|
|
[You're facing to the east.]
|
|
|
|
>N
|
|
|
|
[Debugging info: you are entering platform #2.]
|
|
(platform)
|
|
[You're facing to the north.]
|
|
One part of the crowd catches your eye: There's a middle-aged couple here,
|
|
re-arranging luggage.
|
|
|
|
>W
|
|
|
|
(women's restroom)
|
|
[You're facing to the west.]
|
|
The train whistle blows once, and the conductor cries, "Gormnash floogle
|
|
nomnets!"
|
|
|
|
>SIT
|
|
|
|
(on the toilet)
|
|
You're now sitting on it.
|
|
|
|
>OPEN CASE
|
|
|
|
Opening it reveals a miniature camera, a magnifying glass, a scrap of
|
|
newsprint, and a document.
|
|
|
|
>CLOSE CAMERA
|
|
|
|
Okay, it is now closed.
|
|
You hear the noise as the train slowly pulls out of Knut station without you.
|
|
|
|
>COCK CAMERA
|
|
|
|
Okay.
|
|
The regal woman stops here.
|
|
|
|
>CLOSE CAMERA
|
|
|
|
(It is already closed!)
|
|
|
|
>CLOSE CASE
|
|
|
|
Closed.
|
|
|
|
>GET GUN
|
|
|
|
You are now holding it.
|
|
|
|
>KNOCK OUT WOMAN WITH GUN
|
|
|
|
(Sorry, but I don't understand. Please reword that or try something else.)
|
|
|
|
>HIT WOMAN WITH GUN
|
|
|
|
(You stand up first.)
|
|
She blocks your thrust and knocks you unconscious....
|
|
|
|
|
|
|
|
>I
|
|
|
|
You're holding a gun, a pen, your ticket, a yellow flower, and a briefcase.
|
|
And there's something in your pocket.
|
|
|
|
>L IN POCKET
|
|
|
|
Your pocket contains a timetable, and your passport.
|
|
And some money.
|
|
|
|
>OPEN CASE
|
|
|
|
Opening it reveals a document, a scrap of newsprint, a magnifying glass, and a
|
|
miniature camera.
|
|
|
|
>; WHY DIDN'T SHE TAKE THE DOCUMENT?
|
|
|
|
E
|
|
|
|
(You close the briefcase and stand up first.)
|
|
(platform)
|
|
[You're facing to the east.]
|
|
|
|
>E
|
|
|
|
(rear vestibule)
|
|
|
|
>N
|
|
|
|
(You open the swinging door and close it again.)
|
|
|
|
(rear end)
|
|
[You're facing to the front.]
|
|
A young man is in the fifth compartment.
|
|
An attractive woman and a young couple are off to the front.
|
|
|
|
>N
|
|
|
|
|
|
(rear middle)
|
|
The attractive woman and the young couple are off to the front.
|
|
[!! STUCK: old man is in (car #4) the other forward end.
|
|
GOAL: old man is in (car #4) the diner forward limbo.
|
|
]
|
|
**ZIP20 Warning: Zero argument to PRINTD[!! STUCK (old man): GOAL=
|
|
PC: 97698
|
|
Operation: PRINTD 0
|
|
]
|
|
|
|
>
|
|
|
|
I beg your pardon?
|
|
|
|
>;HOW DID THIS HAPPEN???
|
|
|
|
S
|
|
|
|
|
|
(rear end)
|
|
[You're facing to the rear.]
|
|
The young man is in the fifth compartment.
|
|
[!! STUCK: old man is in (car #4) the other forward end.
|
|
GOAL: old man is in (car #4) the diner forward limbo.
|
|
]
|
|
**ZIP20 Warning: Zero argument to PRINTD[!! STUCK (old man): GOAL=
|
|
PC: 97698
|
|
Operation: PRINTD 0
|
|
]
|
|
|
|
>S
|
|
|
|
(You open the swinging door and close it again.)
|
|
(rear vestibule)
|
|
[!! STUCK: old man is in (car #4) the other forward end.
|
|
GOAL: old man is in (car #4) the diner forward limbo.
|
|
]
|
|
**ZIP20 Warning: Zero argument to PRINTD[!! STUCK (old man): GOAL=
|
|
PC: 97698
|
|
Operation: PRINTD 0
|
|
]
|
|
|
|
>I
|
|
|
|
You're holding a gun, a pen, your ticket, a yellow flower, and a briefcase.
|
|
And there's something in your pocket.
|
|
[!! STUCK: old man is in (car #4) the other forward end.
|
|
GOAL: old man is in (car #4) the diner forward limbo.
|
|
]
|
|
**ZIP20 Warning: Zero argument to PRINTD[!! STUCK (old man): GOAL=
|
|
PC: 97698
|
|
Operation: PRINTD 0
|
|
]
|
|
|
|
>S
|
|
|
|
[Debugging info: you are entering car #3.]
|
|
(forward vestibule)
|
|
You shake your head and come to.
|
|
[!! STUCK: old man is in (car #4) the other forward end.
|
|
GOAL: old man is in (car #4) the diner forward limbo.
|
|
]
|
|
**ZIP20 Warning: Zero argument to PRINTD[!! STUCK (old man): GOAL=
|
|
PC: 97698
|
|
Operation: PRINTD 0
|
|
]
|
|
|
|
>S
|
|
|
|
(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.
|
|
An attractive man and a thin man are off to the rear.
|
|
There's a fat man here, looking at you with suspicion.
|
|
[!! STUCK: old man is in (car #4) the other forward end.
|
|
GOAL: old man is in (car #4) the diner forward limbo.
|
|
]
|
|
**ZIP20 Warning: Zero argument to PRINTD[!! STUCK (old man): GOAL=
|
|
PC: 97698
|
|
Operation: PRINTD 0
|
|
]
|
|
|
|
>PUT GUN IN POCKET
|
|
|
|
Okay.
|
|
[!! STUCK: old man is in (car #4) the other forward end.
|
|
GOAL: old man is in (car #4) the diner forward limbo.
|
|
]
|
|
**ZIP20 Warning: Zero argument to PRINTD[!! STUCK (old man): GOAL=
|
|
PC: 97698
|
|
Operation: PRINTD 0
|
|
]
|
|
|
|
>S
|
|
|
|
|
|
(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 attractive man and the thin man are off to the rear.
|
|
[!! STUCK: old man is in (car #4) the other forward end.
|
|
GOAL: old man is in (car #4) the diner forward limbo.
|
|
]
|
|
**ZIP20 Warning: Zero argument to PRINTD[!! STUCK (old man): GOAL=
|
|
PC: 97698
|
|
Operation: PRINTD 0
|
|
]
|
|
|
|
>S
|
|
|
|
(middle)
|
|
The thin man is off to the rear.
|
|
The attractive man is here, reading a newspaper.
|
|
The train whistle blows once, and a conductor cries, "Gormnash floogle
|
|
nomnets!"
|
|
[!! STUCK: old man is in (car #4) the other forward end.
|
|
GOAL: old man is in (car #4) the diner forward limbo.
|
|
]
|
|
**ZIP20 Warning: Zero argument to PRINTD[!! STUCK (old man): GOAL=
|
|
PC: 97698
|
|
Operation: PRINTD 0
|
|
]
|
|
|
|
>S
|
|
|
|
|
|
(rear middle)
|
|
The thin man is here, smoking a cigarette.
|
|
[!! STUCK: old man is in (car #4) the other forward end.
|
|
GOAL: old man is in (car #4) the diner forward limbo.
|
|
]
|
|
**ZIP20 Warning: Zero argument to PRINTD[!! STUCK (old man): GOAL=
|
|
PC: 97698
|
|
Operation: PRINTD 0
|
|
]
|
|
|
|
>S
|
|
|
|
|
|
(rear end)
|
|
[!! STUCK: old man is in (car #4) the other forward end.
|
|
GOAL: old man is in (car #4) the diner forward limbo.
|
|
]
|
|
**ZIP20 Warning: Zero argument to PRINTD[!! STUCK (old man): GOAL=
|
|
PC: 97698
|
|
Operation: PRINTD 0
|
|
]
|
|
|
|
>S
|
|
|
|
(You open the swinging door and close it again.)
|
|
(rear vestibule)
|
|
Out of the corner of your eye, you see the regal woman boarding the train.
|
|
The train slowly pulls out of Knut station.
|
|
[!! STUCK: old man is in (car #4) the other forward end.
|
|
GOAL: old man is in (car #4) the diner forward limbo.
|
|
]
|
|
**ZIP20 Warning: Zero argument to PRINTD[!! STUCK (old man): GOAL=
|
|
PC: 97698
|
|
Operation: PRINTD 0
|
|
]
|
|
|
|
>S
|
|
|
|
[Debugging info: you are entering car #4.]
|
|
(forward vestibule)
|
|
[!! STUCK: old man is in (car #4) the other forward end.
|
|
GOAL: old man is in (car #4) the diner forward limbo.
|
|
]
|
|
**ZIP20 Warning: Zero argument to PRINTD[!! STUCK (old man): GOAL=
|
|
PC: 97698
|
|
Operation: PRINTD 0
|
|
]
|
|
|
|
>S
|
|
|
|
The train lurches a bit.
|
|
(You open the swinging door and close it again.)
|
|
The relative quiet here is welcome. The smell of food is unmistakable.
|
|
(forward end)
|
|
[!! STUCK: old man is in (car #4) the other forward end.
|
|
GOAL: old man is in (car #4) the diner forward limbo.
|
|
]
|
|
**ZIP20 Warning: Zero argument to PRINTD[!! STUCK (old man): GOAL=
|
|
PC: 97698
|
|
Operation: PRINTD 0
|
|
]
|
|
The train is now hurtling past a small town.
|
|
|
|
>S
|
|
|
|
The train lurches a bit.
|
|
|
|
(forward middle)
|
|
[!! STUCK: old man is in (car #4) the other forward end.
|
|
GOAL: old man is in (car #4) the diner forward limbo.
|
|
]
|
|
**ZIP20 Warning: Zero argument to PRINTD[!! STUCK (old man): GOAL=
|
|
PC: 97698
|
|
Operation: PRINTD 0
|
|
]
|
|
|
|
>GO TO REAR V
|
|
|
|
The train lurches a bit.
|
|
|
|
|
|
(rear vestibule)
|
|
A cigarette machine stands in one corner, waiting to be either used or
|
|
discarded -- it's hard to say which.
|
|
[!! STUCK: old man is in (car #4) the other forward end.
|
|
GOAL: old man is in (car #4) the diner forward limbo.
|
|
]
|
|
**ZIP20 Warning: Zero argument to PRINTD[!! STUCK (old man): GOAL=
|
|
PC: 97698
|
|
Operation: PRINTD 0
|
|
]
|
|
|
|
>S
|
|
|
|
The train lurches a bit.
|
|
[Debugging info: you are entering car #5.]
|
|
(forward vestibule)
|
|
[!! STUCK: old man is in (car #4) the other forward end.
|
|
GOAL: old man is in (car #4) the diner forward limbo.
|
|
]
|
|
**ZIP20 Warning: Zero argument to PRINTD[!! STUCK (old man): GOAL=
|
|
PC: 97698
|
|
Operation: PRINTD 0
|
|
]
|
|
|
|
>N
|
|
|
|
[Debugging info: you are entering car #4.]
|
|
(rear vestibule)
|
|
[You're facing to the front.]
|
|
A cigarette machine stands in one corner, waiting to be either used or
|
|
discarded -- it's hard to say which.
|
|
[!! STUCK: old man is in (car #4) the other forward end.
|
|
GOAL: old man is in (car #4) the diner forward limbo.
|
|
]
|
|
**ZIP20 Warning: Zero argument to PRINTD[!! STUCK (old man): GOAL=
|
|
PC: 97698
|
|
Operation: PRINTD 0
|
|
]
|
|
|
|
>N
|
|
|
|
(You open the swinging door and close it again.)
|
|
The relative quiet here is welcome.
|
|
(rear end)
|
|
The cook is in the galley.
|
|
[!! STUCK: old man is in (car #4) the other forward end.
|
|
GOAL: old man is in (car #4) the diner forward limbo.
|
|
]
|
|
**ZIP20 Warning: Zero argument to PRINTD[!! STUCK (old man): GOAL=
|
|
PC: 97698
|
|
Operation: PRINTD 0
|
|
]
|
|
The train is now hurtling along a barren stubble-plain.
|
|
|
|
>N
|
|
|
|
|
|
(rear middle)
|
|
The waiter is in the pantry.
|
|
[!! STUCK: old man is in (car #4) the other forward end.
|
|
GOAL: old man is in (car #4) the diner forward limbo.
|
|
]
|
|
**ZIP20 Warning: Zero argument to PRINTD[!! STUCK (old man): GOAL=
|
|
PC: 97698
|
|
Operation: PRINTD 0
|
|
]
|
|
|
|
>N
|
|
|
|
(middle)
|
|
[!! STUCK: old man is in (car #4) the other forward end.
|
|
GOAL: old man is in (car #4) the diner forward limbo.
|
|
]
|
|
**ZIP20 Warning: Zero argument to PRINTD[!! STUCK (old man): GOAL=
|
|
PC: 97698
|
|
Operation: PRINTD 0
|
|
]
|
|
|
|
>N
|
|
|
|
|
|
(forward middle)
|
|
[!! STUCK: old man is in (car #4) the other forward end.
|
|
GOAL: old man is in (car #4) the diner forward limbo.
|
|
]
|
|
**ZIP20 Warning: Zero argument to PRINTD[!! STUCK (old man): GOAL=
|
|
PC: 97698
|
|
Operation: PRINTD 0
|
|
]
|
|
|
|
>N
|
|
|
|
|
|
(forward end)
|
|
[!! STUCK: old man is in (car #4) the other forward end.
|
|
GOAL: old man is in (car #4) the diner forward limbo.
|
|
]
|
|
**ZIP20 Warning: Zero argument to PRINTD[!! STUCK (old man): GOAL=
|
|
PC: 97698
|
|
Operation: PRINTD 0
|
|
]
|
|
|
|
>RESTORE
|
|
|
|
From file: SL.CON.1Okay.
|
|
(rear vestibule)
|
|
[You're facing to the right side of the train.]
|
|
The regal woman is here, still holding the briefcase and walking along.
|
|
>OPEN WINDOW
|
|
|
|
(It is already open!)
|
|
|
|
>KNOCK OUT WOMAN WITH GUN
|
|
|
|
(Sorry, but I don't understand. Please reword that or try something else.)
|
|
|
|
>HIT WOMAN WITH GUN
|
|
|
|
She drops the briefcase and slumps on the floor.
|
|
|
|
>THROW WOMAN OUT WINDOW
|
|
|
|
(taking the regal woman first)
|
|
The regal woman is gone with the wind.
|
|
|
|
>GET CASE
|
|
|
|
You are now holding it.
|
|
|
|
>E
|
|
|
|
(You open the restroom door and close it again.)
|
|
(rear restroom)
|
|
As you'd expect, the restroom is tidy but small, almost too small for comfort.
|
|
But it does have the usual fixtures.
|
|
|
|
>SIT
|
|
|
|
(on the toilet)
|
|
You're now sitting on it.
|
|
|
|
>TURN LATCH
|
|
|
|
A mechanical click comes from within the briefcase.
|
|
|
|
>OPEN LATCH.OPEN CASE
|
|
|
|
The metal latch snaps open.
|
|
|
|
The train lurches a bit.
|
|
Opening it reveals a document, a scrap of newsprint, a magnifying glass, a
|
|
cassette of film, and a miniature camera.
|
|
|
|
>PUT FILM IN CAMERA
|
|
|
|
Too bad, but the miniature camera is closed.
|
|
|
|
>OPEN CAMERA.PUT FILM IN CAMERA
|
|
|
|
Okay, it is now open.
|
|
|
|
Okay.
|
|
|
|
>CLOSE CAMERA
|
|
|
|
Okay, it is now closed.
|
|
|
|
>COCK CAMERA
|
|
|
|
Okay.
|
|
|
|
>GET CAMERA
|
|
|
|
You are now holding it.
|
|
|
|
>PHOTOGRAPH DOCUMENT
|
|
|
|
"Click!"
|
|
The train is now steaming along the edge of a rocky precipice.
|
|
|
|
>COCK CAMERA
|
|
|
|
Okay.
|
|
|
|
>PHOTOGRAPH ME
|
|
|
|
(You close the briefcase and stand up first.)
|
|
This camera was designed to work on the ocean floor or in outer space, in
|
|
arctic cold or tropical heat. It has photographed nuclear explosions without
|
|
the slightest difficulty. Your face, however, has cracked its lens!
|
|
"Click!"
|
|
|
|
>OPEN CAMERA
|
|
|
|
You open it and see a cassette of film.
|
|
|
|
>GET FILM
|
|
|
|
You are now holding it.
|
|
|
|
>L AT FILM WITH GLASS
|
|
|
|
(You don't seem to be holding that!)
|
|
|
|
>GET GLASS
|
|
|
|
(You can't see any glass here!)
|
|
|
|
>I
|
|
|
|
You're holding a cassette of film, a miniature camera, a briefcase, and your
|
|
ticket.
|
|
And there's something in your pocket.
|
|
|
|
>OPEN CASE
|
|
|
|
You open it a crack before you realize that everything inside would fall out.
|
|
You quickly close it again.
|
|
|
|
>SIT
|
|
|
|
(on the toilet)
|
|
You're now sitting on it.
|
|
|
|
>OPEN CASE
|
|
|
|
Opening it reveals a magnifying glass, a scrap of newsprint, and a document.
|
|
|
|
>GET GLASS,SCRAP
|
|
|
|
magnifying glass: You are now holding it.
|
|
scrap of newsprint: You are now holding it.
|
|
|
|
>PUT DOCUMENT IN TOILET
|
|
|
|
Okay.
|
|
|
|
>L IN TOILET
|
|
|
|
Too bad, but it is empty.
|
|
|
|
>;BUG
|
|
|
|
L IN CASE
|
|
|
|
Too bad, but it is empty.
|
|
|
|
>I
|
|
|
|
The train lurches a bit.
|
|
You're holding a scrap of newsprint, a magnifying glass, a cassette of film, a
|
|
miniature camera, a briefcase, and your ticket.
|
|
And there's something in your pocket.
|
|
|
|
>; DOCUMENT DISAPPEARED
|
|
|
|
L AT FILM WITH GLASS
|
|
|
|
The train lurches a bit.
|
|
With the aid of the magnifying glass you can just make out what's on the film.
|
|
Picture 1 is a picture of a document.
|
|
Picture 2 is a picture of something you can't make out.
|
|
Picture 3 is unexposed.
|
|
Picture 4 is unexposed.
|
|
|
|
>L INPOCKET
|
|
|
|
(Sorry, but the word "inpocket" is not in the vocabulary that you can use.)
|
|
|
|
>L IN POCKET
|
|
|
|
Your pocket contains a gun, a timetable, a traveler's check, and your passport.
|
|
And some money.
|
|
|
|
>DROP GUN IN TPOILET
|
|
|
|
(I don't know the word "tpoilet".)
|
|
|
|
>DROP GUN IN TOILET
|
|
|
|
Okay.
|
|
|
|
>I
|
|
|
|
You're holding a scrap of newsprint, a magnifying glass, a cassette of film, a
|
|
miniature camera, a briefcase, and your ticket.
|
|
And there's something in your pocket.
|
|
|
|
>PUT ALL IN POCKET
|
|
|
|
scrap of newsprint: Okay.
|
|
magnifying glass: Okay.
|
|
cassette of film: Okay.
|
|
miniature camera: (You close it first.)
|
|
Okay.
|
|
briefcase: There's not enough room.
|
|
your ticket: Okay.
|
|
The train begins to slow down a bit.
|
|
|
|
>I
|
|
|
|
You're holding a briefcase.
|
|
And there's something in your pocket.
|
|
|
|
>L IN POCKET
|
|
|
|
Your pocket contains your ticket, a miniature camera, a cassette of film, a
|
|
magnifying glass, a scrap of newsprint, a timetable, a traveler's check, and
|
|
your passport.
|
|
And some money.
|
|
|
|
The conductor cries, "Knut," and the train glides to a halt in the station.
|
|
|
|
>FLUSH TOILET
|
|
|
|
An old refrain comes to mind:
|
|
"Passengers will please refrain
|
|
From flushing toilets while the train
|
|
Is standing in the station. (I love you!)"
|
|
|
|
>L IN TOILET
|
|
|
|
The toilet contains a gun.
|
|
|
|
>GET GUN
|
|
|
|
You are now holding it.
|
|
|
|
>PUT GUN IN POCKET
|
|
|
|
There's not enough room.
|
|
|
|
>EMPTY POCKET
|
|
|
|
You are now holding your ticket, the miniature camera, the cassette of film,
|
|
the magnifying glass, the scrap of newsprint, the timetable, the traveler's
|
|
check, and your passport.
|
|
|
|
>PUT GUN IN POCKET
|
|
|
|
Okay.
|
|
|
|
>W
|
|
|
|
(You close the briefcase and stand up first.)
|
|
(You open the restroom door and close it again.)
|
|
(rear vestibule)
|
|
[You're facing to the left side of the train.]
|
|
|
|
>W
|
|
|
|
(platform)
|
|
You are standing on the concrete platform of the Knut railway station. A
|
|
cantilevered roof looms overhead, with occasional drops of rain water falling
|
|
from its edge. To the west is the women's restroom. To the east is a passenger
|
|
train, the Glrp-Wien 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 a young woman here, looking up
|
|
and down the platform.
|
|
|
|
>W
|
|
|
|
(women's restroom)
|
|
|
|
>S
|
|
|
|
(You can't go in that direction.)
|
|
|
|
>E
|
|
|
|
(platform)
|
|
[You're facing to the east.]
|
|
|
|
>S
|
|
|
|
[Debugging info: you are entering platform #3.]
|
|
(platform)
|
|
[You're facing to the south.]
|
|
One part of the crowd catches your eye: There's a young man here, chewing gum.
|
|
|
|
>W
|
|
|
|
(waiting room)
|
|
[You're facing to the west.]
|
|
You are standing in the railway station. You can see a cafe on the north side
|
|
and the ticket counter on the south. The street is west. The place is crowded
|
|
with people.
|
|
|
|
>S
|
|
|
|
(ticket area)
|
|
[You're facing to the south.]
|
|
There's a clerk here, snoozing.
|
|
|
|
>BUY TICKET
|
|
|
|
(You didn't say where the ticket is for.)
|
|
|
|
>BUY TICKET FOR GOLA
|
|
|
|
The clerk takes your money and stamps your ticket.
|
|
|
|
>CASH CHECK
|
|
|
|
The clerk lends you a pen and then gives you *20 in exchange for the check.
|
|
The train whistle blows once, and the conductor cries, "Gormnash floogle
|
|
nomnets!"
|
|
|
|
>I
|
|
|
|
You're holding a pen, your ticket, your passport, a timetable, a scrap of
|
|
newsprint, a magnifying glass, a cassette of film, a miniature camera, and a
|
|
briefcase.
|
|
And there's something in your pocket.
|
|
|
|
>E
|
|
|
|
(You can't go in that direction.)
|
|
|
|
>N
|
|
|
|
(waiting room)
|
|
[You're facing to the north.]
|
|
|
|
>E
|
|
|
|
(platform)
|
|
[You're facing to the east.]
|
|
Out of the corner of your eye, you see the regal woman leaving the train.
|
|
You watch as the conductor boards the train, and it slowly pulls out of Knut
|
|
station without you.
|
|
The regal woman stops here.
|
|
|
|
>S
|
|
|
|
[Debugging info: you are entering platform #4.]
|
|
(platform)
|
|
[You're facing to the south.]
|
|
One part of the crowd catches your eye: There's an old couple here, checking a
|
|
timetable.
|
|
|
|
>S
|
|
|
|
[Debugging info: you are entering platform #5.]
|
|
(platform)
|
|
One part of the crowd catches your eye: There's a middle-aged couple here,
|
|
looking at you with suspicion.
|
|
|
|
>W
|
|
|
|
(luggage room)
|
|
[You're facing to the west.]
|
|
The clerk is here, still snoozing.
|
|
|
|
>DROP BRIEFCASE
|
|
|
|
Okay, it is now on the floor.
|
|
|
|
A whistle sounds, and a passenger train comes screeching up to the platform.
|
|
|
|
>I
|
|
|
|
You're holding a pen, your ticket, your passport, a timetable, a scrap of
|
|
newsprint, a magnifying glass, a cassette of film, and a miniature camera.
|
|
And there's something in your pocket.
|
|
|
|
>E
|
|
|
|
(platform)
|
|
[You're facing to the east.]
|
|
|
|
>E
|
|
|
|
(rear vestibule)
|
|
An attractive man is off to the rear.
|
|
|
|
>E
|
|
|
|
(You open the restroom door and close it again.)
|
|
(rear restroom)
|
|
|
|
>LOCK DOOR
|
|
|
|
Okay, it is now locked.
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The train whistle blows once, and a conductor cries, "Gormnash floogle
|
|
nomnets!"
|
|
Do you want to keep waiting? >Y
|
|
|
|
The time is now 13.21.
|
|
|
|
>PUT GUN IN TOILET
|
|
|
|
Okay.
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The train slowly pulls out of Knut station.
|
|
Do you want to keep waiting? >Y
|
|
|
|
The train is now rocketing past a small town.
|
|
The train is now racing along a barren stubble-plain.
|
|
The time is now 13.32.
|
|
|
|
>FLUSH TOILET
|
|
|
|
Say goodbye to the gun, and the document. "Whhoooossshhhhh!"
|
|
|
|
>; THE DOCUMENT WAS IN THE TOILET IN TJHE OTHER TRAIN!!!!!!!!!!!!!!!!
|
|
|
|
N
|
|
|
|
(You can't go in that direction.)
|
|
|
|
>W
|
|
|
|
(You unlock and open the restroom door and close it again.)
|
|
(rear vestibule)
|
|
[You're facing to the left side of the train.]
|
|
An attractive man is off to the rear.
|
|
The regal woman is holding a yellow flower.
|
|
|
|
>I
|
|
|
|
You're holding a pen, your ticket, your passport, a timetable, a scrap of
|
|
newsprint, a magnifying glass, a cassette of film, and a miniature camera.
|
|
And there's something in your pocket.
|
|
|
|
>FIND LIGHTER
|
|
|
|
It's far away from here.
|
|
|
|
>L WOMAN
|
|
|
|
The train lurches a bit.
|
|
(I assume you mean: look at her, not look in her nor look for her nor any other
|
|
preposition.)
|
|
She was clearly beautiful as a young woman. Now her heavy make-up and cologne,
|
|
her fur piece and black net veil make her beauty a matter of personal
|
|
preference.
|
|
She is holding a yellow flower.
|
|
|
|
>GET YELLOW FLOWER
|
|
|
|
The regal woman holds it more tightly and looks at you defiantly.
|
|
A girl opens the swinging door for a moment and walks past you from the front.
|
|
|
|
>N
|
|
|
|
(You open the swinging door and close it again.)
|
|
The relative quiet here is welcome.
|
|
(rear end)
|
|
[You're facing to the front.]
|
|
|
|
>N
|
|
|
|
|
|
(rear middle)
|
|
|
|
>N
|
|
|
|
(middle)
|
|
|
|
>N
|
|
|
|
|
|
(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.
|
|
|
|
>N
|
|
|
|
|
|
(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.
|
|
|
|
>N
|
|
|
|
(You open the swinging door and close it again.)
|
|
(forward vestibule)
|
|
|
|
>N
|
|
|
|
[Debugging info: you are entering car #4.]
|
|
(rear vestibule)
|
|
A cigarette machine stands in one corner, waiting to be either used or
|
|
discarded -- it's hard to say which.
|
|
|
|
>L MACHINE
|
|
|
|
(I assume you mean: look at it, not look in it nor look for it nor any other
|
|
preposition.)
|
|
The plastic panel is so scratched and grimy that you can barely see the display
|
|
of cigarette packs inside.
|
|
|
|
>N
|
|
|
|
(You open the swinging door and close it again.)
|
|
The relative quiet here is welcome. The smell of food is unmistakable.
|
|
(rear end)
|
|
This is the rear end of the corridor. On the left side of the train lies the
|
|
galley.
|
|
A cook is in the galley.
|
|
|
|
>N
|
|
|
|
The train lurches a bit.
|
|
|
|
(rear middle)
|
|
This is the rear middle of the corridor. On the left side of the train lies the
|
|
pantry.
|
|
The waiter is in the pantry.
|
|
|
|
>N
|
|
|
|
(middle)
|
|
An attractive woman is in the third booth.
|
|
|
|
>W
|
|
|
|
(third booth)
|
|
[You're facing to the left side of the train.]
|
|
This is a diner booth on the Znuk-Potrzebie Express. In fact, it looks as if
|
|
the railway company just converted a first-class coach into a diner by removing
|
|
the door and adding a table to each compartment.
|
|
The train is hurtling along a barren stubble-plain.
|
|
The attractive woman is here, gazing out the window.
|
|
There seems to be something written on the window.
|
|
|
|
>L AT WINDOW
|
|
|
|
It's hard to read in this light, but the writing seems to say "FROY."
|
|
|
|
>READ WINDOW
|
|
|
|
The train lurches a bit.
|
|
Hmmm... The writing seems to have vanished.
|
|
The waiter enters, ready to take your order.
|
|
|
|
>L AT WINDOW
|
|
|
|
Hmmm... The writing seems to have vanished.
|
|
The train is now hurtling past a dark, violent river.
|
|
|
|
>; WHAT IS GOING ON?????
|
|
|
|
E
|
|
|
|
The train lurches a bit.
|
|
(middle)
|
|
[You're facing to the right side of the train.]
|
|
The conductor makes a gesture, asking for your ticket.
|
|
|
|
>GIVE TICKET TO MAN
|
|
|
|
(You can't see any man here!)
|
|
|
|
>GIVE TICKET TO CONDUCTOR
|
|
|
|
The conductor punches your ticket and then gives it back to you.
|
|
|
|
>N
|
|
|
|
|
|
(forward middle)
|
|
[You're facing to the front.]
|
|
|
|
>N
|
|
|
|
|
|
(forward end)
|
|
A young couple are in the first booth.
|
|
|
|
>W
|
|
|
|
(first booth)
|
|
[You're facing to the left side of the train.]
|
|
The young couple are here, talking quietly.
|
|
|
|
>E
|
|
|
|
|
|
(forward end)
|
|
[You're facing to the right side of the train.]
|
|
The waiter is off to the rear, heading toward you.
|
|
|
|
>N
|
|
|
|
The train lurches a bit.
|
|
(You open the swinging door and close it again.)
|
|
(forward vestibule)
|
|
[You're facing to the front.]
|
|
|
|
>N
|
|
|
|
The train lurches a bit.
|
|
[Debugging info: you are entering car #3.]
|
|
(rear vestibule)
|
|
|
|
>W
|
|
|
|
The train lurches a bit.
|
|
(The train is moving pretty quickly. If you want to jump, say so.)
|
|
|
|
>E
|
|
|
|
(You open the restroom door and close it again.)
|
|
(rear restroom)
|
|
|
|
>LOCK DOOR
|
|
|
|
Okay, it is now locked.
|
|
|
|
>I
|
|
|
|
You're holding your ticket, a pen, your passport, a timetable, a scrap of
|
|
newsprint, a magnifying glass, a cassette of film, and a miniature camera.
|
|
And there's something in your pocket.
|
|
|
|
>PUT CAMERA IN TOILET
|
|
|
|
Okay.
|
|
|
|
>FLUSH TOILET
|
|
|
|
Say goodbye to the miniature camera. "Whhoooossshhhhh!"
|
|
|
|
>W
|
|
|
|
(You unlock and open the restroom door and close it again.)
|
|
(rear vestibule)
|
|
[You're facing to the left side of the train.]
|
|
|
|
>N
|
|
|
|
(You open the swinging door and close it again.)
|
|
The relative quiet here is welcome.
|
|
(rear end)
|
|
[You're facing to the front.]
|
|
A thin woman is off to the front.
|
|
|
|
>N
|
|
|
|
|
|
(rear middle)
|
|
A thin man is in the fourth compartment.
|
|
The thin woman is off to the front.
|
|
|
|
>N
|
|
|
|
(middle)
|
|
The thin woman is here, gazing out the window.
|
|
|
|
>N
|
|
|
|
|
|
(forward middle)
|
|
|
|
>N
|
|
|
|
|
|
(forward end)
|
|
|
|
>N
|
|
|
|
(You open the swinging door and close it again.)
|
|
(forward vestibule)
|
|
The train is now racing along the edge of a rocky precipice.
|
|
|
|
>FIND LIGHTER
|
|
|
|
The train lurches a bit.
|
|
It's far away from here.
|
|
|
|
>FIND SCARF
|
|
|
|
It's around somewhere.
|
|
|
|
>FIND FLOWER
|
|
|
|
It's around somewhere.
|
|
|
|
>S
|
|
|
|
(You open the swinging door and close it again.)
|
|
The relative quiet here is welcome.
|
|
(forward end)
|
|
[You're facing to the rear.]
|
|
The thin woman is off to the rear.
|
|
|
|
>S
|
|
|
|
|
|
(forward middle)
|
|
The thin woman is off to the rear.
|
|
|
|
>S
|
|
|
|
(middle)
|
|
The thin woman is here, still gazing out the window.
|
|
|
|
>S
|
|
|
|
|
|
(rear middle)
|
|
The thin man is in the fourth compartment.
|
|
|
|
>S
|
|
|
|
The train lurches a bit.
|
|
|
|
(rear end)
|
|
|
|
>S
|
|
|
|
(You open the swinging door and close it again.)
|
|
(rear vestibule)
|
|
|
|
>S
|
|
|
|
[Debugging info: you are entering car #4.]
|
|
(forward vestibule)
|
|
|
|
>S
|
|
|
|
(You open the swinging door and close it again.)
|
|
The relative quiet here is welcome.
|
|
(forward end)
|
|
The young couple are in the first booth.
|
|
|
|
>W
|
|
|
|
(first booth)
|
|
[You're facing to the left side of the train.]
|
|
The young couple are here, still talking quietly.
|
|
|
|
>L COUPLE
|
|
|
|
(I assume you mean: look at them, not look in them nor look for them nor any
|
|
other preposition.)
|
|
They are dressed for a holiday, in shades of green, with a string bag. Their
|
|
lucid blue eyes look straight into yours, without a flinch.
|
|
|
|
>E
|
|
|
|
|
|
(forward end)
|
|
[You're facing to the right side of the train.]
|
|
The waiter is off to the rear, heading toward you.
|
|
|
|
>S
|
|
|
|
|
|
(forward middle)
|
|
[You're facing to the rear.]
|
|
The waiter is here, walking along. He heads off to the front.
|
|
|
|
>L WAITER
|
|
|
|
(You can't see any waiter here!)
|
|
|
|
>S
|
|
|
|
(middle)
|
|
The attractive woman is in the third booth.
|
|
|
|
>W
|
|
|
|
(third booth)
|
|
[You're facing to the left side of the train.]
|
|
The attractive woman is here, still gazing out the window.
|
|
|
|
>L WOMAN
|
|
|
|
(I assume you mean: look at her, not look in her nor look for her nor any other
|
|
preposition.)
|
|
She looks almost too good for a nowhere country like this: sparkling eyes, good
|
|
bone structure, clear skin, tall and smooth. Of course, it's hard to tell
|
|
whether or not she can think in complete sentences.
|
|
The train begins to slow down a bit.
|
|
|
|
>I
|
|
|
|
You're holding your ticket, a pen, your passport, a timetable, a scrap of
|
|
newsprint, a magnifying glass, and a cassette of film.
|
|
And there's something in your pocket.
|
|
|
|
>L IN POCKET
|
|
|
|
You have some money in your pocket.
|
|
The waiter enters, ready to take your order.
|
|
|
|
The conductor cries, "Grnz," and the train glides to a halt in the station.
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The attractive woman leaves.
|
|
|
|
The conductor appears and makes a gesture, asking you to leave the train.
|
|
Do you want to keep waiting? >N
|
|
|
|
The time is now 14.37.
|
|
|
|
>E
|
|
|
|
(middle)
|
|
[You're facing to the right side of the train.]
|
|
|
|
The conductor appears and makes a gesture, asking you to leave the train.
|
|
|
|
>S
|
|
|
|
|
|
(rear middle)
|
|
[You're facing to the rear.]
|
|
The conductor stops here to ask passengers to leave the train.
|
|
|
|
>S
|
|
|
|
|
|
(rear end)
|
|
The cook is in the galley.
|
|
The conductor stops here to ask passengers to leave the train.
|
|
|
|
>W
|
|
|
|
(galley)
|
|
[You're facing to the left side of the train.]
|
|
The galley is crowded with supplies and equipment. The locked cabinets are
|
|
probably filled with food, kettles, and kitchen tools. There's a crowded
|
|
counter for preparing food. If you want to find something, you'll have to
|
|
search for it.
|
|
The cook is here, snoozing.
|
|
He makes a pushing motion with one hand and points forward with the other. He
|
|
seems angry that you're invading his space.
|
|
|
|
The conductor appears and makes a gesture, asking you to leave the train.
|
|
|
|
>S
|
|
|
|
(You can't go in that direction.)
|
|
|
|
>W
|
|
|
|
(You can't go in that direction.)
|
|
|
|
>E
|
|
|
|
|
|
(rear end)
|
|
[You're facing to the right side of the train.]
|
|
|
|
The conductor appears and makes a gesture, asking you to leave the train.
|
|
|
|
>S
|
|
|
|
(You open the swinging door and close it again.)
|
|
(rear vestibule)
|
|
[You're facing 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 stops here to ask passengers to leave the train.
|
|
|
|
>W
|
|
|
|
You notice a pair of customs inspectors boarding the train to search it.
|
|
(platform)
|
|
[You're facing to the west.]
|
|
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 wall of 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.
|
|
|
|
>I
|
|
|
|
You're holding your ticket, a pen, your passport, a timetable, a scrap of
|
|
newsprint, a magnifying glass, and a cassette of film.
|
|
And there's something in your pocket.
|
|
One part of the crowd catches your eye: There's an old man here, checking a
|
|
timetable.
|
|
|
|
>N
|
|
|
|
[Debugging info: you are entering platform #3.]
|
|
(platform)
|
|
[You're facing to the north.]
|
|
A customs agent is off to the north.
|
|
One part of the crowd catches your eye: There's a middle-aged couple here,
|
|
reading a newspaper.
|
|
The conductor stops walking.
|
|
|
|
>N
|
|
|
|
[Debugging info: you are entering platform #2.]
|
|
(platform)
|
|
The customs agent is here, inspecting luggage and passports.
|
|
A sign on the wall announces something in large, unfriendly letters.
|
|
|
|
>N
|
|
|
|
The customs agent makes a gesture, asking for your passport.
|
|
|
|
>GIVE AGENT PASSPORT
|
|
|
|
The customs agent looks at you and your passport, barely suppresses a smirk,
|
|
stamps it, and then gives it back to you.
|
|
|
|
>N
|
|
|
|
[Debugging info: you are entering platform #1.]
|
|
The customs agent smiles approvingly.
|
|
(platform)
|
|
One part of the crowd catches your eye: There's a guard here, checking a
|
|
timetable.
|
|
|
|
>E
|
|
|
|
(rear vestibule)
|
|
[You're facing to the right side of the train.]
|
|
|
|
>SAVE
|
|
|
|
(In this variation, 1 minute will pass in the story before you can type another
|
|
command. Are you sure you want to SAVE now? >Y
|
|
|
|
Okay.)
|
|
To file: SL.CP.1Okay.
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The train whistle blows once, and the conductor cries, "Gormnash floogle
|
|
nomnets!"
|
|
Do you want to keep waiting? >Y
|
|
|
|
The train slowly pulls out of Grnz station.
|
|
Do you want to keep waiting? >Y
|
|
|
|
The train is now rocketing past a small town.
|
|
The time is now 15.02.
|
|
|
|
>YZ
|
|
|
|
(Sorry, but the word "yz" is not in the vocabulary that you can use.)
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The conductor stops here to punch tickets.
|
|
Do you want to keep waiting? >N
|
|
|
|
The time is now 15.04.
|
|
|
|
>GIVE TICKET TO CONDUCTOR
|
|
|
|
The conductor punches your ticket and then gives it back to you.
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 15.15.
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The train is now speeding through a mysterious forest.
|
|
Do you want to keep waiting? >Y
|
|
|
|
The time is now 15.25.
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
Do you want to keep waiting? >Y
|
|
|
|
The time is now 15.35.
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The train is now hurtling along a barren stubble-plain.
|
|
The time is now 15.45.
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The train begins to slow down a bit.
|
|
Do you want to keep waiting? >Y
|
|
|
|
The time is now 15.55.
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The conductor cries, "Gola," and the train glides to a halt in the station.
|
|
Do you want to keep waiting? >N
|
|
|
|
The time is now 15.56.
|
|
|
|
>W
|
|
|
|
(platform)
|
|
[You're facing to the west.]
|
|
You are standing at the north 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 men's restroom. 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 a guard here, chewing gum.
|
|
|
|
>S
|
|
|
|
[Debugging info: you are entering platform #2.]
|
|
(platform)
|
|
[You're facing to the south.]
|
|
One part of the crowd catches your eye: There's an old couple here, chewing
|
|
gum.
|
|
|
|
>S
|
|
|
|
[Debugging info: you are entering platform #3.]
|
|
(platform)
|
|
|
|
>W
|
|
|
|
(waiting room)
|
|
[You're facing to the west.]
|
|
|
|
>W
|
|
|
|
(sidewalk)
|
|
The station faces a small square, crowded with people.
|
|
|
|
>W
|
|
|
|
As you start to venture into the town, a police officer recognizes you as an
|
|
unauthorized foreigner and takes a step in your direction. As you stop walking,
|
|
so does he.
|
|
|
|
>E
|
|
|
|
(waiting room)
|
|
[You're facing to the east.]
|
|
|
|
>E
|
|
|
|
(platform)
|
|
One part of the crowd catches your eye: There's a middle-aged couple here,
|
|
chewing gum.
|
|
The regal woman shows her passport to the customs agent.
|
|
|
|
>;WHAT?
|
|
|
|
S
|
|
|
|
[Debugging info: you are entering platform #4.]
|
|
(platform)
|
|
[You're facing to the south.]
|
|
One part of the crowd catches your eye: There's a girl here, re-arranging
|
|
luggage.
|
|
|
|
>S
|
|
|
|
[Debugging info: you are entering platform #5.]
|
|
(platform)
|
|
One part of the crowd catches your eye: There's a young man here, chewing gum.
|
|
|
|
>L MAN
|
|
|
|
(I assume you mean: look at him, not look in him nor look for him nor any other
|
|
preposition.)
|
|
He is dressed for business, in shades of green, with a beret. His lucid blue
|
|
eyes look straight into yours, without a flinch.
|
|
|
|
>N
|
|
|
|
[Debugging info: you are entering platform #4.]
|
|
(platform)
|
|
[You're facing to the north.]
|
|
The middle-aged couple are off to the north.
|
|
|
|
>S
|
|
|
|
[Debugging info: you are entering platform #5.]
|
|
(platform)
|
|
[You're facing to the south.]
|
|
|
|
>SHOW PEN TO MAN
|
|
|
|
He seems impatient.
|
|
|
|
>SAY "WHITE SCARF
|
|
|
|
"O glob gormnets jonglip quidjernosh mushnash."
|
|
The train whistle blows once, and the conductor cries, "Gormnash floogle
|
|
nomnets!"
|
|
The waitress appears and says, "I was ordered to contact you here. Please give
|
|
me the document now."
|
|
|
|
>SAVE
|
|
|
|
(In this variation, 1 minute will pass in the story before you can type another
|
|
command. Are you sure you want to SAVE now? >Y
|
|
|
|
Okay.)
|
|
To file: SL.END.1Okay.
|
|
|
|
>GIVE FILM AND GLASS TO WAITRESS
|
|
|
|
cassette of film: The guard seems to notice your actions.
|
|
The waitress quickly inspects the cassette of film and then says, "This will
|
|
not do. We already know what the plan is; you should have obtained the actual
|
|
document so that we could analyze it and find the source of the leak. I'm
|
|
afraid I'll have to complete your mission myself."
|
|
|
|
|
|
Would you like to:
|
|
RESTORE your place from where you saved it,
|
|
RESTART the story from the beginning, or
|
|
QUIT for now?
|
|
>RESTART
|
|
|
|
Copyright (c) 1985 Infocom, Inc. All rights reserved.
|
|
|
|
Welcome to CHECKPOINT (TM) - interactive fiction from Infocom!
|
|
|
|
[Note to testers: this story has the command GO TO, and the concept of not
|
|
being able to see things behind your back. The unit of currency in this story
|
|
is the Frotzian slimpuk, whose symbol is "*".
|
|
|
|
Messages in square brackets [] will not be in the final release.
|
|
Remember: you can shorten your words only to NINE (9) letters.
|
|
But you can use C for COMPARTMENT, V for VESTIBULE, and F for FORWARD.]
|
|
|
|
Do you want the viewpoint of the traveler or the spy? >S
|
|
|
|
Do you want the short variation or the long one? >L
|
|
|
|
Then let the story begin!
|
|
Why did you want to be a spy anyway? You could have had a nice restful job,
|
|
like an air-traffic controller. You could have tended flowers behind a white
|
|
picket fence around your country cottage. At least they could let you grab a
|
|
few winks between one job and the next. But no -- you finish debriefing in some
|
|
dirty little city in Frotzerland, and before you can even find a phone book,
|
|
let alone a hotel, they volunteer you for another assignment.
|
|
|
|
"You've got to intercept a document!" they told you. "Then deliver it to our
|
|
agent in Gola so the leak can be traced. We don't know where it is for sure,
|
|
but we think it's in a briefcase that's leaving town on the next train. You're
|
|
the only agent that's close enough and experienced enough to be sent after it.
|
|
And at the end of the trip, there will be a plane ticket to home waiting for
|
|
you."
|
|
|
|
So that's why you're climbing all over this stupid train. Finding the briefcase
|
|
was easy enough, but the dude carrying it was something else. Even a
|
|
well-placed bullet didn't make him drop. Now, if only he'll take the bait and
|
|
follow you up here, you can .... Wait! Here he comes from the forward end! But
|
|
he's not carrying the case!
|
|
|
|
CHECKPOINT
|
|
Infocom interactive fiction - a story of intrigue
|
|
Copyright (c) 1985 by Infocom, Inc. All rights reserved.
|
|
CHECKPOINT is a trademark of Infocom, Inc.
|
|
Release 12 / Serial number 850403 / Spy's viewpoint, long variation
|
|
|
|
(roof)
|
|
You are on the roof of the train. The wind blows your hair, and the rocking,
|
|
lurching train threatens to buck you right off. It occurs to you that this
|
|
might not be the safest place to be right now.
|
|
The spy is here, preparing to knock you off.
|
|
|
|
|
|
Okay, what do you want to do now?
|
|
>RESTORE
|
|
|
|
From file: SL.CON.1Okay.
|
|
(rear vestibule)
|
|
[You're facing to the right side of the train.]
|
|
The regal woman is here, still holding the briefcase and walking along.
|
|
>OPEN WINDOW
|
|
|
|
(It is already open!)
|
|
|
|
>HIT WOMAN WITH GUN
|
|
|
|
She blocks your thrust and knocks you unconscious....
|
|
|
|
You shake your head and come to.
|
|
|
|
>FIND WOMAN
|
|
|
|
(You stand up first.)
|
|
(Who knows where she is now?)
|
|
|
|
>RESTORE
|
|
|
|
From file: SL.CON.1Okay.
|
|
(rear vestibule)
|
|
[You're facing to the right side of the train.]
|
|
The regal woman is here, still holding the briefcase and walking along.
|
|
>HIT WOMAN WITH GUN
|
|
|
|
She drops the briefcase and slumps on the floor.
|
|
|
|
>SEARCH WOMAN
|
|
|
|
The train lurches a bit.
|
|
You find a yellow flower and take it.
|
|
|
|
>G
|
|
|
|
You don't find anything interesting.
|
|
|
|
>THROW WOMAN OUT WINDOW
|
|
|
|
(taking the regal woman first)
|
|
The regal woman is gone with the wind.
|
|
|
|
>GET CASE
|
|
|
|
You are now holding it.
|
|
|
|
>E
|
|
|
|
(You open the restroom door and close it again.)
|
|
(rear restroom)
|
|
As you'd expect, the restroom is tidy but small, almost too small for comfort.
|
|
But it does have the usual fixtures.
|
|
|
|
>E
|
|
|
|
(You can't go in that direction.)
|
|
|
|
>S
|
|
|
|
(You can't go in that direction.)
|
|
|
|
>W
|
|
|
|
(You open the restroom door and close it again.)
|
|
(rear vestibule)
|
|
[You're facing to the left side of the train.]
|
|
The old man is here, walking along. He heads off to the rear.
|
|
|
|
>I
|
|
|
|
You're holding a briefcase, a yellow flower, and your ticket.
|
|
And there's something in your pocket.
|
|
The old man, off to the rear, opens the swinging door for a moment and
|
|
disappears to the rear.
|
|
|
|
>N
|
|
|
|
(You open the swinging door and close it again.)
|
|
The relative quiet here is welcome.
|
|
(rear end)
|
|
[You're facing to the front.]
|
|
A fat man is off to the front.
|
|
|
|
>N
|
|
|
|
|
|
(rear middle)
|
|
The fat man is off to the front.
|
|
|
|
>N
|
|
|
|
(middle)
|
|
An old couple are in the third compartment.
|
|
The fat man is here, looking at you with suspicion.
|
|
Off to the front a young couple appear.
|
|
|
|
>W
|
|
|
|
(You open the compartment door and close it again.)
|
|
(third compartment)
|
|
[You're facing to the left side of the train.]
|
|
The old couple are here, exchanging kisses.
|
|
A spot of blood is still on the floor.
|
|
|
|
>E
|
|
|
|
(You open the compartment door and close it again.)
|
|
(middle)
|
|
[You're facing to the right side of the train.]
|
|
The fat man is here, still looking at you with suspicion.
|
|
The young couple are here, still walking along. They head off to the rear.
|
|
Off to the front the regal woman appears from the forward vestibule.
|
|
|
|
>S
|
|
|
|
|
|
(rear middle)
|
|
[You're facing to the rear.]
|
|
The young couple are here, still walking along. They head off to the rear.
|
|
|
|
>S
|
|
|
|
|
|
(rear end)
|
|
The young couple are here, still walking along. They open the swinging door for
|
|
a moment and head off to the rear.
|
|
The train is now hurtling along the edge of a rocky precipice.
|
|
|
|
>E
|
|
|
|
(You can't go in that direction.)
|
|
|
|
>S
|
|
|
|
(You open the swinging door and close it again.)
|
|
(rear vestibule)
|
|
The young couple are here, still walking along. They head off to the rear.
|
|
|
|
>E
|
|
|
|
(You open the restroom door and close it again.)
|
|
(rear restroom)
|
|
|
|
>LOCK DOOR
|
|
|
|
Okay, it is now locked.
|
|
|
|
>SIT
|
|
|
|
(on the toilet)
|
|
You're now sitting on it.
|
|
|
|
>TURN LATCH
|
|
|
|
A mechanical click comes from within the briefcase.
|
|
|
|
>OPEN LATCH
|
|
|
|
The metal latch snaps open.
|
|
|
|
>OPEN CASE
|
|
|
|
Opening it reveals a document, a scrap of newsprint, a magnifying glass, a
|
|
cassette of film, and a miniature camera.
|
|
|
|
>GET DOCUMENT
|
|
|
|
You are now holding it.
|
|
|
|
>HIDE DOCUMENT IN TOILET
|
|
|
|
Okay.
|
|
|
|
>L IN TOILET
|
|
|
|
The toilet contains a document.
|
|
|
|
>GET DOCUMENT
|
|
|
|
You are now holding it.
|
|
|
|
>GET SCRAP
|
|
|
|
You are now holding it.
|
|
|
|
>CLOSE CASE
|
|
|
|
Closed.
|
|
|
|
>PUT ALL IN POCKET
|
|
|
|
scrap of newsprint: Okay.
|
|
document: There's not enough room.
|
|
briefcase: There's not enough room.
|
|
yellow flower: Okay.
|
|
your ticket: Okay.
|
|
|
|
>PUT GUN IN TOILET
|
|
|
|
(You don't seem to be holding that!)
|
|
|
|
>GET GUN
|
|
|
|
(You can't see any gun here!)
|
|
|
|
>L IN POCKET
|
|
|
|
Your pocket contains your ticket, a yellow flower, a scrap of newsprint, a
|
|
timetable, a traveler's check, and your passport.
|
|
And some money.
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The train begins to slow down a bit.
|
|
Do you want to keep waiting? >Y
|
|
|
|
The conductor cries, "Knut," and the train glides to a halt in the station.
|
|
Do you want to keep waiting? >N
|
|
|
|
The time is now 12.44.
|
|
|
|
>W
|
|
|
|
(You stand up first.)
|
|
(You unlock and open the restroom door and close it again.)
|
|
(rear vestibule)
|
|
[You're facing to the left side of the train.]
|
|
The regal woman is here, looking in your direction.
|
|
|
|
>W
|
|
|
|
(platform)
|
|
You are standing on the concrete platform of the Knut railway station. A
|
|
cantilevered roof looms overhead, with occasional drops of rain water falling
|
|
from its edge. To the west is the women's restroom. To the east is a passenger
|
|
train, the Glrp-Wien 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 couple here, checking a
|
|
timetable.
|
|
Out of the corner of your eye, you see the regal woman leaving the train.
|
|
The regal woman pauses a minute.
|
|
|
|
>W
|
|
|
|
(women's restroom)
|
|
The regal woman pauses a minute.
|
|
|
|
>E
|
|
|
|
(platform)
|
|
[You're facing to the east.]
|
|
The old couple are here, still checking a timetable.
|
|
The regal woman pauses a minute.
|
|
|
|
>S
|
|
|
|
[Debugging info: you are entering platform #3.]
|
|
(platform)
|
|
[You're facing to the south.]
|
|
One part of the crowd catches your eye: There's a middle-aged couple here,
|
|
looking up and down the platform.
|
|
The regal woman pauses a minute.
|
|
|
|
>W
|
|
|
|
(waiting room)
|
|
[You're facing to the west.]
|
|
You are standing in the railway station. You can see a cafe on the north side
|
|
and the ticket counter on the south. The street is west. The place is crowded
|
|
with people.
|
|
The regal woman pauses a minute.
|
|
|
|
>S
|
|
|
|
(ticket area)
|
|
[You're facing to the south.]
|
|
There's a clerk here, checking a timetable.
|
|
The regal woman pauses a minute.
|
|
|
|
>L WOMAN
|
|
|
|
(I assume you mean: look at her, not look in her nor look for her nor any other
|
|
preposition.)
|
|
She was clearly beautiful as a young woman. Now her heavy make-up and cologne,
|
|
her fur piece and black net veil make her beauty a matter of personal
|
|
preference.
|
|
She is holding a blue flower.
|
|
|
|
>GET BLUE FLOWER
|
|
|
|
The regal woman holds it more tightly and looks at you defiantly.
|
|
|
|
>GIVE FLOWER TO WOMAN
|
|
|
|
She accepts your gift and smiles briefly.
|
|
|
|
>I
|
|
|
|
You're holding a document, and a briefcase.
|
|
And there's something in your pocket.
|
|
|
|
>PUT DOCUMENT IN POCKET
|
|
|
|
There's not enough room.
|
|
|
|
>EMPTY POCKET
|
|
|
|
You are now holding your ticket, the scrap of newsprint, the timetable, the
|
|
traveler's check, and your passport.
|
|
|
|
>PUT DOCUMENT IN POCKET
|
|
|
|
There's not enough room.
|
|
|
|
>E
|
|
|
|
(You can't go in that direction.)
|
|
|
|
>S
|
|
|
|
(You can't go in that direction.)
|
|
|
|
>I
|
|
|
|
You're holding your passport, a traveler's check, a timetable, a scrap of
|
|
newsprint, your ticket, a document, and a briefcase.
|
|
And there's something in your pocket.
|
|
The train whistle blows once, and the conductor cries, "Gormnash floogle
|
|
nomnets!"
|
|
|
|
>S
|
|
|
|
(You can't go in that direction.)
|
|
|
|
>L
|
|
|
|
(ticket area)
|
|
(You're facing to the south, but you look in all directions for a moment.)
|
|
The regal woman is holding a yellow flower, and a blue flower.
|
|
The clerk is here, still checking a timetable.
|
|
|
|
|
|
>BUY TICKET TO GOLA
|
|
|
|
The clerk takes your money and stamps your ticket.
|
|
|
|
>CASH CHECK
|
|
|
|
The clerk lends you a pen and then gives you *20 in exchange for the check.
|
|
You hear the noise as the train slowly pulls out of Knut station without you.
|
|
The regal woman pauses a minute.
|
|
|
|
>L
|
|
|
|
(ticket area)
|
|
(You're facing to the south, but you look in all directions for a moment.)
|
|
The regal woman is holding a yellow flower, and a blue flower.
|
|
The clerk is here, still checking a timetable.
|
|
|
|
|
|
>L
|
|
|
|
(ticket area)
|
|
(You're facing to the south, but you look in all directions for a moment.)
|
|
The regal woman is holding a yellow flower, and a blue flower.
|
|
The clerk is here, still checking a timetable.
|
|
|
|
|
|
>L
|
|
|
|
(ticket area)
|
|
(You're facing to the south, but you look in all directions for a moment.)
|
|
The regal woman is holding a yellow flower, and a blue flower.
|
|
The clerk is here, still checking a timetable.
|
|
|
|
|
|
>L
|
|
|
|
(ticket area)
|
|
(You're facing to the south, but you look in all directions for a moment.)
|
|
The regal woman is holding a yellow flower, and a blue flower.
|
|
The clerk is here, still checking a timetable.
|
|
|
|
|
|
A whistle sounds, and a passenger train comes screeching up to the platform.
|
|
|
|
>N
|
|
|
|
(waiting room)
|
|
[You're facing to the north.]
|
|
The regal woman pauses a minute.
|
|
|
|
>E
|
|
|
|
(platform)
|
|
[You're facing to the east.]
|
|
An old couple are off to the north.
|
|
There's a middle-aged couple here, checking a timetable.
|
|
The regal woman pauses a minute.
|
|
|
|
>E
|
|
|
|
(rear vestibule)
|
|
Out of the corner of your eye, you see the regal woman boarding the train.
|
|
The regal woman pauses a minute.
|
|
|
|
>E
|
|
|
|
(You open the restroom door and close it again.)
|
|
(rear restroom)
|
|
|
|
>LOCK DOOR
|
|
|
|
Okay, it is now locked.
|
|
|
|
>OPEN CASE
|
|
|
|
You open it a crack before you realize that everything inside would fall out.
|
|
You quickly close it again.
|
|
|
|
>]SIT
|
|
|
|
(I don't know the word "]sit".)
|
|
|
|
>OPEN CASE
|
|
|
|
You open it a crack before you realize that everything inside would fall out.
|
|
You quickly close it again.
|
|
|
|
>SIT
|
|
|
|
(on the toilet)
|
|
You're now sitting on it.
|
|
|
|
>OPEN CASE
|
|
|
|
Opening it reveals a miniature camera, a cassette of film, and a magnifying
|
|
glass.
|
|
|
|
>SEARCH CASE CAREFULLY
|
|
|
|
(You close the briefcase and stand up first.)
|
|
Too bad, but it is closed.
|
|
|
|
>;NO NO NO, I'M LOOKING FOR A FALSE BOTTOM
|
|
|
|
SIT
|
|
|
|
(on the toilet)
|
|
You're now sitting on it.
|
|
|
|
>OPEN CASE
|
|
|
|
Opening it reveals a magnifying glass, a cassette of film, and a miniature
|
|
camera.
|
|
|
|
>EMPTY CASE
|
|
|
|
You may know how to do that, but this story doesn't.
|
|
|
|
>GET ALL IN CASE
|
|
|
|
magnifying glass: You are now holding it.
|
|
cassette of film: You are now holding it.
|
|
miniature camera: Too bad, but the cassette of film slips from your arms while
|
|
you are taking the miniature camera, and both tumble on the floor.
|
|
|
|
>L IN CASE CAREFULLY
|
|
|
|
Too bad, but it is empty.
|
|
The train whistle blows once, and a conductor cries, "Gormnash floogle
|
|
nomnets!"
|
|
|
|
>I
|
|
|
|
You're holding a magnifying glass, a pen, your ticket, your passport, a
|
|
timetable, a scrap of newsprint, a document, and a briefcase.
|
|
And there's something in your pocket.
|
|
|
|
>DROP GLASS
|
|
|
|
Okay, it is now on the floor.
|
|
|
|
>L SCRAP
|
|
|
|
(I assume you mean: look at it, not look in it nor look for it nor any other
|
|
preposition.)
|
|
There doesn't seem to be anything written on the scrap of newsprint.
|
|
The train slowly pulls out of Knut station.
|
|
|
|
>L SCRAP CAREFULLY
|
|
|
|
(I assume you mean: look at it, not look in it nor look for it nor any other
|
|
preposition.)
|
|
The train is now racing past a small town.
|
|
There are some shiny lines on the scrap of newsprint, maybe invisible ink.
|
|
|
|
>I
|
|
|
|
You're holding a pen, your ticket, your passport, a timetable, a scrap of
|
|
newsprint, a document, and a briefcase.
|
|
And there's something in your pocket.
|
|
|
|
>L
|
|
|
|
The train lurches a bit.
|
|
(rear restroom)
|
|
As you'd expect, the restroom is tidy but small, almost too small for comfort.
|
|
But it does have the usual fixtures.
|
|
There's a magnifying glass on the floor.
|
|
There's a miniature camera on the floor.
|
|
There's a cassette of film on the floor.
|
|
|
|
|
|
>W
|
|
|
|
(You close the briefcase and stand up first.)
|
|
(You unlock and open the restroom door and close it again.)
|
|
(rear vestibule)
|
|
[You're facing to the left side of the train.]
|
|
The regal woman is holding a yellow flower, and a blue flower.
|
|
|
|
>S
|
|
|
|
[Debugging info: you are entering car #4.]
|
|
(forward vestibule)
|
|
[You're facing to the rear.]
|
|
|
|
>S
|
|
|
|
(You open the swinging door and close it again.)
|
|
The relative quiet here is welcome. The smell of food is unmistakable.
|
|
(forward end)
|
|
A boy is in the first booth.
|
|
An attractive woman is off to the rear, heading toward you.
|
|
The train is now steaming along a barren stubble-plain.
|
|
|
|
>W
|
|
|
|
(first booth)
|
|
[You're facing to the left side of the train.]
|
|
This is a diner booth on the Znuk-Potrzebie Express. In fact, it looks as if
|
|
the railway company just converted a first-class coach into a diner by removing
|
|
the door and adding a table to each compartment.
|
|
The train is racing along a barren stubble-plain.
|
|
The boy is here, chewing gum.
|
|
There seems to be something written on the window.
|
|
|
|
>L WINDOW
|
|
|
|
(I assume you mean: look at it, not look in it nor look for it nor any other
|
|
preposition.)
|
|
It's hard to read in this light, but the writing seems to say "FROY."
|
|
The regal woman enters and sits down.
|
|
|
|
>L WOMAN
|
|
|
|
(I assume you mean: look at her, not look in her nor look for her nor any other
|
|
preposition.)
|
|
She was clearly beautiful as a young woman. Now her heavy make-up and cologne,
|
|
her fur piece and black net veil make her beauty a matter of personal
|
|
preference.
|
|
She is holding a yellow flower, and a blue flower.
|
|
|
|
>E
|
|
|
|
|
|
(forward end)
|
|
[You're facing to the right side of the train.]
|
|
The waiter walks past you from the rear.
|
|
The regal woman pauses a minute.
|
|
|
|
>S
|
|
|
|
|
|
(forward middle)
|
|
[You're facing to the rear.]
|
|
The regal woman pauses a minute.
|
|
|
|
>;WHAT IS THIS PAUSE JUNK?
|
|
|
|
E
|
|
|
|
(You can't go in that direction.)
|
|
|
|
>S
|
|
|
|
(middle)
|
|
The attractive woman is in the third booth.
|
|
The regal woman pauses a minute.
|
|
|
|
>W
|
|
|
|
(third booth)
|
|
[You're facing to the left side of the train.]
|
|
The attractive woman is here, gazing out the window.
|
|
The regal woman enters and sits down.
|
|
|
|
>L ATTRACTIVE
|
|
|
|
(I assume you mean: the attractive woman.)
|
|
The train lurches a bit.
|
|
(I assume you mean: look at her, not look in her nor look for her nor any other
|
|
preposition.)
|
|
She looks almost too good for a nowhere country like this: sparkling eyes, good
|
|
bone structure, clear skin, tall and smooth. Of course, it's hard to tell
|
|
whether or not she can think in complete sentences.
|
|
|
|
>E
|
|
|
|
(middle)
|
|
[You're facing to the right side of the train.]
|
|
The waiter is here, gazing out the window.
|
|
He enters the third booth.
|
|
The young couple, off to the front, enter the first booth.
|
|
The regal woman pauses a minute.
|
|
|
|
>FIND LIGHTER
|
|
|
|
The waiter probably has it.
|
|
The waiter walks past you.
|
|
|
|
>E
|
|
|
|
(You can't go in that direction.)
|
|
|
|
>S
|
|
|
|
|
|
(rear middle)
|
|
[You're facing to the rear.]
|
|
This is the rear middle of the corridor. On the left side of the train lies the
|
|
pantry.
|
|
The waiter walks along with you.
|
|
The regal woman pauses a minute.
|
|
|
|
>L WAITER
|
|
|
|
(I assume you mean: look at him, not look in him nor look for him nor any other
|
|
preposition.)
|
|
His bushy black moustache and neatly combed hair go perfectly with his black
|
|
formal jacket and bow tie, but his floor-length apron has seen better days and
|
|
a few spills already on this trip.
|
|
He is holding a cigarette, and a lighter.
|
|
He enters the pantry.
|
|
|
|
>SAVE
|
|
|
|
(In this variation, 1 minute will pass in the story before you can type another
|
|
command. Are you sure you want to SAVE now? >Y
|
|
|
|
Okay.)
|
|
To file: SL.WA.1Okay.
|
|
|
|
>GIVE WAITER *20
|
|
|
|
(You can't see any waiter here!)
|
|
|
|
>S
|
|
|
|
|
|
(rear end)
|
|
This is the rear end of the corridor. On the left side of the train lies the
|
|
galley.
|
|
A cook is in the galley.
|
|
The regal woman pauses a minute.
|
|
|
|
>N
|
|
|
|
|
|
(rear middle)
|
|
[You're facing to the front.]
|
|
The waiter is in the pantry.
|
|
The young couple, off to the front, open the swinging door for a moment and
|
|
disappear to the front.
|
|
The regal woman pauses a minute.
|
|
|
|
>W
|
|
|
|
(pantry)
|
|
[You're facing to the left side of the train.]
|
|
The pantry is crowded with supplies and equipment. The locked cabinets are
|
|
probably filled with dishes, tableware, and napkins. If you want to find
|
|
something, you'll have to search for it.
|
|
The waiter is here, looking at you with suspicion.
|
|
He makes a pushing motion with one hand and points forward with the other. He
|
|
seems angry that you're invading his space.
|
|
The regal woman enters and sits down.
|
|
|
|
>SIT
|
|
|
|
(What do you want to sit on?)
|
|
|
|
>SEAT
|
|
|
|
(Please be more specific.)
|
|
|
|
>SIT ON CHAIR
|
|
|
|
(Please be more specific.)
|
|
|
|
>GIVE WAITER *20
|
|
|
|
He accepts your gift and smiles broadly.
|
|
|
|
>GET LIGHTER
|
|
|
|
Too bad, but the pen slips from your arms while you are taking the lighter, and
|
|
both tumble on the floor.
|
|
|
|
>GET ALL
|
|
|
|
lighter: You are now holding it.
|
|
|
|
>PUT ALL IN POCKET
|
|
|
|
lighter: Okay.
|
|
your ticket: Okay.
|
|
your passport: Okay.
|
|
timetable: Okay.
|
|
scrap of newsprint: Okay.
|
|
document: There's not enough room.
|
|
briefcase: There's not enough room.
|
|
|
|
>GET SCRAP
|
|
|
|
(You can't take it.)
|
|
|
|
>I
|
|
|
|
You're holding a document, and a briefcase.
|
|
And there's something in your pocket.
|
|
|
|
>L IN POCKET
|
|
|
|
Your pocket contains a scrap of newsprint, a timetable, your passport, your
|
|
ticket, and a lighter.
|
|
And some money.
|
|
The train is now steaming past a dark, violent river.
|
|
|
|
>GET SCRAP AND LIGHTER
|
|
|
|
scrap of newsprint: (You can't take it.)
|
|
lighter: You are now holding it.
|
|
|
|
>RESTORE
|
|
|
|
From file: SL.WA.1Okay.
|
|
(rear middle)
|
|
[You're facing to the rear.]
|
|
The waiter is in the pantry.
|
|
The regal woman is holding a yellow flower, and a blue flower.
|
|
|
|
>W
|
|
|
|
(pantry)
|
|
[You're facing to the left side of the train.]
|
|
The pantry is crowded with supplies and equipment. The locked cabinets are
|
|
probably filled with dishes, tableware, and napkins. If you want to find
|
|
something, you'll have to search for it.
|
|
The waiter is here, looking at you with suspicion.
|
|
He makes a pushing motion with one hand and points forward with the other. He
|
|
seems angry that you're invading his space.
|
|
The regal woman enters and sits down.
|
|
|
|
>PUT ALL IN POCKET
|
|
|
|
pen: Okay.
|
|
The waiter makes a pushing motion with one hand and points forward with the
|
|
other. He seems angry that you're invading his space.
|
|
your ticket: Okay.
|
|
your passport: Okay.
|
|
timetable: Okay.
|
|
scrap of newsprint: Okay.
|
|
document: There's not enough room.
|
|
briefcase: There's not enough room.
|
|
|
|
>GIVE WAITER *20
|
|
|
|
He accepts your gift and smiles broadly.
|
|
|
|
>GET LIGHTER
|
|
|
|
You are now holding it.
|
|
|
|
>GET SCRAP
|
|
|
|
(You can't take it.)
|
|
|
|
>I
|
|
|
|
You're holding a lighter, a document, and a briefcase.
|
|
And there's something in your pocket.
|
|
|
|
>L IN POCKET
|
|
|
|
Your pocket contains a scrap of newsprint, a timetable, your passport, your
|
|
ticket, and a pen.
|
|
And some money.
|
|
|
|
>GET NEWSPRINT
|
|
|
|
(You can't take it.)
|
|
|
|
>HEAT PRINT
|
|
|
|
(What do you want to heat the print with?)
|
|
|
|
>LIGHTER
|
|
|
|
Heating it with the lighter reveals nothing intelligible.
|
|
|
|
>RESTORE
|
|
|
|
From file: SL.WA.1Okay.
|
|
(rear middle)
|
|
[You're facing to the rear.]
|
|
The waiter is in the pantry.
|
|
The regal woman is holding a yellow flower, and a blue flower.
|
|
|
|
>E
|
|
|
|
(You can't go in that direction.)
|
|
|
|
>N
|
|
|
|
(middle)
|
|
[You're facing to the front.]
|
|
The attractive woman is in the third booth.
|
|
Off to the front the young couple appear.
|
|
The regal woman pauses a minute.
|
|
|
|
>N
|
|
|
|
|
|
(forward middle)
|
|
The young couple walk past you from the front.
|
|
The regal woman pauses a minute.
|
|
|
|
>N
|
|
|
|
|
|
(forward end)
|
|
The boy is in the first booth.
|
|
The regal woman pauses a minute.
|
|
|
|
>W
|
|
|
|
(first booth)
|
|
[You're facing to the left side of the train.]
|
|
The boy is here, still chewing gum.
|
|
The regal woman enters and sits down.
|
|
|
|
>E
|
|
|
|
|
|
(forward end)
|
|
[You're facing to the right side of the train.]
|
|
The waiter is off to the rear, heading toward you.
|
|
The young couple are off to the rear, heading away from you.
|
|
The regal woman pauses a minute.
|
|
|
|
>N
|
|
|
|
(You open the swinging door and close it again.)
|
|
(forward vestibule)
|
|
[You're facing to the front.]
|
|
The regal woman pauses a minute.
|
|
|
|
>N
|
|
|
|
[Debugging info: you are entering car #3.]
|
|
(rear vestibule)
|
|
The conductor makes a gesture, asking for your ticket.
|
|
Then he notices the document, confiscates it, and leaves in a hurry.
|
|
|
|
>RESTORE
|
|
|
|
From file: SL.WA.1Okay.
|
|
(rear middle)
|
|
[You're facing to the rear.]
|
|
The waiter is in the pantry.
|
|
The regal woman is holding a yellow flower, and a blue flower.
|
|
|
|
>E
|
|
|
|
(You can't go in that direction.)
|
|
|
|
>S
|
|
|
|
|
|
(rear end)
|
|
This is the rear end of the corridor. On the left side of the train lies the
|
|
galley.
|
|
A cook is in the galley.
|
|
The regal woman pauses a minute.
|
|
|
|
>S
|
|
|
|
(You open the swinging door and close it again.)
|
|
(rear vestibule)
|
|
A thin woman is 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 regal woman pauses a minute.
|
|
|
|
>E
|
|
|
|
(You open the restroom door and close it again.)
|
|
(rear restroom)
|
|
|
|
>LOCK DOOR
|
|
|
|
Okay, it is now locked.
|
|
|
|
>OPEN CASE
|
|
|
|
|
|
>PUT DOCUMENT IN CASE
|
|
|
|
Okay.
|
|
|
|
>CLOSE CASE
|
|
|
|
Closed.
|
|
|
|
>I
|
|
|
|
You're holding a pen, your ticket, your passport, a timetable, a scrap of
|
|
newsprint, and a briefcase.
|
|
And there's something in your pocket.
|
|
|
|
>WEAR PEN
|
|
|
|
You can't wear it.
|
|
The train is now steaming past a dark, violent river.
|
|
|
|
>L TIMETABLE
|
|
|
|
The train lurches a bit.
|
|
(I assume you mean: look at it, not look in it nor look for it nor any other
|
|
preposition.)
|
|
(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,
|
|
]
|
|
|
|
>DROP PRINT
|
|
|
|
Okay, it is now on the floor.
|
|
|
|
>GET PRINT
|
|
|
|
(You can't take it.)
|
|
|
|
>I
|
|
|
|
You're holding a pen, your ticket, your passport, a timetable, and a briefcase.
|
|
And there's something in your pocket.
|
|
|
|
>L IN POCKET
|
|
|
|
You have some money in your pocket.
|
|
|
|
>W
|
|
|
|
(You unlock and open the restroom door and close it again.)
|
|
(rear vestibule)
|
|
[You're facing to the left side of the train.]
|
|
The thin woman is 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 regal woman is holding a yellow flower, and a blue flower.
|
|
|
|
>N
|
|
|
|
(You open the swinging door and close it again.)
|
|
The relative quiet here is welcome.
|
|
(rear end)
|
|
[You're facing to the front.]
|
|
The cook is in the galley.
|
|
The conductor stops here to punch tickets.
|
|
The regal woman pauses a minute.
|
|
|
|
>N
|
|
|
|
|
|
(rear middle)
|
|
The waiter is in the pantry.
|
|
The regal woman pauses a minute.
|
|
|
|
>N
|
|
|
|
(middle)
|
|
The attractive woman is in the third booth.
|
|
The regal woman pauses a minute.
|
|
|
|
>N
|
|
|
|
|
|
(forward middle)
|
|
The regal woman pauses a minute.
|
|
|
|
>N
|
|
|
|
|
|
(forward end)
|
|
The boy is in the first booth.
|
|
The regal woman pauses a minute.
|
|
|
|
>N
|
|
|
|
The train lurches a bit.
|
|
(You open the swinging door and close it again.)
|
|
(forward vestibule)
|
|
The regal woman pauses a minute.
|
|
|
|
>L
|
|
|
|
The train lurches a bit.
|
|
(forward vestibule)
|
|
(You're facing to the front, but you look in all directions for a moment.)
|
|
This is a small vestibule at the forward end of the car. It's just like the
|
|
rear vestibule, but with no steps or ladder. A small door leads to a restroom,
|
|
and a big window is open to the outside. A red handle is hanging by a short
|
|
length of cord from the ceiling, swinging in time to the train's rocking
|
|
motion. The train is racing past a dark, violent river.
|
|
The clatter of the wheels on the track is almost deafening.
|
|
The regal woman is holding a yellow flower, and a blue flower.
|
|
|
|
|
|
>SAVE
|
|
|
|
(In this variation, 1 minute will pass in the story before you can type another
|
|
command. Are you sure you want to SAVE now? >SL.RW
|
|
|
|
(Please type YES or NO.) >Y
|
|
|
|
Okay.)
|
|
To file: SL.RW.1Okay.
|
|
|
|
>OPEN WINDOW
|
|
|
|
The window opens all the way.
|
|
|
|
>HIT REGAL WOMAN
|
|
|
|
She blocks your thrust and knocks you unconscious....
|
|
|
|
You shake your head and come to.
|
|
|
|
>I
|
|
|
|
The train lurches a bit.
|
|
You're holding a pen, your ticket, your passport, a timetable, and a briefcase.
|
|
And there's something in your pocket.
|
|
|
|
>S
|
|
|
|
(You stand up first.)
|
|
(You open the swinging door and close it again.)
|
|
The relative quiet here is welcome.
|
|
(forward end)
|
|
[You're facing to the rear.]
|
|
The boy is in the first booth.
|
|
|
|
>N
|
|
|
|
(You open the swinging door and close it again.)
|
|
(forward vestibule)
|
|
[You're facing to the front.]
|
|
|
|
>I
|
|
|
|
You're holding a pen, your ticket, your passport, a timetable, and a briefcase.
|
|
And there's something in your pocket.
|
|
|
|
>E
|
|
|
|
Too bad, but the restroom door is locked.
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
Off to the front the young couple appear from the rear end.
|
|
The young couple walk past you from the front.
|
|
They open the swinging door for a moment and head off to the rear.
|
|
The train begins to slow down a bit.
|
|
Do you want to keep waiting? >E
|
|
|
|
(Please type YES or NO.) >EN
|
|
|
|
(Please type YES or NO.) >N
|
|
|
|
The time is now 14.31.
|
|
|
|
>E
|
|
|
|
Too bad, but the restroom door is locked.
|
|
|
|
>S
|
|
|
|
(You open the swinging door and close it again.)
|
|
The relative quiet here is welcome.
|
|
(forward end)
|
|
[You're facing to the rear.]
|
|
The boy is in the first booth.
|
|
The young couple are off to the rear, heading away from you.
|
|
|
|
The conductor cries, "Grnz," and the train glides to a halt in the station.
|
|
|
|
>W
|
|
|
|
(first booth)
|
|
[You're facing to the left side of the train.]
|
|
The boy is here, still chewing gum.
|
|
|
|
>N
|
|
|
|
(You can't go in that direction.)
|
|
|
|
>S
|
|
|
|
(You can't go in that direction.)
|
|
|
|
>E
|
|
|
|
|
|
(forward end)
|
|
[You're facing to the right side of the train.]
|
|
The conductor makes a gesture, asking you to leave the train.
|
|
The young couple, off to the rear, open the swinging door for a moment and
|
|
disappear to the rear.
|
|
|
|
>S
|
|
|
|
|
|
(forward middle)
|
|
[You're facing to the rear.]
|
|
The conductor stops here to ask passengers to leave the train.
|
|
|
|
>S
|
|
|
|
(middle)
|
|
The attractive woman is in the third booth.
|
|
The conductor stops here to ask passengers to leave the train.
|
|
|
|
>S
|
|
|
|
|
|
(rear middle)
|
|
The waiter is in the pantry.
|
|
The conductor stops here to ask passengers to leave the train.
|
|
|
|
>S
|
|
|
|
|
|
(rear end)
|
|
The cook is in the galley.
|
|
The conductor stops here to ask passengers to leave the train.
|
|
|
|
>S
|
|
|
|
(You open the swinging door and close it again.)
|
|
(rear vestibule)
|
|
The thin woman is 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 stops here to ask passengers to leave the train.
|
|
|
|
>W
|
|
|
|
You notice a pair of customs inspectors boarding the train to search it.
|
|
(platform)
|
|
[You're facing to the west.]
|
|
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 wall of 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.
|
|
|
|
>N
|
|
|
|
[Debugging info: you are entering platform #3.]
|
|
(platform)
|
|
[You're facing to the north.]
|
|
A customs agent is off to the north.
|
|
|
|
>SAVE
|
|
|
|
(In this variation, 1 minute will pass in the story before you can type another
|
|
command. Are you sure you want to SAVE now? >SL.CP
|
|
|
|
(Please type YES or NO.) >Y
|
|
|
|
Okay.)
|
|
To file: SL.CP.2Okay.
|
|
One part of the crowd catches your eye: There's a young couple here, chewing
|
|
gum.
|
|
The conductor stops walking.
|
|
|
|
>N
|
|
|
|
[Debugging info: you are entering platform #2.]
|
|
(platform)
|
|
The customs agent is here, inspecting luggage and passports.
|
|
A sign on the wall announces something in large, unfriendly letters.
|
|
|
|
>N
|
|
|
|
The customs agent makes a gesture, asking for your passport.
|
|
|
|
>PUT *20 IN PASSPORT
|
|
|
|
You search for an opening in your passport but find none.
|
|
|
|
>OPEN PASSPORT
|
|
|
|
Yup. That's your passport, all right.
|
|
|
|
>PUT *20 IN PASSPORT
|
|
|
|
You search for an opening in your passport but find none.
|
|
|
|
>GIVE PASSPORT TO AGENT
|
|
|
|
The customs agent looks at you and your passport, barely suppresses a smirk,
|
|
stamps it, and then gives it back to you.
|
|
Then he notices the briefcase, points to it and says, "Fleegle quidpro
|
|
mushnets?"
|
|
|
|
>GIVE *20 TO AGENT
|
|
|
|
He accepts your gift and smiles hopefully.
|
|
|
|
>I
|
|
|
|
You're holding your passport, a pen, your ticket, a timetable, and a briefcase.
|
|
And there's something in your pocket.
|
|
|
|
>N
|
|
|
|
The customs agent makes a gesture, as if to say, "Open the briefcase."
|
|
|
|
>GIVE ALL MONEY TO AGENT
|
|
|
|
(There isn't anything to give!)
|
|
|
|
>COUNT MONEY
|
|
|
|
You are carrying *7.
|
|
|
|
>GIVE *7 TO AGENT
|
|
|
|
He accepts your gift and smiles broadly.
|
|
|
|
>N
|
|
|
|
The customs agent makes a gesture, as if to say, "Open the briefcase."
|
|
|
|
>DROP CASE
|
|
|
|
Okay, it is now on the floor.
|
|
|
|
>L AGENT
|
|
|
|
(I assume you mean: look at him, not look in him nor look for him nor any other
|
|
preposition.)
|
|
He's helpful but suspicious, and doesn't want trouble in HIS jurisdiction.
|
|
|
|
>OPEN CASE
|
|
|
|
Opening it reveals a document.
|
|
|
|
>CLOSE CASE
|
|
|
|
Closed.
|
|
|
|
>N
|
|
|
|
[Debugging info: you are entering platform #1.]
|
|
The customs agent smiles approvingly.
|
|
(platform)
|
|
One part of the crowd catches your eye: There's a guard here, looking at you
|
|
with suspicion.
|
|
|
|
>E
|
|
|
|
(rear vestibule)
|
|
[You're facing to the right side of the train.]
|
|
An old man is off to the rear.
|
|
There's a middle-aged couple here, looking at you with suspicion.
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The train whistle blows once, and the conductor cries, "Gormnash floogle
|
|
nomnets!"
|
|
Do you want to keep waiting? >Y
|
|
|
|
The train slowly pulls out of Grnz station.
|
|
Do you want to keep waiting? >Y
|
|
|
|
The train is now racing past a small town.
|
|
The time is now 15.12.
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The conductor stops here to punch tickets.
|
|
Do you want to keep waiting? >N
|
|
|
|
The time is now 15.14.
|
|
|
|
>GIVE TICKET TO CONDUCTOR
|
|
|
|
The conductor punches your ticket and then gives it back to you.
|
|
He punches a middle-aged couple's ticket.
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
Do you want to keep waiting? >Y
|
|
|
|
The conductor punches an old man's ticket.
|
|
Do you want to keep waiting? >Y
|
|
|
|
He punches their ticket.
|
|
Do you want to keep waiting? >Y
|
|
|
|
A girl opens the swinging door for a moment and walks past you from the front.
|
|
Do you want to keep waiting? >Y
|
|
|
|
She heads off to the rear.
|
|
The time is now 15.25.
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The girl, off to the rear, disappears to the rear.
|
|
Do you want to keep waiting? >Y
|
|
|
|
The train is now speeding through a mysterious forest.
|
|
The time is now 15.35.
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
A girl opens the swinging door for a moment and walks past you from the front.
|
|
Do you want to keep waiting? >Y
|
|
|
|
She heads off to the rear.
|
|
She disappears to the rear.
|
|
Do you want to keep waiting? >Y
|
|
|
|
The time is now 15.45.
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The train is now hurtling along a barren stubble-plain.
|
|
The time is now 15.55.
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
Off to the rear the girl appears from the forward end.
|
|
The girl walks past you from the rear.
|
|
She opens the swinging door for a moment and heads off to the front.
|
|
The train begins to slow down a bit.
|
|
Do you want to keep waiting? >Y
|
|
|
|
The time is now 16.05.
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The conductor cries, "Gola," and the train glides to a halt in the station.
|
|
Do you want to keep waiting? >N
|
|
|
|
The time is now 16.07.
|
|
|
|
>W
|
|
|
|
(platform)
|
|
[You're facing to the west.]
|
|
You are standing at the north 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 men's restroom. 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 a guard here, checking a
|
|
timetable.
|
|
|
|
>S
|
|
|
|
[Debugging info: you are entering platform #2.]
|
|
(platform)
|
|
[You're facing to the south.]
|
|
One part of the crowd catches your eye: There's a middle-aged couple here,
|
|
looking at you with suspicion.
|
|
|
|
>S
|
|
|
|
[Debugging info: you are entering platform #3.]
|
|
(platform)
|
|
|
|
>W
|
|
|
|
(waiting room)
|
|
[You're facing to the west.]
|
|
|
|
>N
|
|
|
|
(cafe)
|
|
[You're facing to the north.]
|
|
Through a blue haze of cigarette smoke, you can see travelers sipping their
|
|
food while waiting for their trains.
|
|
The waitress is here, waiting.
|
|
|
|
>L WAITRESS
|
|
|
|
(I assume you mean: look at her, not look in her nor look for her nor any other
|
|
preposition.)
|
|
Her wad of gum could choke a yak. In fact she's the only one here with anything
|
|
decent to chew on.
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The train whistle blows once, and the conductor cries, "Gormnash floogle
|
|
nomnets!"
|
|
The waitress says, "I was ordered to contact you here. Please give me the
|
|
document now."
|
|
Do you want to keep waiting? >N
|
|
|
|
The time is now 16.22.
|
|
|
|
>SAVE
|
|
|
|
(In this variation, 1 minute will pass in the story before you can type another
|
|
command. Are you sure you want to SAVE now? >Y
|
|
|
|
Okay.)
|
|
To file: SL.EN.1Okay.
|
|
|
|
>SIT
|
|
|
|
(on the chair)
|
|
You're now sitting on it.
|
|
|
|
>OPEN CASE
|
|
|
|
(You can't see any case here!)
|
|
|
|
>I
|
|
|
|
You're holding your ticket, your passport, a pen, and a timetable.
|
|
|
|
You hear the noise as the train slowly pulls out of Gola station without you.
|
|
|
|
>RESTORE
|
|
|
|
From file: SL.CP.2Okay.
|
|
(platform)
|
|
[You're facing to the north.]
|
|
The customs agent is off to the north.
|
|
One part of the crowd catches your eye: There's a girl here, chewing gum.
|
|
The conductor stops walking.
|
|
|
|
>L
|
|
|
|
(platform)
|
|
(You're facing to the north, but you look in all directions for a moment.)
|
|
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.
|
|
The customs agent is off to the north.
|
|
The girl is here, still chewing gum.
|
|
|
|
|
|
>N
|
|
|
|
[Debugging info: you are entering platform #2.]
|
|
(platform)
|
|
The customs agent is here, inspecting luggage and passports.
|
|
A sign on the wall announces something in large, unfriendly letters.
|
|
|
|
>SHOW PASSPORT TO AGENT
|
|
|
|
The customs agent looks at you and your passport, barely suppresses a smirk,
|
|
stamps it, and then gives it back to you.
|
|
Then he notices the briefcase, points to it and says, "Fleegle quidpro
|
|
mushnets?"
|
|
|
|
>GIVE *25 TO AGENT
|
|
|
|
He accepts your gift and smiles hopefully.
|
|
|
|
>COUNT MONEY
|
|
|
|
You are carrying *2.
|
|
|
|
>GIVE *1TO AGENT
|
|
|
|
(Sorry, but this story doesn't recognize the word "*1to".)
|
|
|
|
>GIVE *1 TO AGENT
|
|
|
|
He accepts your gift and smiles broadly.
|
|
|
|
>N
|
|
|
|
The customs agent makes a gesture, as if to say, "Open the briefcase."
|
|
|
|
>DROP CASE
|
|
|
|
Okay, it is now on the floor.
|
|
|
|
>OPEN CASE
|
|
|
|
Opening it reveals a document.
|
|
|
|
>CLOSE CASE
|
|
|
|
Closed.
|
|
|
|
>GET CASE
|
|
|
|
You are now holding it.
|
|
|
|
>N
|
|
|
|
The customs agent makes a gesture, as if to say, "Open the briefcase."
|
|
|
|
>OPEN CASE
|
|
|
|
You open it a crack before you realize that everything inside would fall out.
|
|
You quickly close it again.
|
|
|
|
>DROP CASE
|
|
|
|
Okay, it is now on the floor.
|
|
|
|
>OPEN CASE
|
|
|
|
Opening it reveals a document.
|
|
|
|
>GET DOCUMENT
|
|
|
|
You are now holding it.
|
|
|
|
>N
|
|
|
|
The customs agent confiscates the document and arrests you!
|
|
|
|
|
|
Would you like to:
|
|
RESTORE your place from where you saved it,
|
|
RESTART the story from the beginning, or
|
|
QUIT for now?
|
|
>RESTORE
|
|
|
|
From file: SL.CP.2Okay.
|
|
(platform)
|
|
[You're facing to the north.]
|
|
The customs agent is off to the north.
|
|
One part of the crowd catches your eye: There's a young man here, chewing gum.
|
|
The conductor stops walking.
|
|
|
|
>N
|
|
|
|
[Debugging info: you are entering platform #2.]
|
|
(platform)
|
|
The customs agent is here, inspecting luggage and passports.
|
|
A sign on the wall announces something in large, unfriendly letters.
|
|
|
|
>N
|
|
|
|
The customs agent makes a gesture, asking for your passport.
|
|
|
|
>SHOW PASSPORT TO AGENT
|
|
|
|
The customs agent looks at you and your passport, barely suppresses a smirk,
|
|
stamps it, and then gives it back to you.
|
|
Then he notices the briefcase, points to it and says, "Fleegle quidpro
|
|
mushnets?"
|
|
|
|
>CLOSE LATCH
|
|
|
|
Okay, it is now closed.
|
|
|
|
>TURN LATCH
|
|
|
|
A mechanical click comes from within the briefcase.
|
|
|
|
>GIVE CASE TO AGENT
|
|
|
|
He refuses it, making an "open it" gesture.
|
|
|
|
>OPEN CASE
|
|
|
|
The latch is closed.
|
|
|
|
>OPEN LATCH
|
|
|
|
The metal latch snaps open. At the same time, a loud thump comes from within
|
|
the briefcase.
|
|
|
|
>OPEN CASE
|
|
|
|
You open it a crack before you realize that everything inside would fall out.
|
|
You quickly close it again.
|
|
|
|
>DROP CASE
|
|
|
|
Okay, it is now on the floor.
|
|
|
|
>TURN LATCH
|
|
|
|
A mechanical click comes from within the briefcase.
|
|
|
|
>OPEN CASE
|
|
|
|
Opening it reveals a document.
|
|
|
|
>GET DOCUMENT
|
|
|
|
You are now holding it.
|
|
|
|
>GET CASE
|
|
|
|
Too bad, but it is open.
|
|
|
|
>SHOW CASE TO AGENT
|
|
|
|
(taking the briefcase first)
|
|
He looks in it and then gives it back to you.
|
|
|
|
>I
|
|
|
|
You're holding a briefcase, a document, your passport, a pen, your ticket, and
|
|
a timetable.
|
|
And there's something in your pocket.
|
|
|
|
>PUT DOCUMENT IN CASE
|
|
|
|
Okay.
|
|
|
|
>CLOSE CASE
|
|
|
|
Closed.
|
|
|
|
>N
|
|
|
|
[Debugging info: you are entering platform #1.]
|
|
The customs agent smiles approvingly.
|
|
(platform)
|
|
One part of the crowd catches your eye: There's a guard here, chewing gum.
|
|
|
|
>; IS THIS HOW TO GET PAST THE AGENT????
|
|
|
|
I
|
|
|
|
You're holding a briefcase, your passport, a pen, your ticket, and a timetable.
|
|
And there's something in your pocket.
|
|
|
|
>E
|
|
|
|
(rear vestibule)
|
|
[You're facing to the right side of the train.]
|
|
An old man is off to the rear.
|
|
There's a middle-aged couple here, talking quietly.
|
|
|
|
>E
|
|
|
|
Too bad, but the restroom door is locked.
|
|
|
|
>S
|
|
|
|
[Debugging info: you are entering car #2.]
|
|
(forward vestibule)
|
|
[You're facing to the rear.]
|
|
The old man is here, chewing gum.
|
|
The train whistle blows once, and the conductor cries, "Gormnash floogle
|
|
nomnets!"
|
|
|
|
>E
|
|
|
|
Too bad, but the restroom door is locked.
|
|
|
|
>S
|
|
|
|
(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.
|
|
An attractive man is off to the rear.
|
|
There's a thin man here, looking at you with suspicion.
|
|
|
|
>S
|
|
|
|
|
|
(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 attractive man is off to the rear.
|
|
The train slowly pulls out of Grnz station.
|
|
Off to the rear an old couple appear from the rear vestibule.
|
|
|
|
>S
|
|
|
|
(middle)
|
|
An attractive man is off to the rear.
|
|
The old couple are off to the rear, heading toward you.
|
|
|
|
>S
|
|
|
|
|
|
(rear middle)
|
|
The attractive man is off to the rear.
|
|
The old couple are here, walking along. They head off to the front.
|
|
The train is now hurtling past a small town.
|
|
|
|
>S
|
|
|
|
|
|
(rear end)
|
|
The attractive man is here, looking at you with suspicion.
|
|
|
|
>S
|
|
|
|
The train lurches a bit.
|
|
(You open the swinging door and close it again.)
|
|
(rear vestibule)
|
|
|
|
>E
|
|
|
|
(You open the restroom door and close it again.)
|
|
(rear restroom)
|
|
|
|
>LOCK DOOR
|
|
|
|
The train lurches a bit.
|
|
Okay, it is now locked.
|
|
|
|
>OPEN CASE
|
|
|
|
You open it a crack before you realize that everything inside would fall out.
|
|
You quickly close it again.
|
|
|
|
>SIT
|
|
|
|
(on the toilet)
|
|
You're now sitting on it.
|
|
|
|
>OPEN CASE
|
|
|
|
Opening it reveals a document.
|
|
|
|
>CLOSE CASE
|
|
|
|
Closed.
|
|
|
|
>W
|
|
|
|
(You stand up first.)
|
|
(You unlock and open the restroom door and close it again.)
|
|
(rear vestibule)
|
|
[You're facing to the left side of the train.]
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The train is now rocketing through a mysterious forest.
|
|
The conductor stops here to punch tickets.
|
|
Do you want to keep waiting? >N
|
|
|
|
The time is now 15.30.
|
|
|
|
>GIVE TICKET TO CONDUCTOR
|
|
|
|
The conductor punches your ticket and then gives it back to you.
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
A middle-aged couple open the swinging door for a moment and walk past you from
|
|
the front.
|
|
Do you want to keep waiting? >Y
|
|
|
|
The time is now 15.41.
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The middle-aged couple head off to the rear.
|
|
They disappear to the rear.
|
|
Do you want to keep waiting? >Y
|
|
|
|
The train is now hurtling along a barren stubble-plain.
|
|
The time is now 15.51.
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 16.01.
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
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? >N
|
|
|
|
The time is now 16.08.
|
|
|
|
>W
|
|
|
|
(platform)
|
|
You are standing on 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 women's restroom. 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 woman here, looking up
|
|
and down the platform.
|
|
|
|
>S
|
|
|
|
[Debugging info: you are entering platform #3.]
|
|
(platform)
|
|
[You're facing to the south.]
|
|
One part of the crowd catches your eye: There's an old couple here, checking a
|
|
timetable.
|
|
|
|
>W
|
|
|
|
(waiting room)
|
|
[You're facing to the west.]
|
|
|
|
>Z
|
|
|
|
(I assume you mean: wait 10 minutes.)
|
|
Time passes...
|
|
The time is now 16.21.
|
|
|
|
>SIT
|
|
|
|
(on the chair)
|
|
You're now sitting on it.
|
|
|
|
>OPEN CASE
|
|
|
|
Opening it reveals a document.
|
|
The train whistle blows once, and the conductor cries, "Gormnash floogle
|
|
nomnets!"
|
|
The waitress appears and says, "I was ordered to contact you here. Please give
|
|
me the document now."
|
|
|
|
>GIVE DOCUMENT TO WAITRESS
|
|
|
|
She quickly inspects the document and then says, "Excellent work! But there's
|
|
one more part to your mission. You may have noticed the special car at the end
|
|
of the train. There's an important defector aboard it, and we intend to capture
|
|
him back. You must ride this train until you observe a flare shot into the sky.
|
|
Then you must make the train stop so we can capture him. Good luck!" Then she
|
|
vanishes into the crowd.
|
|
|
|
>SAVE
|
|
|
|
(In this variation, 1 minute will pass in the story before you can type another
|
|
command. Are you sure you want to SAVE now? >Y
|
|
|
|
Okay.)
|
|
To file: SL.DEF.1Okay.
|
|
|
|
>S
|
|
|
|
(You close the briefcase and stand up first.)
|
|
(ticket area)
|
|
[You're facing to the south.]
|
|
The clerk is here, checking a timetable.
|
|
You hear the noise as the train slowly pulls out of Gola station without you.
|
|
|
|
>E
|
|
|
|
(You can't go in that direction.)
|
|
|
|
>RESTORE
|
|
|
|
From file: SL.DEF.1Okay.
|
|
(waiting room)
|
|
|
|
>E
|
|
|
|
(You close the briefcase and stand up first.)
|
|
(platform)
|
|
[You're facing to the east.]
|
|
The old couple are here, still checking a timetable.
|
|
You watch as the conductor boards the train, and it slowly pulls out of Gola
|
|
station without you.
|
|
|
|
>E
|
|
|
|
Walking on the tracks looks too dangerous!
|
|
|
|
>QUIT
|
|
|
|
(If you want to continue from this point at another time, you must "SAVE"
|
|
first.)
|
|
Do you want to stop playing now? >Y
|
|
|