Original Source
historicalsource
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@style (spacing 1)
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@title (The Witness: list of known bugs)
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@pageheading (DRAFT)
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@majorheading (THE WITNESS: LIST OF KNOWN BUGS)
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First release in production was thirteen (13), serial number 830524.
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These bugs are fixed in release eighteen (18), serial number 830910:
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@begin (itemize)
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You can GET IN or CLIMB IN anything and get trapped there!
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(For fun, try getting in the clock, the cat, other characters, etc.)
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GO THRU OFFICE DOOR will let you leave the office before the gunshot!
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This violates an important assumption and thus voids your warrantee.
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You can't pick up the handcuffs! (Moral: don't ever put them down.)
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If you arrest a non-person without specifying FOR what, the response
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"What a detective! ..." contains garbage.
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ASK MONICA ABOUT CANCER responds "Dad gave it to me ..."!
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ASK DUFFY ABOUT CORONER responds "They'll be here ..." even after they've
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been here.
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Even if the door is closed,
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you can go between the living and dining rooms, and from the tub room to the
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bathroom.
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You can SEARCH (another room) FOR (anything) from a distance.
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You can handcuff Monica with any tool (e.g. keys), not just the handcuffs.
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If you don't go in the house, but you wait on the office path until
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Stiles is on the office porch, then call his name and go to the porch,
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he's described as though the shot had been fired.
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If you don't go in the house,
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Stiles gives the wrong response to WHO AM I and WHERE IS (anything).
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Even if you're sitting down or hiding, you can still use some verbs on objects
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in the room that should be out of your reach.
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(Verbs: drink, eat, enter, handcuff, kick, kill, kiss, phone, put, put under,
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raise, read, slap, smell, take outside, walk around, walk to, and their
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synonyms.)
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Some commands that include the name of the room you're in will respond
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"(You can't see any ... here!)"
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Even if Monica is handcuffed, she will play another record in her
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bedroom, and she will push you away if you try to TAKE HER OUTSIDE
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or take her shoes or feel her.
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TAKE KEY FROM MONICA may respond "He doesn't have it."
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In rock garden, PUT (anything) ON ROCKS responds "There's no room."
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Comparing the muddy and hidden guns doesn't tell you that one barrel is short.
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If you're not in the office when Monica tests the button, you don't
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hear any bell and Phong doesn't go to the office.
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If you're not in the office when Phong shows up after Monica tests the
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button, and then @i(you) push a button anywhere, Monica gives her "I was just
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testing" speech when Phong arrives where you are.
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If you don't push the button before Monica fixes it, and you ask Duffy
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for a hint, he will not get to the hints in his list that follow the
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one about the button.
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When Phong first lets you in, ASK FOR LINDER responds "Mr@. Phong isn't
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here!" instead of "Mr@. Linder isn't here!"
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If you're in the driveway when Monica goes through the garage,
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she's described as being "down the hall to the east" instead of
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"off to the east".
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You can (try to) break, rub, kick, push, raise, or revive the cat
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(or other "global objects")
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even when you're not in the office.
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The moon lights up the yard even after sunrise.
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LOOK DOWN claims the ground is muddy, even if you're on the driveway, porch,
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etc.
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@end (itemize)
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These bugs are fixed in release twenty (20), serial number 831119:
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@begin (itemize)
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You can talk to people even if you're hiding.
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You can examine things in the room even if you're hiding. The program
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should allow it but warn you that you can't do a very good job of it.
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You can get the putty and wire in the office by trying to eat them,
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even before the gunshot.
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If you're in the hallway when Duffy and Stiles reach the living room,
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Duffy seems to disappear without notice.
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Characters claim no knowledge of "the gunshot" and "Mrs Linder's suicide".
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The English parser doesn't like "supply of wire" (in workshop)
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or "row of shoes" (in entry). They should be "other wire" and "other shoes"
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respectively.
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The abbreviation "z" for "wait" is missing.
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In the kitchen, "Take range and mixer" gives NO response. Ditto in the
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workshop for "Take hose and rake" and "Take blue wire and red wire" etc.
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(The range and the mixer are really the same object! So are the tools and
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the "other wire".)
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If you try to look through a window and there isn't one where you are,
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the response refers to the car window.
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There is a blank line before each prompt, even in SUPERBRIEF mode.
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The verb (or command) "what's" is spelled without apostrophes.
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Some objectionable words ("bastard", "God", etc.) appear in the Tandy version.
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If the only wires in the room are the standard white and black ones,
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you can (for example) examine them, but trying to (for example) take
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them gets you "(You can't see the wire here.)".
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If you're in Monica's room when she enters, TIE HER TO BED responds
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"Monica isn't here!"
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You can't read Monica's books; it should say that one important book
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is missing.
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If you try to handcuff Monica where there's nothing to fasten her to
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(but after she's gotten the hidden gun), she ends up half-cuffed.
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Linder can sit in his carved chair and push the butler's button,
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but you can't do the same thing after Monica fixes it.
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@end (itemize)
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These bugs are fixed in release twenty-one (21), serial number 831208:
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@begin (itemize)
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If you, for example, "ask Phong about Monica" when neither is present,
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the response is "Monica isn't here!" instead of "Phong isn't here!"
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The program occasionally will display garbage instead of a person's name
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if you refer to someone who isn't there.
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If you examine a window while outdoors, white wires are described but
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you can't refer to them.
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@end (itemize)
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@ -0,0 +1,63 @@
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.FUNCT QUEUE,RTN,TICK,CINT
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CALL INT,RTN >CINT
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PUT CINT,C-TICK,TICK
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RETURN CINT
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.FUNCT INT,RTN,DEMON=0,E,C,INT
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ADD C-TABLE,C-TABLELEN >E
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ADD C-TABLE,C-INTS >C
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?PRG1: EQUAL? C,E \?ELS5
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SUB C-INTS,C-INTLEN >C-INTS
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ZERO? DEMON /?ELS7
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SUB C-DEMONS,C-INTLEN >C-DEMONS
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?ELS7: ADD C-TABLE,C-INTS >INT
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PUT INT,C-RTN,RTN
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RETURN INT
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?ELS5: GET C,C-RTN
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EQUAL? STACK,RTN \?CND3
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RETURN C
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?CND3: ADD C,C-INTLEN >C
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JUMP ?PRG1
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.FUNCT CLOCKER,C,E,TICK,FLG=0,VAL
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ZERO? CLOCK-WAIT /?CND1
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SET 'CLOCK-WAIT,FALSE-VALUE
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RFALSE
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?CND1: INC 'PRESENT-TIME
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GRTR? PRESENT-TIME,1199 \?CND5
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CALL TIMES-UP
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?CND5: IGRTR? 'MOVES,59 \?CND8
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SET 'MOVES,0
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IGRTR? 'SCORE,23 \?CND8
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SET 'SCORE,0
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?CND8: ZERO? P-WON /?ELS18
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PUSH C-INTS
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JUMP ?CND14
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?ELS18: PUSH C-DEMONS
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?CND14: ADD C-TABLE,STACK >C
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ADD C-TABLE,C-TABLELEN >E
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?PRG22: EQUAL? C,E \?ELS26
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RETURN FLG
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?ELS26: GET C,C-ENABLED?
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ZERO? STACK /?CND24
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GET C,C-TICK >TICK
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ZERO? TICK \?ELS31
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JUMP ?CND24
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?ELS31: SUB TICK,1
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PUT C,C-TICK,STACK
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GRTR? TICK,1 /?CND29
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GET C,C-RTN
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CALL STACK >VAL
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ZERO? VAL /?CND29
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ZERO? FLG /?THN42
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EQUAL? VAL,M-FATAL \?CND24
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?THN42: SET 'FLG,VAL
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?CND29:
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?CND24: ADD C,C-INTLEN >C
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JUMP ?PRG22
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.ENDI
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@ -0,0 +1,71 @@
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"CLOCK for WITNESS
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Copyright (C) 1983 Infocom, Inc. All rights reserved."
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<CONSTANT C-TABLELEN 300>
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<GLOBAL C-TABLE <ITABLE NONE 300>>
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<GLOBAL C-DEMONS 300>
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<GLOBAL C-INTS 300>
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<CONSTANT C-INTLEN 6>
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<CONSTANT C-ENABLED? 0>
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<CONSTANT C-TICK 1>
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<CONSTANT C-RTN 2>
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;<ROUTINE DEMON (RTN TICK "AUX" CINT)
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#DECL ((RTN) ATOM (TICK) FIX (CINT) <PRIMTYPE VECTOR>)
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<PUT <SET CINT <INT .RTN T>> ,C-TICK .TICK>
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.CINT>
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<ROUTINE QUEUE (RTN TICK "AUX" CINT)
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#DECL ((RTN) ATOM (TICK) FIX (CINT) <PRIMTYPE VECTOR>)
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<PUT <SET CINT <INT .RTN>> ,C-TICK .TICK>
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.CINT>
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<ROUTINE INT (RTN "OPTIONAL" (DEMON <>) E C INT)
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#DECL ((RTN) ATOM (DEMON) <OR ATOM FALSE> (E C INT) <PRIMTYPE
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VECTOR>)
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<SET E <REST ,C-TABLE ,C-TABLELEN>>
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<SET C <REST ,C-TABLE ,C-INTS>>
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<REPEAT ()
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<COND (<==? .C .E>
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<SETG C-INTS <- ,C-INTS ,C-INTLEN>>
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<AND .DEMON <SETG C-DEMONS <- ,C-DEMONS ,C-INTLEN>>>
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<SET INT <REST ,C-TABLE ,C-INTS>>
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<PUT .INT ,C-RTN .RTN>
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<RETURN .INT>)
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(<EQUAL? <GET .C ,C-RTN> .RTN> <RETURN .C>)>
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<SET C <REST .C ,C-INTLEN>>>>
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<GLOBAL CLOCK-WAIT <>>
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<ROUTINE CLOCKER ("AUX" C E TICK (FLG <>) VAL)
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#DECL ((C E) <PRIMTYPE VECTOR> (TICK) FIX ;(FLG) ;<OR FALSE ATOM>)
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<COND (,CLOCK-WAIT <SETG CLOCK-WAIT <>> <RFALSE>)>
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<SETG PRESENT-TIME <+ ,PRESENT-TIME 1>>
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<COND (<G? ,PRESENT-TIME 1199>
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<TIMES-UP>)>
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<COND (<G? <SETG MOVES <+ ,MOVES 1>> 59>
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<SETG MOVES 0>
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<COND (<G? <SETG SCORE <+ ,SCORE 1>> 23>
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<SETG SCORE 0>)>)>
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<SET C <REST ,C-TABLE <COND (,P-WON ,C-INTS) (T ,C-DEMONS)>>>
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<SET E <REST ,C-TABLE ,C-TABLELEN>>
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<REPEAT ()
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<COND (<==? .C .E> <RETURN .FLG>)
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(<NOT <0? <GET .C ,C-ENABLED?>>>
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<SET TICK <GET .C ,C-TICK>>
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<COND (<0? .TICK>)
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(T
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<PUT .C ,C-TICK <- .TICK 1>>
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<COND (<AND <NOT <G? .TICK 1>>
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<SET VAL <APPLY <GET .C ,C-RTN>>>>
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<COND (<OR <NOT .FLG>
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<==? .VAL ,M-FATAL>>
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<SET FLG .VAL>)>)>)>)>
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<SET C <REST .C ,C-INTLEN>>>>
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File diff suppressed because it is too large
Load Diff
File diff suppressed because it is too large
Load Diff
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@ -0,0 +1,110 @@
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SS:<WITNESS>
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PGS Write Creator Writer
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M2.TRANSCRIPT.1 9 2-Aug-85 13:55:21 Swg Swg
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MAIN.ZIL.71 4 25-Jul-85 11:47:55 Swg Swg
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VERBS.ZIL.238 28 11-Jul-85 10:02:41 Swg Swg
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SYNTAX.ZIL.123 9 11-Jul-85 10:02:38 Swg Swg
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PARSER.ZIL.115 16 11-Jul-85 10:02:36 Swg Swg
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WITNESS.CHART.1 1 11-Jul-85 09:56:28 Swg Swg
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.SERIAL.1 1 11-Jul-85 09:56:28 Swg Swg
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WITNESSDAT.ZAP.2 81 11-Jul-85 09:52:24 Swg Swg
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THINGS.ZIL.222 13 11-Jul-85 09:51:52 Swg Swg
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.ZAP.3 9 11-Jul-85 09:51:51 Swg Swg
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PARSER.ZIL.114 16 11-Jul-85 09:42:34 Swg Swg
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THINGS.ZAP.2 9 11-Jul-85 09:33:34 Swg Swg
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VERBS.ZIL.237 28 1-Jul-85 12:08:12 Swg Swg
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||||
MAIN.ZIL.70 4 30-Apr-85 17:41:47 Pdl Pdl
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WITNESS.ZIL.21 1 8-Mar-85 12:34:29 Swg Swg
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PLACES.ZIL.323 36 4-Mar-85 10:18:47 Swg Swg
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WITNESS.VOCAB.2 2 11-Dec-84 18:00:50 Swg Swg
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.1 2 11-Dec-84 17:54:43 Swg Swg
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PLACES.ZAP.2 17 24-Oct-84 11:18:21 Swg Swg
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WITNESS.SAVE.23 338 24-Oct-84 10:35:45 Swg Swg
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.STR.23 44 24-Oct-84 10:31:45 Swg Swg
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EVENTS.ZBIN.1 23 24-Oct-84 10:26:53 Swg Swg
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VERBS.ZBIN.1 24 24-Oct-84 10:26:21 Swg Swg
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PARSER.ZBIN.1 9 24-Oct-84 10:26:10 Swg Swg
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MAIN.ZBIN.1 3 24-Oct-84 10:26:07 Swg Swg
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CLOCK.ZBIN.1 1 24-Oct-84 10:26:06 Swg Swg
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THINGS.ZBIN.1 8 24-Oct-84 10:25:57 Swg Swg
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PEOPLE.ZBIN.1 19 24-Oct-84 10:25:40 Swg Swg
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PLACES.ZBIN.1 16 24-Oct-84 10:25:18 Swg Swg
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SYNTAX.ZBIN.1 0 24-Oct-84 10:25:17 Swg Swg
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MACROS.ZBIN.1 1 24-Oct-84 10:25:17 Swg Swg
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ZIP.LOG.11 9 25-Sep-84 15:55:57 Operator Operator
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.CTL.13 1 25-Sep-84 15:55:50 Swg Swg
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WITNESS.ZIP.23 51 25-Sep-84 15:30:07 Swg Swg
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||||
.ERRORS.23 1 25-Sep-84 15:30:07 Swg Swg
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PARSER.ZAP.2 13 25-Sep-84 15:29:13 Swg Swg
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||||
WITNESS.RECORD.23 9 25-Sep-84 00:25:51 Swg Swg
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||||
WITNESSSTR.ZAP.1 6 25-Sep-84 00:25:51 Swg Swg
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||||
WITNESS.ZEN.1 1 25-Sep-84 00:25:18 Swg Swg
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||||
.ZAP.1 1 25-Sep-84 00:25:18 Swg Swg
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||||
EVENTS.ZEN.1 3 25-Sep-84 00:24:47 Swg Swg
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||||
.ZAP.1 27 25-Sep-84 00:24:47 Swg Swg
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||||
VERBS.ZEN.1 3 25-Sep-84 00:22:19 Swg Swg
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||||
.ZAP.1 26 25-Sep-84 00:22:18 Swg Swg
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PARSER.ZEN.1 2 25-Sep-84 00:16:31 Swg Swg
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.ZAP.1 13 25-Sep-84 00:16:30 Swg Swg
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MAIN.ZEN.1 1 25-Sep-84 00:13:31 Swg Swg
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.ZAP.1 4 25-Sep-84 00:13:31 Swg Swg
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CLOCK.ZEN.1 1 25-Sep-84 00:12:45 Swg Swg
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.ZAP.1 1 25-Sep-84 00:12:45 Swg Swg
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||||
THINGS.ZEN.1 4 25-Sep-84 00:12:29 Swg Swg
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.ZAP.1 9 25-Sep-84 00:12:29 Swg Swg
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PEOPLE.ZEN.1 3 25-Sep-84 00:09:52 Swg Swg
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.ZAP.1 24 25-Sep-84 00:09:51 Swg Swg
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||||
PLACES.ZEN.1 25 25-Sep-84 00:04:33 Swg Swg
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||||
.ZAP.1 17 25-Sep-84 00:04:32 Swg Swg
|
||||
SYNTAX.ZEN.1 7 25-Sep-84 00:01:19 Swg Swg
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||||
.ZAP.1 1 25-Sep-84 00:01:19 Swg Swg
|
||||
MACROS.ZEN.1 2 25-Sep-84 00:00:44 Swg Swg
|
||||
.ZAP.1 1 25-Sep-84 00:00:40 Swg Swg
|
||||
ZAPCH.CTL.23 1 24-Sep-84 13:00:21 Swg Swg
|
||||
WITNESS.ZIL.20 1 24-Sep-84 12:57:30 Swg Swg
|
||||
MACROS.ZIL.19 2 24-Sep-84 12:57:29 Swg Swg
|
||||
SYNTAX.ZIL.122 9 24-Sep-84 12:57:29 Swg Swg
|
||||
PEOPLE.ZIL.283 26 24-Sep-84 12:57:27 Swg Swg
|
||||
CLOCK.ZIL.8 1 24-Sep-84 12:57:26 Swg Swg
|
||||
MAIN.ZIL.69 4 24-Sep-84 12:57:25 Swg Swg
|
||||
WITNESS.XZAP.3 1 26-Jul-84 11:04:08 Swg Swg
|
||||
VERBS.ZIL.231 28 29-Jun-84 09:16:35 Swg Swg
|
||||
EVENTS.ZIL.261 30 29-Jun-84 09:09:05 Swg Swg
|
||||
PARSER.ZIL.108 16 26-Jun-84 15:58:21 Swg Swg
|
||||
MAIN.ZIL.68 4 25-Jun-84 09:48:54 Swg Swg
|
||||
PEOPLE.ZIL.281 26 15-Jun-84 14:18:28 Swg Swg
|
||||
WITNESS.ZEBRA.1 1 15-Jun-84 09:51:01 Swg Swg
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||||
.ZBIN.1 1 15-Jun-84 09:49:53 Swg Swg
|
||||
PLACES.ZIL.317 36 14-Jun-84 17:48:58 Swg Swg
|
||||
EVENTS.ZIL.260 30 14-Jun-84 17:48:55 Swg Swg
|
||||
MACROS.ZIL.18 2 14-Jun-84 17:14:23 Swg Swg
|
||||
SYNTAX.ZIL.121 9 14-Jun-84 17:14:23 Swg Swg
|
||||
THINGS.ZIL.216 13 14-Jun-84 17:14:21 Swg Swg
|
||||
MAIN.ZIL.67 4 14-Jun-84 17:14:20 Swg Swg
|
||||
WITNESS.ZIL.19 1 14-Jun-84 17:14:17 Swg Swg
|
||||
R21.DIRECTORY.1 0 14-Jun-84 11:00:20 Anderson Anderson
|
||||
R20.DIRECTORY.1 0 14-Jun-84 11:00:19 Anderson Anderson
|
||||
R18.DIRECTORY.1 0 14-Jun-84 11:00:19 Anderson Anderson
|
||||
R13.DIRECTORY.1 0 14-Jun-84 11:00:18 Anderson Anderson
|
||||
SAMPLE.ZIL.3 4 14-May-84 15:43:18 Swg Swg
|
||||
.MSS.2 5 14-May-84 11:44:39 Swg Swg
|
||||
GERMAN.TXT.1 2 3-Apr-84 14:22:15 Swg Swg
|
||||
BUGS.MSS.12 3 19-Dec-83 15:14:44 Swg Swg
|
||||
HINTSC.MSS.4 1 16-Sep-83 14:24:02 Swg Swg
|
||||
LETTER.MSS.4 1 10-Aug-83 11:28:21 Swg Swg
|
||||
HINTRV.MSS.35 10 15-Jul-83 13:19:08 Swg Swg
|
||||
ZIP.MSS.5 5 8-Jul-83 14:02:53 Swg Swg
|
||||
WITNES.MAP.2 1 24-Jun-83 11:17:58 Swg Swg
|
||||
REVERSE.TECO.1 1 6-Jun-83 15:08:28 Swg Swg
|
||||
CLOCK.ZIL.7 1 2-May-83 17:15:54 Swg Swg
|
||||
WITNESSFREQ.XZAP.1 2 17-Mar-83 16:04:41 Swg Swg
|
||||
PACKAGE.MSS.5 2 17-Mar-83 15:38:55 Swg Swg
|
||||
ZIP.MSS.4 2 10-Mar-83 13:58:40 Swg Swg
|
||||
.LOGG.1 14 10-Mar-83 11:18:19 Swg Swg
|
||||
WITNES.RNO.1 7 17-Feb-83 13:00:31 Swg Swg
|
||||
.MAP.1 1 17-Feb-83 12:59:08 Swg Swg
|
||||
.LAY.1 1 17-Feb-83 12:56:56 Swg Swg
|
||||
|
||||
Total of 1347 pages in 104 files
|
||||
|
|
@ -0,0 +1,60 @@
|
|||
Home Computers
|
||||
|
||||
Adventures In Computerland
|
||||
|
||||
Computer text games are a big hit in the USA (caption)
|
||||
|
||||
Latest hit: text instead of graphics (caption)
|
||||
|
||||
More and more home computer owners in the USA are buying games
|
||||
that have only words instead of graphics on the screen. The new
|
||||
"Text Adventures in Computerland" are holding players in check for weeks.
|
||||
|
||||
"You are standing on the east side of a house. To the west there is
|
||||
a forest. What should I do?" Your eyes, sharpened on video games,
|
||||
search the screen in vain. There's no sign of a house or a forest,
|
||||
just the printed word. Is this some kind of joke, or...?
|
||||
|
||||
The 100,000 fans of text games wouldn't say so. "Adventure," where you
|
||||
gather treasures in an underground labyrinth, guard them from dragons
|
||||
and thieves, and bring them safely to the surface, is already a classic
|
||||
among these games where the computer functions as the eyes, ears, mouth,
|
||||
arms and legs of the player. Simple commands like "Go west" or "Take the
|
||||
lamp," which the player types in response to the ever-present "what shall I
|
||||
do now?", lead to an astounding discovery: suddenly you are standing
|
||||
in a room full of garbage, in which only an empty birdcage seems to be worth
|
||||
closer inspection.
|
||||
|
||||
The secret behind text games are the rooms, in which you live your fantasies.
|
||||
If the player wants to reach a certain goal, he can (and must) get involved
|
||||
in all kinds of things. It is up to him to decide which of ten possible
|
||||
directions to take, what to make of the rooms he has stumbled upon,
|
||||
and what to do with the objects that just happen to be lying about
|
||||
everywhere. He must experiment with these objects, and then avoid danger,
|
||||
or steer into the shoals, or fight with a sword, or even get shot by the
|
||||
butler.
|
||||
|
||||
The most successful games of this type are put out in the USA by the firm
|
||||
Infocom. These young programmers have succeeded in establishing a real
|
||||
dialogue in the best conversational English between the computer and
|
||||
the player. A vocabulary of over 100 words enables the computer to respond
|
||||
to full sentences. Infocom games, which have taken their place next to
|
||||
the "Adventure" series, have distinguished themselves in the literary quality
|
||||
of their descriptions of action and locations. The game becomes a real
|
||||
prose adventure, in which the player himself is the hero.
|
||||
|
||||
There is no shortage of games: there's "Zork" the Great Underground
|
||||
Empire, where you gather treasures; or "Enchanter," where you free
|
||||
the land from the evil wizard Krill with the help of sorcery;
|
||||
"Witness" is a traditional thirties Hollywood mystery, which must be solved
|
||||
in a limited period of time; and "Infidel" leads an abandoned, over-inquisitive
|
||||
researcher into a bizarre pyramid.
|
||||
|
||||
Once you are infused with text games, which keep you busy all day long, you'll
|
||||
readily give up those "great" graphics games. And who can criticize this kind
|
||||
of entertainment--these games make learning English a pleasure.
|
||||
|
||||
|
||||
|
||||
|
||||
|
||||
|
|
@ -0,0 +1,840 @@
|
|||
@style(spacing 1)
|
||||
@title(THE WITNESS: HINT BOOKLET)
|
||||
@pageheading(DRAFT)
|
||||
|
||||
@majorheading(THE WITNESS: HINT BOOKLET)
|
||||
@center(DRAFT - COMMENTS WELCOME!)
|
||||
@newpage
|
||||
|
||||
* What crime am I supposed to investigate?
|
||||
@begin(itemize)
|
||||
|
||||
.srehto yb deldnah gnieb ydaerla s'taht ;edicius s'redniL @.srM ton s'tI
|
||||
|
||||
.esac reh no elif gniogno eht morf repapswen dna eton edicius eht tog uoy ,tcaf nI
|
||||
|
||||
.03:8 tuoba erofeb lleb rood eht gnir ro rood tnorf eht no kconk dluohs uoY
|
||||
|
||||
.yrots eht gnirud emirc a ssentiw t'now uoy ,taht od t'nod uoy fI
|
||||
@end(itemize)
|
||||
* What if I don't go in the house?
|
||||
@begin(itemize)
|
||||
|
||||
.niaga dna niaga lleb rood eht gnignir neht dna 00:9 litnu edistuo gnitiaw yrt dluoc uoY
|
||||
|
||||
.00:9 tuoba rood eciffo eht ot og dna evirra enoemos ees osla nac uoY
|
||||
|
||||
?nosrep taht si ohW
|
||||
|
||||
.seman suoirav gnisu ,mih ot gniklat yrt dluoc uoY
|
||||
|
||||
."regnarts" ro "rotisiv" mih llac neve nac uoY
|
||||
|
||||
?ereh eh si yhw tub ,selitS s'ti taht revocsid ll'uoY
|
||||
|
||||
.llac enohp eht tuoba mih gniksa yrT
|
||||
@end(itemize)
|
||||
* What about the doors?
|
||||
@begin(itemize)
|
||||
|
||||
.evirra uoy nehw dekcol era esuoh eht otni gnidael srood eht llA
|
||||
|
||||
.edisni eht morf rood yna kcolnu nac uoy ,daed si redniL ecnO
|
||||
|
||||
.kcol eht gnitoohs yb ni kaens ot deirt uoy sselnU
|
||||
|
||||
.gnohP morf syek rood eht lla teg osla nac uoy ,daed si redniL ecnO
|
||||
@end(itemize)
|
||||
* What about the windows?
|
||||
@begin(itemize)
|
||||
|
||||
.laiceps si wodniw eno ylnO
|
||||
|
||||
.tohs si nug eht nehw nekorb steg tI
|
||||
|
||||
.tohsnug eht retfa dna erofeb ti gninimaxe yrT
|
||||
|
||||
.eriw neerg fo eceip a si ereht ,gniriw lausu eht sediseB
|
||||
|
||||
.eriw neerg eht tuoba sretcarahc rehto gniksa yrT
|
||||
|
||||
.ti tuoba seil ro noitseuq eht sedave rehtie dlohesuoh eht ni enoyrevE
|
||||
|
||||
.tohsnug eht retfa yttup fo knuhc eht ezylana osla nac uoY
|
||||
|
||||
.evisolpxe na sniatnoc yttup eht taht wohs lliw sisylanA
|
||||
|
||||
.evisolpxe dellortnoc-etomer a yb nekorb si wodniw eht taht uoy llet dluohs sihT
|
||||
@end(itemize)
|
||||
* What about the buttons?
|
||||
@begin(itemize)
|
||||
|
||||
.reltub eht nommus ot nottub a sah esuoh eht ni moor yrevE
|
||||
|
||||
.snottub eseht gnihsup yb thgin lla ysub gnohP peek nac uoY
|
||||
|
||||
?neddih neht dna nottub a dehsup uoy evaH
|
||||
|
||||
!noisufnoc otni gnohP roop worht lliw tahT
|
||||
|
||||
.ecalp gnidih doog a htiw moor eno ylno s'ereht tuB
|
||||
|
||||
.tohsnug eht erofeb eciffo eht ni nottub eht gnihsup yrT
|
||||
|
||||
.nalp sih ni tnatropmi s'ti esuaceb ,uoy tel t'now redniL
|
||||
|
||||
.eivom eht morf emoh steg acinoM erofeb tub tohsnug eht retfa ti gnihsup yrT
|
||||
|
||||
).gnidne tseb eht teg ot siht od ot evah uoY( .kcolc eht morf kcilc a raeh ll'uoY
|
||||
|
||||
.pohskrow eht ot neeb sah acinoM retfa ti gnihsup yrT
|
||||
|
||||
.lausu sa ,emoc ot reltub eht slangis ti ,emit taht tA
|
||||
@end(itemize)
|
||||
* What about the clocks?
|
||||
@begin(itemize)
|
||||
|
||||
.eciffo eht dna nehctik eht ni kcolc a si erehT
|
||||
|
||||
?smoordeb eht ni skcolc mrala on era ereht taht egnarts ti t'nsI
|
||||
|
||||
.tnatropmi ton s'ti tub ,ebyaM
|
||||
|
||||
.eciffo eht ni kcolc rehtafdnarg eht si kcolc gnitseretni ylno ehT
|
||||
|
||||
.tohsnug eht retfa dna erofeb ti gninimaxe yrT
|
||||
|
||||
.elohyek eht dnuora si redwop krad taht tahw tuo gnirugif yrT
|
||||
|
||||
.redwop eht gnizylana yrT
|
||||
|
||||
.redwop nug s'tI
|
||||
|
||||
.wodniw eht hguorht naht rehtar elohyek eht hguorht ,kcolc eht edisni morf semoc yllautca tellub lataf eht taht uoy llet dluohs sihT
|
||||
|
||||
).redwop eht ezylana ot si ti evorp ot yaw enO .gnidne tseb eht ot teg ot redro ni siht evorp ot evah uoY(
|
||||
@end(itemize)
|
||||
* What about the can of worms?
|
||||
@begin(itemize)
|
||||
|
||||
.nehctik eht ni s'tI
|
||||
|
||||
.ti htiw gnihtemos seod gnohP
|
||||
|
||||
?ti htiw gnihtyna od ot deirt uoy evaH
|
||||
|
||||
?ti dnif ot gniyrt tuoba woH
|
||||
|
||||
?si ti tahw margorp eht gniksa rO
|
||||
@end(itemize)
|
||||
* What about the mystery book?
|
||||
@begin(itemize)
|
||||
|
||||
.moor s'reltub eht ni s'tI
|
||||
|
||||
?gnitseretni ti saW ?ti daer uoy evaH
|
||||
|
||||
?acinoM ot ti nwohs uoy evaH
|
||||
|
||||
?yffuD ot ti nwohs uoy evaH
|
||||
|
||||
?kramkoob eht tuoba tahW
|
||||
|
||||
.eno ton ,snugdnah lacitnedi owt rof tpiecer a si kramkoob ehT
|
||||
|
||||
.gnohP ot tpiecer eht gniwohs yrT
|
||||
|
||||
.snug eht thguob acinoM taht dna eslaf si tpiecer eht no eman eht taht uoy llet ll'eH
|
||||
|
||||
.nug eno ylno s'ereht taht kniht ot uoy tnaw redniL dna acinoM
|
||||
@end(itemize)
|
||||
* What about the broom?
|
||||
@begin(itemize)
|
||||
|
||||
?gnihtyna naelc ot ti esu uoy naC
|
||||
|
||||
.t'nac uoy ,oN
|
||||
|
||||
?ti esu ot tcepxe uoy dluow esle ohW
|
||||
|
||||
.ti tuoba gnohP gniksa yrT
|
||||
|
||||
.moorb eht ot si ereht lla s'tahT
|
||||
@end(itemize)
|
||||
* What about the matchbook?
|
||||
@begin(itemize)
|
||||
|
||||
?nretnaL ssarB eht enohp ot deirt uoy evaH
|
||||
|
||||
?koobhctam eht edisni kool uoy diD
|
||||
|
||||
?edisni eht no nettirw si rebmun enohp esohW
|
||||
|
||||
.rebmun taht gnillac yrT
|
||||
|
||||
."koobhctam eht pu kool" ro "koobhctam eht enohp" ot yrt nac uoy ,koobhctam eht tsol ev'uoy fI
|
||||
|
||||
.sretcarahc suoirav ot ti gniwohs yrT
|
||||
|
||||
.gnitirwdnah eht ezylana ot yrt osla nac uoY
|
||||
|
||||
.tluser yna teg ot gnitirwdnah s'nosrep a fo elpmas rehtona deen uoy tuB
|
||||
@end(itemize)
|
||||
* What about the handcuffs?
|
||||
@begin(itemize)
|
||||
|
||||
.elpoep rehto no meht tup ot yrt nac uoY
|
||||
|
||||
.hguoht ,nosaer doog a evah retteb d'uoY
|
||||
|
||||
.deeccus ton yam uoy ,nosaer doog a htiw nevE
|
||||
|
||||
.tuo derit s'enoyreve nehw ,thgindim tuoba retfa ylno deeccus nac uoy ,tcaf nI
|
||||
|
||||
.bmuccus ot hguone derit si nosrep eno ylno ,neht neve dnA
|
||||
|
||||
.acinoM si nosrep tahT
|
||||
@end(itemize)
|
||||
* What about the threatening note?
|
||||
@begin(itemize)
|
||||
|
||||
.sretcarahc suoirav ot ti gniwohs yrT
|
||||
|
||||
.gnitirwdnah eht ezylana ot yrt osla nac uoY
|
||||
|
||||
.tluser yna teg ot gnitirwdnah s'nosrep a fo elpmas rehtona deen uoy tuB
|
||||
@end(itemize)
|
||||
* What about the radio?
|
||||
@begin(itemize)
|
||||
|
||||
.moor gnivil eht ni s'tI
|
||||
|
||||
.no ti gninrut yrT
|
||||
|
||||
!smargorp laer emos raeh ll'uoY
|
||||
|
||||
.thgin lla ti ot netsil dna tis ylbaborp dluoc uoY .oidar enif a s'tI
|
||||
|
||||
.esac eht tuoba gnihtyna nrael t'ndluow uoy tuB
|
||||
@end(itemize)
|
||||
* What about the records?
|
||||
@begin(itemize)
|
||||
|
||||
.moor s'acinoM ni er'yehT
|
||||
|
||||
.eno gniyalp yrT
|
||||
|
||||
!sgnos ralupop citnehtua emos raeh ll'uoY
|
||||
|
||||
.emit gnol a rof sdrocer ot netsil dna tis ylbaborp dluoc uoY
|
||||
|
||||
.esac eht tuoba gnihtyna nrael t'ndluow uoy tuB
|
||||
@end(itemize)
|
||||
* What about the newspaper?
|
||||
@begin(itemize)
|
||||
|
||||
).egakcap emag ruoy ni eno eht s'tahT( .htaed s'redniL @.srM no elif ecilop eht ni eno s'erehT
|
||||
|
||||
.esac siht ot etaler seirots owt ylnO
|
||||
|
||||
.enildaeh eht ni "redniL" evah meht fo htoB
|
||||
|
||||
.ksed s'redniL no repapswen rehtona osla s'erehT
|
||||
|
||||
.ti gnidaer yrT
|
||||
|
||||
!senildaeh laer emos daer ll'uoY
|
||||
|
||||
.esac eht tuoba gnihtyna nrael t'now uoy tuB
|
||||
@end(itemize)
|
||||
* What about the tools in the workshop?
|
||||
@begin(itemize)
|
||||
|
||||
?was dna remmah a esu uoy dluoc woH
|
||||
|
||||
.rof yek eht dnif t'nac uoy taht gnihtemos nepo dluoc uoy ebyaM
|
||||
|
||||
.esoon s'namgnah a ekam ot epor eht esu dluoc uoy rO
|
||||
|
||||
.enola sloot eht evael llew sa thgim uoy ,niaga nehT
|
||||
@end(itemize)
|
||||
* What about the car key?
|
||||
@begin(itemize)
|
||||
|
||||
?esohw si rac hcihw llet uoy naC
|
||||
|
||||
.mih morf yek a teg dluoc uoy ebyam ,rac sih esu ot redniL rof tiaw uoy fI
|
||||
|
||||
.yrots siht ni rac yna esu t'nseod redniL tuB
|
||||
|
||||
.seod acinoM tuB
|
||||
|
||||
?uoy morf yek rac eht edih ot gniyrt ehs sI
|
||||
|
||||
.t'nsi ehs ,oN
|
||||
|
||||
.yek rac yna dnif t'nac uoY
|
||||
@end(itemize)
|
||||
* What about the cat?
|
||||
@begin(itemize)
|
||||
|
||||
.ti tuoba redniL gniksa yrT
|
||||
|
||||
.ti tuoba acinoM gniksa yrT
|
||||
|
||||
.ti gnittep yrT
|
||||
|
||||
.ti gnikaw yrT
|
||||
|
||||
.ti gnikcik yrT
|
||||
|
||||
?tohsnug eht retfa og ti seod erehW
|
||||
|
||||
.lamina elbisnes yna ekil ,sraeppasid tI
|
||||
@end(itemize)
|
||||
* What about the foot prints in the back yard?
|
||||
@begin(itemize)
|
||||
|
||||
.seohs s'elpoep htiw erapmoc nac uoy taht tsac a teg ll'uoy ",stnirp toof eht ezylana" uoy fI
|
||||
|
||||
.meht ezylana t'nac uoy ,stnirp toof yna nees t'nevah uoy fi ,esruoc fO
|
||||
|
||||
.seohs s'elpoep gninimaxe yrT
|
||||
|
||||
.yddum era seohs s'selitS
|
||||
|
||||
.stnirp toof eht hctam seohs siH
|
||||
|
||||
.tohsnug eht fo emit eht ta dray kcab eht ni si yllaer selitS taht swohs sihT
|
||||
@end(itemize)
|
||||
* What about the foot prints in the side yard?
|
||||
@begin(itemize)
|
||||
|
||||
.seohs s'elpoep htiw erapmoc nac uoy taht tsac a teg ll'uoy ",stnirp toof eht ezylana" uoy fI
|
||||
|
||||
.meht ezylana t'nac uoy ,stnirp toof yna nees t'nevah uoy fi ,esruoc fO
|
||||
|
||||
.dray yddum eht ni ssem a ekam ot ton luferac eb ot evah ll'uoy dnA
|
||||
|
||||
.stnirp toof nwo ruoy htiw meht esufnoc ll'uoy ,mrots niar eht retfa ereht er'uoy emit tsrif eht stnirp eht fo tsac a ekam t'nod uoy fI
|
||||
|
||||
.stoob yddum eht dnif ot yrT
|
||||
|
||||
.yrtne eht ni mroftalp eohs eht no er'yeht ,tohsnug eht retfA
|
||||
|
||||
.stnirp toof eht hctam stoob yddum ehT
|
||||
|
||||
.stoob yddum eht tuoba gnohP gniksa yrT
|
||||
|
||||
.esion a draeh eh taht mialc ll'eh tub ,tohsnug eht erofeb tsuj dray edis eht ni saw eh taht timda ll'eH
|
||||
|
||||
.evirra ot selitS rof hctaw dna nugdnah yddum eht "tnalp" ot ereht seog eh ,yllautcA
|
||||
@end(itemize)
|
||||
* What about the foot prints in the front yard?
|
||||
@begin(itemize)
|
||||
|
||||
.seohs s'elpoep htiw erapmoc nac uoy taht tsac a teg ll'uoy ",stnirp toof eht ezylana" uoy fI
|
||||
|
||||
.meht ezylana t'nac uoy ,stnirp toof yna nees t'nevah uoy fi ,esruoc fO
|
||||
|
||||
?selbategev gnilaets er'uoy nehw meht ekam uoy oD
|
||||
|
||||
.t'nod uoy ,oN
|
||||
|
||||
?nedrag eht ni smrow gnittup elihw meht ekam gnohP seoD
|
||||
|
||||
.t'nseod eh ,oN
|
||||
|
||||
?nwo sih no gnitagitsevni elihw meht ekam yffuD seoD
|
||||
|
||||
.taht rof luferac oot hcum s'eH .t'nseod eh ,oN
|
||||
|
||||
.dray tnorf eht ni stnirp toof yna t'nera erehT
|
||||
@end(itemize)
|
||||
* What if my cast doesn't match anybody's shoes?
|
||||
@begin(itemize)
|
||||
|
||||
.ytreporp eht tfel neht dna dray eht hguorht tnew enoemos ebyaM
|
||||
|
||||
.seohs degnahc tsuj yeht ebyam rO
|
||||
|
||||
?esuoh eht hguorht dum gnikcart tuohtiw seohs egnahc uoy dluoc erehW
|
||||
|
||||
.yrtne tnorf eht ni seohs gnirots rof mroftalp a s'erehT
|
||||
|
||||
.ereht stoob yddum emos dnif nac uoy ,emit niatrec a retfA
|
||||
|
||||
.stoob yddum eht tuoba gnohP gniksa yrT
|
||||
@end(itemize)
|
||||
* Who rings the door bell?
|
||||
@begin(itemize)
|
||||
|
||||
.noitseuq siht ksa t'ndluow uoy neht tub ,uoy eb dluoc ti ,lleW
|
||||
|
||||
.flesruoy rof ees dna rood tnorf eht ot og nac uoy ,tohsnug eht retfA
|
||||
|
||||
.yffuD s'ti taht ees ll'uoY
|
||||
|
||||
?tohsnug eht erofeb tsuj tuoba tahW
|
||||
|
||||
.ti tuoba gnohP ksa dluoc uoY
|
||||
|
||||
.namselas rood-ot-rood a saw ti smialc gnohP
|
||||
|
||||
.langis a s'ti ,yllautcA
|
||||
|
||||
.gnimoc si selitS taht redniL llet ot ti sgnir gnohP
|
||||
@end(itemize)
|
||||
* Who calls on the phone?
|
||||
@begin(itemize)
|
||||
|
||||
.redro tuo-ekat a rof gniggeb ,nretnaL ssarB eht ta sklof eht t'nsi tI
|
||||
|
||||
.thgin yadirF a rof neve ,ysub oot hcum s'eH .renoroc eht t'nsi tI
|
||||
|
||||
.ecilop eht deen uoy fi gniksa ,rotarepo eht t'nsi tI
|
||||
|
||||
.yrots eht gnirud emoh reven s'eH .selitS t'nsi tI
|
||||
|
||||
.evoba eht fo lla llac ot yrt nac uoy ,tcaf nI
|
||||
|
||||
.yrots eht gnirud sllac eno on tuB
|
||||
|
||||
."enildaeD" ni sneppah tahT
|
||||
@end(itemize)
|
||||
* Does Monica really go to the movie?
|
||||
@begin(itemize)
|
||||
|
||||
.eivom eht tuoba reh ksa nac uoY
|
||||
|
||||
.tsael ta ,saw rats eht ohw swonk ehS
|
||||
|
||||
.emoh semoc ehs retfa egarag eht ni dnuora ekop nac uoY
|
||||
|
||||
.kcolb eht dnuora og tsuj t'nseod ehs os ,mraw sleef rac reh fo dooh ehT
|
||||
|
||||
.egarag eht ni buts tekcit reh spord ehs ,oslA
|
||||
|
||||
.seog yllaer ehs taht llet nac uoy ,ti ezylana uoy fI
|
||||
@end(itemize)
|
||||
* Why does Monica go to the movie?
|
||||
@begin(itemize)
|
||||
|
||||
.etad lausac a tsuj t'nsi tI
|
||||
|
||||
.yawyna seod ehs tub ,og ot reh tnaw t'nseod redniL
|
||||
|
||||
.snoitseuq htiw reh yaled ot yrt uoy fi neve seog ehS
|
||||
|
||||
.gnitoohs eht fo emit eht rof ibila na evah ot stnaw ehS
|
||||
@end(itemize)
|
||||
* What does Monica do in the workshop?
|
||||
@begin(itemize)
|
||||
|
||||
.stcejorp nwo reh no ereht skrow ehs ,gnikaeps yllareneG
|
||||
|
||||
.eivom eht morf emoh steg ehs nehw ereht ni seog ehs ,yllacificepS
|
||||
|
||||
.xob noitcnuj eht ni seriw eht htiw gnihtemos seod ehS
|
||||
|
||||
.rehtegot snioj esuoh eht ni gniriw motsuc eht lla erehw si xob noitcnuj ehT
|
||||
|
||||
.kcolc rehtafdnarg dna wodniw eciffo eht htiw nottub eciffo eht gnitcennoc seriw eht eltnamsid ot sdeen ehS
|
||||
@end(itemize)
|
||||
* What does Monica do in the kitchen?
|
||||
@begin(itemize)
|
||||
|
||||
.taht seod gnohP .kooc t'nseod ehS
|
||||
|
||||
.moor gnivil eht ni s'tahT .yksihw fo tleb a tuo ruop t'nseod ehS
|
||||
|
||||
.gnitoohs eht retfa ti ekat t'ndluoc hcamots reH .kcans thgin-etal a xif t'nseod ehS
|
||||
|
||||
.evael ot evah uoy erofeb tsafkaerb xif neve t'nseod ehS
|
||||
|
||||
.lla ta nehctik eht ot og t'nseod ehS
|
||||
@end(itemize)
|
||||
* What does Monica do in the office?
|
||||
@begin(itemize)
|
||||
|
||||
.redniL ot eyb-doog yas ot eivom eht erofeb ereht seog ehS
|
||||
|
||||
.redniL ot olleh yas ot eivom eht retfa ereht seog ehS
|
||||
|
||||
.feirg dna tsugsid htiw emocrevo eb ot smees ehs ,ydob sih sees ehs nehW
|
||||
|
||||
.thgin ta etal ereht seog osla ehS
|
||||
|
||||
.eciffo eht ni uoy sees ehs fi gnihtyna od t'nseod ehS
|
||||
|
||||
.seod ehs tahw ees nac uoy ,hcrop eht no edistuo ro eciffo eht ni edih uoy fI
|
||||
|
||||
.kcolc eht morf ecnedive evomer ot sdeen ehS
|
||||
|
||||
.ecnedive eht dnif ot reh hcraes dna reh ffucdnah nac uoy ,sdrawretfA
|
||||
@end(itemize)
|
||||
* What does Phong do in the kitchen?
|
||||
@begin(itemize)
|
||||
|
||||
.semit tnereffid ta sgniht tnereffid seod eH
|
||||
|
||||
.ruoh eht no ytivitca wen a nigeb ot smees eh ,yaw ylredro sih nI
|
||||
|
||||
.semit tnereffid ta nehctik eht ni gniog yrT
|
||||
|
||||
.ynapmoc eht yojne ll'eh ebyaM
|
||||
|
||||
.ton ebyam rO
|
||||
@end(itemize)
|
||||
* What does Phong do in his bedroom?
|
||||
@begin(itemize)
|
||||
|
||||
.koob yretsym eht sdaer eh semitemoS
|
||||
|
||||
.erutuf sih no setatidem tsuj eh semit rehtO
|
||||
|
||||
?yrots siht ni speels eno on woh egnarts ti t'nsI
|
||||
|
||||
.peels gib eht speels ohw ,redniL tpecxE
|
||||
|
||||
.shtaed tnecer eht lla gniredisnoc ,egnarts t'nsi ti ebyaM
|
||||
@end(itemize)
|
||||
* What does Phong do outside?
|
||||
@begin(itemize)
|
||||
|
||||
.dray tnorf eht ni nedrag eht sdnet eh semitemoS
|
||||
|
||||
.sesion egnarts no kcehc ot edistuo seog eh semitemoS
|
||||
|
||||
.og ot mih sredro redniL esuaceb edistuo seog eh semitemoS
|
||||
|
||||
.)evoba ees( dray edis yddum eht hguorht spmart eh thgin siht no ,ecnatsni roF
|
||||
@end(itemize)
|
||||
* Where is the key?
|
||||
@begin(itemize)
|
||||
|
||||
.esuoh eht ni srood eht lla rof syek eht sah nosrep enO
|
||||
|
||||
.gnohP s'tahT
|
||||
|
||||
.si yek kcolc eht erehw erus rof swonk nosrep eno ylnO
|
||||
|
||||
.acinoM s'tahT
|
||||
|
||||
.ti sesu ehs retfa litnu taht revocsid t'nac uoy tub ,emit eht lla ti sah ehS
|
||||
|
||||
.ti sesu ehs retfa reh gnihcraes dna gniffucdnah yrT
|
||||
|
||||
).yek eht esu neht dna acinoM hcraes ot si ti evorp ot yaw enO .gnidne tseb eht ot teg ot redro ni ,morf semoc yllautca tellub lataf eht erehw evorp ot evah uoY(
|
||||
@end(itemize)
|
||||
* What can I do with the cars?
|
||||
@begin(itemize)
|
||||
|
||||
.meht evird t'nac uoY
|
||||
|
||||
.meht ni teg neve t'nac uoY
|
||||
|
||||
.hguoht ,meht ta kool nac uoY
|
||||
|
||||
.meht edisni kool neve nac uoY
|
||||
|
||||
.emoh semoc acinoM retfa mraw si GM eht taht leef nac uoy dnA
|
||||
@end(itemize)
|
||||
* How is "O.K." really spelled?
|
||||
@begin(itemize)
|
||||
|
||||
."yeko" ti delleps syawla reldnahC dnomyaR ,9391 ni dehsilbup ,"peelS giB ehT" nI
|
||||
|
||||
.ti yas "ssentiW ehT" ni sretcarahc nehw delleps s'ti woh s'taht oS
|
||||
|
||||
.stnemucod no "heko" desu nosliW wordooW tnediserP ,"egaugnaL naciremA ehT" s'nekcneM @.L @.H ot gnidroccA
|
||||
|
||||
."ssentiW ehT" ni yrots eht fo txetnoc eht ni delleps s'ti woh s'taht oS
|
||||
|
||||
.sretupmoc gnisu fo txetnoc eht ni ylno "ssentiW ehT" ni sraeppa gnilleps s'yadoT
|
||||
@end(itemize)
|
||||
* What is Linder's plan?
|
||||
@begin(itemize)
|
||||
|
||||
.thgis sih fo tuo uoy tel t'now eh ,esuoh eht retne uoy ecnO
|
||||
|
||||
.evael uoy tel t'now eh ,eciffo sih ot uoy sekat eh ecnO
|
||||
|
||||
.sevirra selitS nehw ,nwod gnittis ,eciffo sih ni uoy stnaw eH
|
||||
|
||||
.00:9 ta eciffo eht ot emoc ot mih dedausrep dna selitS denohp eH
|
||||
|
||||
.tohsnug eht ssentiw ot uoy stnaw eH
|
||||
|
||||
.redrum detpmetta rof selitS tserra ot uoy stnaw eH
|
||||
|
||||
.dellik eb ot dnetni t'nseod eH
|
||||
@end(itemize)
|
||||
* What is Monica's plan?
|
||||
@begin(itemize)
|
||||
|
||||
... tpecxe ,)evoba ees( nalp s'redniL htiw ylluf setarepooc ehS
|
||||
|
||||
.sevirra selitS erofeb esuoh eht evael ot stnaw ehS
|
||||
|
||||
).evitom s'redniL no noitseuq eht eeS( .troper lacidem eht tuoba uoy llet yam ehs ,selitS tcepsus t'nod uoy fI
|
||||
|
||||
.tohsnug eht ssentiw ot uoy tnaw t'nseod ehS
|
||||
|
||||
.taht wonk ot redniL tnaw t'nseod ehs tuB
|
||||
|
||||
(WARNING: Don't read further unless you think you know what it says!)
|
||||
|
||||
.t'nseod ehs dnA .mih ssim ot tellub eht stcepxe redniL
|
||||
@end(itemize)
|
||||
* What is Phong's plan?
|
||||
@begin(itemize)
|
||||
|
||||
.)evoba ees( nalp s'redniL htiw ylluf setarepooc eH
|
||||
|
||||
.)evoba ees( dray edis eht ni ytud sih sedulcni tahT
|
||||
|
||||
(WARNING: Don't read further unless you think you know what it says!)
|
||||
|
||||
.dellik si redniL nehw desirprus s'eH
|
||||
|
||||
.erutuf sih no etatidem ot thgin lla sah eh nehT
|
||||
|
||||
!sklof ,lla s'tahT
|
||||
@end(itemize)
|
||||
* What is Stiles's plan?
|
||||
@begin(itemize)
|
||||
|
||||
?ti t'nseod ,suoivbo smees ylniatrec tI
|
||||
|
||||
.kniht ot uoy stnaw redniL tahw s'tahT
|
||||
|
||||
.00:9 ta esuoh eht ot emoc ot mih dedausrep dna mih denohp redniL
|
||||
|
||||
.yenom fo reffo na saw noisausrep eht fo traP
|
||||
|
||||
.yawa mih sdnes dna yenom emos selitS sevig eh os ,ereht er'uoy wonk t'nseod redniL ,sevirra selitS nehw edistuo llits er'uoy fI
|
||||
|
||||
.nalp s'redniL otni thgir stif eh ,sevirra selitS nehw edisni er'uoy fI
|
||||
|
||||
.nalp laer on sah selitS ,retfirg eurt a ekiL
|
||||
@end(itemize)
|
||||
* What is Terry's plan?
|
||||
@begin(itemize)
|
||||
|
||||
.acinoM gniksa yrT
|
||||
|
||||
?ti si ,lla ta pleh oN
|
||||
|
||||
?nedrag kcor eht ni gnitatidem yrreT nees uoy evaH
|
||||
|
||||
.neppah t'nseod taht ,oN
|
||||
|
||||
?nwad erofeb tsuj pu swohs taht nosrep taht si ohW
|
||||
|
||||
.nwad erofeb tsuj pu swohs ydoboN
|
||||
|
||||
.lla ta pu swohs reven yrreT tcaf nI
|
||||
|
||||
?yrreT rof demussa uoy evah redneg tahw ,yaw eht yB
|
||||
@end(itemize)
|
||||
* What is Duffy's plan?
|
||||
@begin(itemize)
|
||||
|
||||
.yffuD deen ot tcepxe t'nod uoy ,yrots eht fo gninnigeb eht tA
|
||||
|
||||
.00:9 tuoba ,yawyna pu swohs eh tuB
|
||||
|
||||
.lausu sa ,lufpleh dna elbaliavA
|
||||
|
||||
.tnaw uoy fi ,stnih rof yffuD ksa nac uoy tcaf nI
|
||||
@end(itemize)
|
||||
* What is Linder's motive?
|
||||
@begin(itemize)
|
||||
|
||||
?edicius eb htaed sih dluoC
|
||||
|
||||
.htaed s'efiw sih revo feirg htiw nekcirts s'eh ebyaM
|
||||
|
||||
.esaesid lataf a sah eh ebyaM
|
||||
|
||||
.troper lacidem a dnif ot yrT
|
||||
|
||||
.ylluferac ti rof hcraes ot evah uoy erehw ,ecalp yssem a ni s'tI
|
||||
|
||||
.ksed reh no ,moor s'acinoM ni s'tI
|
||||
|
||||
.yllufniap dna noos eid lliw redniL taht syas troper lacidem ehT
|
||||
|
||||
.romut a rof esproc eht ezylana ot yrt rO .eugrom eht ot seog eh erofeb yffuD ot ti gniwohs ro troper eht "gnizylana" yrT
|
||||
|
||||
.eslaf si troper lacidem eht taht troper lliw renoroc eht ,esac rehtie nI
|
||||
|
||||
.selitS gnimarf rof ylno ,edicius rof evitom on sah redniL
|
||||
@end(itemize)
|
||||
* What is Monica's motive?
|
||||
@begin(itemize)
|
||||
|
||||
.edicius s'rehtom reh rof selitS emalb dluoc ehS
|
||||
|
||||
.mih tuoba reh gniksa yrT
|
||||
|
||||
.)evoba ees( nalp s'redniL ni trap reh stimda ehs retfa ro esproc eht sees ehs erofeb rehtie ti od retteb d'uoy tuB
|
||||
|
||||
.selitS emalb yllaer t'nseod ehS
|
||||
|
||||
.riaffa eht ro rehtaf reh ro rehtom reh tuoba acinoM gniksa yrt rO .edicius eht tuoba gnohP gniksa yrT
|
||||
|
||||
.evitom s'acinoM hsilbatse lliw yaw rehtiE
|
||||
|
||||
.htaed s'rehtom reh rof redniL semalb ehs taht si evitom s'acinoM
|
||||
@end(itemize)
|
||||
* What is Phong's motive?
|
||||
@begin(itemize)
|
||||
|
||||
.redniL ro flesmih tuoba gnohP gniksa yrT
|
||||
|
||||
.evitom sih sehsilbatse taht gnihtemos uoy llet lliw eH
|
||||
|
||||
.esproc eht sees ehs retfa lliw s'redniL tuoba acinoM gniksa yrt rO
|
||||
|
||||
.evitom s'gnohP sehsilbatse taht gnihtemos uoy llet lliw ehS
|
||||
|
||||
.ekam dluow eh yenom eht dna boj sih tuoba mih devieced redniL skniht eh taht si evitom s'gnohP
|
||||
@end(itemize)
|
||||
* What is Stiles's motive?
|
||||
@begin(itemize)
|
||||
|
||||
?ti t'nseod ,suoivbo smees ylniatrec tI
|
||||
|
||||
.kniht ot uoy stnaw redniL tahw s'tahT
|
||||
|
||||
.ecneconni sdaelp eh ,snoitseuq ruoy fo yna srewsna selitS nehw tuB
|
||||
|
||||
.redniL @.srM ro @.rM tuoba mih gniksa yrT
|
||||
|
||||
(WARNING: Don't read further unless you think you know what it says!)
|
||||
|
||||
.ydobyna toohs ot tnaw t'nseod selitS ,yllautcA
|
||||
@end(itemize)
|
||||
* What is Terry's motive?
|
||||
@begin(itemize)
|
||||
|
||||
.eivom siht ees ot detnaw yllaer yrreT
|
||||
|
||||
.eivom siht esoohc ot ysae saw ti ,tuo gniog detseggus acinoM nehW
|
||||
|
||||
?uoy dluoW .acinoM htiw sdneirf retteb eb ot stnaw yrreT ton ro rehtehw raelc ton s'tI
|
||||
|
||||
?emirc a rof evitom a sah yrreT taht gnimussa uoy ereW !spoO
|
||||
|
||||
.gnorw er'uoy ,os fI
|
||||
|
||||
?yrreT rof demussa uoy evah redneg tahw ,yaw eht yB
|
||||
@end(itemize)
|
||||
* How does this story end?
|
||||
@begin(itemize)
|
||||
|
||||
.tser devresed-llew a rof ton tub ,yawa uoy ekat ot sevirra ztulK feihC eciloP ,.m.a 00:8 erofeb enoemos tserra t'nod uoy fI
|
||||
|
||||
.yawa nekat gnitteg dna gnideeccus fo ecnahc 05-05 a evah uoy ,retcarahc rehtona toohs ro ,llik ,kcatta ot yrt uoy fI
|
||||
|
||||
.ti morf gniyd fo ecnahc 05-05 a evah uoy ,ffo seog tohsnug eht nehw nwod gnittis ton er'uoy fI
|
||||
|
||||
.ti morf eid uoy ,ffo seog tohsnug eht nehw ecalp gnorw eht ni dnuora gnikop er'uoy fI
|
||||
|
||||
.yawa uoy ekat ot ecilop eht sllac gnohP ,hguone rood tnorf eht no kconk uoy dna ,nalp s'redniL rof hguone noos esuoh eht retne t'nod uoy fI
|
||||
|
||||
.retal syad wef a tohs gnitteg selitS tuoba tpircstsop a htiw sdne yrots eht dna ,tohs teg t'nseod eh ,nalp s'redniL rof hguone noos esuoh eht retne t'nod uoy fI
|
||||
|
||||
.elpoep erom ro eno tserra uoy nehw sdne yrots eht ,esiwrehtO
|
||||
|
||||
.ffo seog tohsnug eht erofeb enoyna tserra t'nac uoy ,esruoc fO
|
||||
|
||||
.t'nac uoy ,elpoep owt naht erom tserra ot yrt uoy fi ,dnA
|
||||
|
||||
.t'nac uoy ,gnohP dna acinoM ton er'yeht dna ,elpoep owt tserra ot yrt uoy fi ,rehtruF
|
||||
@end(itemize)
|
||||
* How do I prove my case to the satisfaction of a jury?
|
||||
@begin(itemize)
|
||||
|
||||
.ti od ot ytinutroppo eht dah tcepsus eht nehw dna ,ti did tcepsus eht yhw ,dettimmoc saw emirc eht woh sevorp taht ynomitset elbailer ro ecnedive lacisyhp rehtie deen uoy snaem taht :"ytinutroppo dna ,evitom ,dohtem" hsilbatse ot deen uoY
|
||||
|
||||
(WARNING: the following hints tell what the method was and how to prove it.)
|
||||
|
||||
".snaeb eht llips" ot gnohP ro acinoM gnitteg yb ro ,nottub s'reltub eht yb ffo tes saw dna kcolc eht ni saw nug a taht gnivorp yb rehtie dohtem redrum lautca eht evorp nac uoY
|
||||
|
||||
.noissessop s'acinoM ni flesti nug eht gnidnif yb ro elohyek eht no redwopnug eht gnizylana yb rehtie kcolc eht ni saw nug a taht evorp nac uoY
|
||||
|
||||
.emoh steg acinoM emit eht dna tohs si redniL emit eht neewteb ti gnihsup yb nug eht ffo tes nottub eht taht evorp nac uoY
|
||||
|
||||
.noitcennoc nottub eht nevorp evah uoy retfa nottub s'reltub eht ro kcolc rehtafdnarg eht ro redwopnug eht tuoba reh ksa uoy fi ro ,kcolc eht morf nug eht evomer reh gniees retfa reh esucca uoy fi "snaeb eht llips" lliw acinoM
|
||||
|
||||
.noitcennoc nottub eht nevorp evah uoy retfa nottub s'reltub eht ro kcolc rehtafdnarg eht ro redwopnug eht tuoba mih ksa uoy fi ro ,dray edis eht ni stnirp toof eht ot stoob sih gnihctam dna tpiecer nug eht gnidnif retfa mih esucca uoy fi "snaeb eht llips" lliw gnohP
|
||||
@end(itemize)
|
||||
* What are the possibilities when I make the arrest?
|
||||
@begin(itemize)
|
||||
|
||||
).yalp uoy emit txen uoy pleh dluohs taht noitseggus a uoy sevig ssob ruoy tuB( .ysmilf oot si ecnedive eht gnimialc ,tcidni ot sesufer .A.D eht ,dohtem redrum lautca eht "devorp" t'nevah uoy fI
|
||||
|
||||
.gnidne yllis a teg dna "esproc eht tserra" nac uoy :noitpecxE
|
||||
|
||||
.dnuof si ecnedive wen deificepsnu emos nehw desaeler retal si eh taht uoy sllet tpircstsop a tub ,detcivnoc mih teg dna selitS tserra nac uoy :noitpecxe rehtonA
|
||||
|
||||
.tserra uoy mohw no sdneped gnidne eht ,dohtem redrum eht "devorp" evah uoy fI
|
||||
|
||||
.esuoh redniL eht ot ssecca fo kcal sih fo esuaceb dettiuqca si eh ,selitS tserra uoy fI
|
||||
|
||||
.ti eveileb t'nseod ssob ruoy tub ,edicius selur renoroc eht ,esiwrehto ;noisulcnoc on sehcaer renoroc eht ,troper lacidem eht nees t'nevah uoy fI .gnilur gniyfsitasnu na sekam renoroc eht ",esproc eht tserra" uoy fI
|
||||
|
||||
.tluser siht htiw deifsitas ton si ssob ruoY .laed emas eht teg ot seganam acinoM neht ;ecnetnes dednepsus a steg dna nalp s'redniL ni gniripsnoc ot ylno sessefnoc gnohP ,revewoH .meht tsniaga esac doog ytterp a evah uoy neht ,)yek eht htiw flesruoy kcolc eht gninepo yb ro nug eht evomer reh gniees yb rehtie rettal eht( ytinutroppo dna evitom s'acinoM dehsilbatse evah dna ,tpiecer nug eht nees evah dna ,gnohP dna acinoM htob tserra uoy fI
|
||||
|
||||
.saw eh esuaceb ,tpiecer nug eht nees t'nevah uoy fi ,ro ,ytinutroppo ro evitom fo kcal rof rehtie :dettiuqca si oot ehs ,acinoM tserra osla uoy fI .msinahcem nug neddih eht tcurtsnoc ot yrassecen slliks lacinahcem eht skcal eh esuaceb dettiuqca si gnohP ,snoitidnoc eseht lla tem t'nevah uoy tub ,acinoM tuohtiw ro htiw gnohP tserra uoy fI
|
||||
|
||||
!niw uoy ,ytinutroppo reh dehsilbatse evah uoy fI .ecnedive laitnatsmucric rof dettiuqca si ehs ,ytinutroppo ton tub evitom dehsilbatse evah dna ,enola acinoM tserra uoy fI
|
||||
@end(itemize)
|
||||
* Just for fun, have you:
|
||||
@begin(itemize)
|
||||
|
||||
?yrtne eht ni llorcs eht daer
|
||||
|
||||
?flesmih tuoba yffuD deksa
|
||||
|
||||
?edistuo mih ekat ro redniL pu tuhs ot deirt
|
||||
|
||||
?seohs s'redniL ekat ot deirt
|
||||
|
||||
?redniL @.srM wollof ot deirt
|
||||
|
||||
?nretnaL ssarB eht ro renoroc eht ro orez delaid
|
||||
|
||||
?rood a nwod kaerb ot deirt
|
||||
|
||||
?gnihtyna knird ro tae ot deirt
|
||||
|
||||
?era uoy erehw ro era uoy ohw enoyna deksa
|
||||
|
||||
?enoyna dekcik
|
||||
|
||||
?enoyna edisni kool ot deirt
|
||||
|
||||
?pu dekool
|
||||
|
||||
?gnihtyna ro - enoyna deppals
|
||||
|
||||
?deb a rednu dekool
|
||||
|
||||
?rorrim a ni dekool
|
||||
|
||||
?doof eht ekat ro laem a tae ot deirt
|
||||
|
||||
?flesruoy toohs ot deirt
|
||||
|
||||
?rewohs a ekat ot deirt
|
||||
|
||||
?tcejbo etaminani na dewollof
|
||||
|
||||
?drocer a ro oidar eht naht rehto gnihtyna deyalp
|
||||
|
||||
?margorp eht ta desruc
|
||||
@end(itemize)
|
||||
|
|
@ -0,0 +1,50 @@
|
|||
"THE WITNESS": SCRIPT FOR GIVING HINTS VIA PHONE
|
||||
|
||||
0. Have you seen a gunshot and a death (other than your own)?
|
||||
If not, then go ring the door bell at the start of the story.
|
||||
|
||||
METHOD:
|
||||
|
||||
1. Have you examined the broken window in the office after the gunshot?
|
||||
|
||||
1.1. Have you analyzed the "chunk of putty"?
|
||||
[Answer: it contains an explosive]
|
||||
|
||||
1.2. Have you found where the piece of green wire came from?
|
||||
[Answer: workshop]
|
||||
|
||||
2. Have you tried pushing the button in the office before Monica gets home?
|
||||
[This is necessary in order to get to the best ending.]
|
||||
|
||||
3. Have you examined the clock in the office?
|
||||
|
||||
3.1. Have you analyzed the powder around the keyhole?
|
||||
[This or (*) below is necessary in order to get to the best ending.]
|
||||
|
||||
4. Have you found a mystery book?
|
||||
[Answer: in the butler's room, with evidence in it]
|
||||
|
||||
5. Have you compared foot prints in the mud outside with shoes?
|
||||
[This is sort of a red herring, but it does give useful info.]
|
||||
|
||||
MOTIVE:
|
||||
|
||||
1. Have you asked Monica about her mother or her father or the affair?
|
||||
[She will tell you something that establishes her motive.]
|
||||
|
||||
2. Have you asked Phong about the suicide?
|
||||
[He will tell you something that establishes Monica's motive.]
|
||||
|
||||
OPPORTUNITY:
|
||||
|
||||
1. Have you noticed that Monica went in the workshop when she got home?
|
||||
[She needed to dismantle the wires connecting clock to button.]
|
||||
|
||||
2. Have you noticed that Monica went into the office late at night?
|
||||
You should hide behind the lounge to see what she does.
|
||||
[Answer: she needed to remove the hidden gun from the clock.]
|
||||
|
||||
2.1. Have you tried handcuffing and searching her [for the hidden gun]
|
||||
afterwards?
|
||||
[(*) This or the one above is necessary in order to get to the best
|
||||
ending.]
|
||||
|
|
@ -0,0 +1,48 @@
|
|||
@style(spacing 1)
|
||||
Dear _________
|
||||
|
||||
Thank you for your comments about "The Witness."
|
||||
|
||||
We designed "The Witness" to complement "Deadline" in many ways:
|
||||
|
||||
@begin (itemize)
|
||||
|
||||
It copies the action tradition of Raymond Chandler stories instead of the
|
||||
drawing-room tradition of Agatha Christie.
|
||||
|
||||
The setting is a winter night on the west coast instead of a summer
|
||||
day on the east. The house and cast of characters are small instead of large.
|
||||
|
||||
The story is a (possible) suicide that looks like murder instead
|
||||
of a murder that looks like suicide. The detective is involved from the
|
||||
very beginning, in fact necessary for the crime, instead of wrapping up
|
||||
the case after standard police investigation.
|
||||
|
||||
Finally, we wanted to reach a much wider audience with "The Witness,"
|
||||
so we made the English analyzer more friendly, the writing more vivid,
|
||||
and the plot simpler, without bottlenecks on which players would get stuck.
|
||||
(Just imagine how many calls we get from people stuck on the hidden closet
|
||||
or the missing teacup in "Deadline"!)
|
||||
We could have made the case more difficult just by making clues more
|
||||
difficult to find;
|
||||
in fact an early revision of the game had commands called "harder" and
|
||||
"easier" that made clues more or less obscure, but we weren't sure
|
||||
whether we could invest enough time to do that right.
|
||||
|
||||
@end (itemize)
|
||||
|
||||
You are one of the few people who told us that you thought the mystery
|
||||
was too easy. Perhaps you found it so because of your outstanding skill
|
||||
as a detective or game player. Perhaps you are the kind of loyal customer
|
||||
who buys every new Infocom product, expecting it to provide countless hours
|
||||
of pleasant frustration. If so, perhaps the three new products that we're
|
||||
planning for release this autumn will suit you better. They are "Planetfall,"
|
||||
a light-hearted SF story; "Enchanter I," a magical fantasy in the tradition
|
||||
of Zork; and "Infidel," our first realistic "Tale of Adventure."
|
||||
|
||||
In any case, thank you for your comments. It's good to know that people
|
||||
care enough about our games to take the time to write.
|
||||
|
||||
Yours,
|
||||
|
||||
Stu Galley
|
||||
|
|
@ -0,0 +1,666 @@
|
|||
Somewhere near Los Angeles. A cold Friday evening in February 1938. In this
|
||||
climate, cold is anywhere below about fifty degrees. Storm clouds are swimming
|
||||
across the sky, their bottoms glowing faintly from the city lights in the
|
||||
distance. A search light pans slowly under the clouds, heralding another film
|
||||
premiere. The air seems expectant, waiting for the rain to begin, like a cat
|
||||
waiting for the ineffable moment to ambush.
|
||||
|
||||
The taxi has just dropped you off at the entrance to the Linders' driveway. Th!
|
||||
e
|
||||
driver didn't seem to like venturing into this maze of twisty streets any more
|
||||
than you did. But the house windows are full of light, and radio music drifts
|
||||
toward you. Your favorite pistol, a snub-nosed Colt .32, is snug in its
|
||||
holster. You just picked up a match book off the curb. It might come in handy.
|
||||
Good thing you looked up the police file on Mrs. Linder's death. Her suicide
|
||||
note and the newspaper story told you all you know about the family. The long
|
||||
week is finished, except for this appointment. But why does an ominous feeling
|
||||
grip you?
|
||||
|
||||
The WITNESS: An INTERLOGIC Mystery
|
||||
Copyright (c) 1983 Infocom, Inc. All rights reserved.
|
||||
WITNESS and INTERLOGIC are trademarks of Infocom, Inc.
|
||||
Revision number 23 / Serial number 840925
|
||||
|
||||
You are now in the driveway entrance.
|
||||
You are standing at the foot of the driveway, the entrance to the Linder
|
||||
property. The entire lot is screened from the street and the neighbors by a
|
||||
wooden fence, except on the east side, which fronts on dense bamboo woods. The
|
||||
house looks like a mixture of a California bungalow and East Asian influences.
|
||||
From here you can see the driveway leading north and, beyond that, the front
|
||||
door.
|
||||
|
||||
What should you, the detective, do now?
|
||||
>WALK NORTH
|
||||
|
||||
You are now on the driveway.
|
||||
The driveway, paved with peastone, runs from the entrance at the south end in a
|
||||
curve to a two-car garage at the east end. North of you is the front porch, the
|
||||
entrance to the house.
|
||||
|
||||
What next?
|
||||
>N
|
||||
|
||||
You are now on the front porch.
|
||||
The front porch is in an alcove, sheltered from the weather by the walls and
|
||||
overhanging roof. A yellowish electric light hangs near the closed front door
|
||||
to the east, giving you a dim view of the driveway to the south and the front
|
||||
yard behind a gate to the north.
|
||||
The gate is closed. A door bell glows at you, almost daring you to ring it.
|
||||
|
||||
What next?
|
||||
>N
|
||||
|
||||
Too bad, but the front gate is closed.
|
||||
|
||||
What next?
|
||||
>OPEN IT
|
||||
|
||||
Okeh, the front gate is now open.
|
||||
|
||||
What next?
|
||||
>N
|
||||
|
||||
You are now in the front yard.
|
||||
You are in the front yard of the Linder property. Most of the space is occupied
|
||||
by a kitchen garden full of vegetables and herbs. A wooden fence surrounds the
|
||||
yard on the west and north sides. To the east is the house, with a French door
|
||||
and two windows. To the south is a gate that leads to the front porch.
|
||||
|
||||
What next?
|
||||
>LOOK THROUGH THE WINDOW
|
||||
|
||||
(Which window do you mean, the kitchen window or the bedroom window?)
|
||||
|
||||
>KITCHEN
|
||||
|
||||
The window is damp and foggy, but you can see someone in the kitchen inside.
|
||||
Suddenly, a clap of thunder rolls across the hills nearby.
|
||||
|
||||
What next?
|
||||
>KNOCK ON IT
|
||||
|
||||
Someone looks up at you inquisitively.
|
||||
Someone shouts "Go to the front door!"
|
||||
|
||||
What next?
|
||||
>GO TO THE FRONT DOOR
|
||||
|
||||
You are now on the front porch.
|
||||
|
||||
What next?
|
||||
>RING THE BELL
|
||||
|
||||
Someone turns off the radio. You hear footsteps inside the house. Then the door
|
||||
swings open.
|
||||
"Good evening," says a smiling face, "I am Phong. Please come in." He leads you
|
||||
into the house and closes the door behind you.
|
||||
|
||||
You are now in the entry.
|
||||
Here in the entry is a small Shinto shrine, with a hanging scroll and an
|
||||
arrangement of flowers, as well as a coat closet and a platform for storing
|
||||
shoes. You can see a hallway to the east. The front door, on the west wall, is
|
||||
closed.
|
||||
Phong's straight black hair and folded eyelids make him obviously Asian, but no
|
||||
definite nationality. His open, almost gentle face holds a quick smile and eyes
|
||||
that seem to miss nothing. He carries his stout body lightly, but you can see
|
||||
great strength under his light shirt and dark trousers. You guess his age at
|
||||
about fifty, but who knows how many lifetimes of experience he carries?
|
||||
Without warning, lightning flashes outside, and a few seconds later thunder
|
||||
rattles the house.
|
||||
|
||||
What next?
|
||||
>ASK PHONG ABOUT MR LINDER
|
||||
|
||||
"Frankly, Detective, I can't say I like him much. He always promised me wealth
|
||||
here in America, but I've never seen it. I could manage the Asian branch of his
|
||||
business if he'd let me. If I had any money, I'd quit on the spot and return
|
||||
home."
|
||||
Phong says, "I believe the Linders are in the living room. Please follow me."
|
||||
He leads you into a hallway and turns left. This hallway seems to run the
|
||||
length of the house, from the garage at the south end to the living room at the
|
||||
north. There is enough warm yellow light flooding from the living room for you
|
||||
to see a few doors on each side of the hall. As you get near the living room,
|
||||
you hear voices talking, half-loud and fast.
|
||||
|
||||
You are now in the living room.
|
||||
A huge fieldstone fireplace on the south wall holds a blazing fire, filling the
|
||||
living room with warmth and light. Grouped in front of the fire are a
|
||||
glass-topped coffee table and a rattan davenport and club chair, with cushions
|
||||
covered in a print showing bamboo plants in the style of Japanese
|
||||
brush-painting. A lamp with a printed shade and a telephone sit on the table.
|
||||
On the north wall are a liquor cabinet and a console radio made of
|
||||
light-colored wood. A single door in the east wall is closed, and at the west
|
||||
end of the room is a double door.
|
||||
|
||||
"Excuse me, sir," says Phong, "but the detective has arrived."
|
||||
|
||||
Monica stops talking and looks at you sharply. She is a woman in her
|
||||
mid-twenties. Her grey eyes flash, emphasizing her dark waved hair and light
|
||||
but effective make-up. She wears a navy Rayon blouse, tan slacks, and tan pumps
|
||||
with Cuban heels. She acts as though you were a masher who just gave her a
|
||||
whistle.
|
||||
Linder stands at least six foot, with a powerful frame but quick actions, like
|
||||
a cat. His eyeglasses sit on top of his head, where thin strands of long black
|
||||
hair go here and there, mostly combed backward. His wide-set hazel eyes size
|
||||
you up quickly from within their pouches in his ruddy face. He wears a silk
|
||||
peach-colored Mandarin shirt and chocolate trousers, impeccably tailored and
|
||||
laundered, but sweat gleams on his high forehead, and he looks as though he
|
||||
hasn't slept much lately.
|
||||
|
||||
Linder turns to you and says, "Detective, am I glad to see you! This is my
|
||||
daughter, Monica, and of course you've met Phong already." He looks at a wrist
|
||||
watch with a gleaming silver bracelet. "I see you're a little late. I'll be
|
||||
with you as soon as I finish my drink."
|
||||
Mr. Phong heads off to the south.
|
||||
|
||||
(Aren't you getting tired of seeing "What next?" and "You are now in the ...."?
|
||||
From here on, the prompt will be much shorter.)
|
||||
|
||||
>ASK LINDER FOR A DRINK
|
||||
|
||||
"I think we both need one." And so you both have one.
|
||||
|
||||
>LINDER, TELL ME ABOUT THE THREAT
|
||||
|
||||
"I'll explain all that shortly, after I finish this drink."
|
||||
Rain begins to fall outside in a sprinkle.
|
||||
|
||||
>TURN ON THE RADIO THEN SIT ON THE COUCH
|
||||
|
||||
You turn on the radio, spin the dial and find an Amos 'n' Andy serial.
|
||||
|
||||
You are now sitting on the davenport.
|
||||
The rain outside is falling heavily now.
|
||||
Linder gulps down the rest of his drink. "Well, Detective," he says, "I'm
|
||||
anxious to get on with our business. Let's you and I go to my office so we can
|
||||
talk undisturbed." You are on your own feet again.
|
||||
He takes you by the arm and leads you through the hallway. Just south of the
|
||||
entry, he opens a door to the east and leads you through it.
|
||||
(office)
|
||||
This is obviously the office of Mr. Linder's company, Pacific Trade Associates.
|
||||
At the west end of the office, a massive desk of teak and mahogany faces toward
|
||||
the window. It has no drawers, but the top is covered with piles of letters,
|
||||
some newspapers, a telephone, and various souvenirs from the Far East.
|
||||
Behind it is a large ornately-carved chair, like a cruiser escorting a battle
|
||||
ship. A simple wooden chair, polished smooth by visitors, flanks the desk on
|
||||
the other side. On the north wall is a lounge, upholstered in green velvet and
|
||||
a bit lumpy, with a framed wood-block picture hanging over it. On the outside
|
||||
wall, next to a door and window, stands a grandfather clock, ticking
|
||||
relentlessly. A file cabinet stands in the corner.
|
||||
The door to the interior hallway is open.
|
||||
A cat is sleeping in the corner.
|
||||
Linder sits down in the carved chair.
|
||||
|
||||
>PET THE CAT
|
||||
|
||||
The cat purrs a little louder and curls one paw.
|
||||
"If you'll just take a chair, I'll explain what this is all about."
|
||||
|
||||
>TAKE A CHAIR
|
||||
|
||||
(Which chair do you mean, the wooden chair or the carved chair?)
|
||||
|
||||
>THE WOODEN CHAIR
|
||||
|
||||
You are now sitting on the wooden chair.
|
||||
Linder begins his story. "My late wife, may she rest in peace, got involved
|
||||
with a young man named Stiles. Naturally I tried to stop this affair, but
|
||||
without much success. Since my wife passed away, this Stiles fellow has gone
|
||||
off the deep end, I'm afraid, and blamed me for her death. I tried my best to
|
||||
ignore him, but he seems to have lost his senses. This morning I received this
|
||||
note and decided to ask your help." He hands the note to you.
|
||||
|
||||
>READ IT
|
||||
|
||||
The note is written in a spidery hand on fine rag paper. It says:
|
||||
"Linder --
|
||||
Since Virginia died, I've lost too much sleep because of you and your
|
||||
harrassments. The time has come to put this matter to rest once and for all.
|
||||
I'll be seeing you sooner than you imagine.
|
||||
-- Stiles"
|
||||
|
||||
>ASK LINDER ABOUT STILES
|
||||
|
||||
"All I know about Stiles is that he's a writer of some kind, and sometimes he
|
||||
plays bit parts in films. I've never really met the man."
|
||||
|
||||
>ASK LINDER ABOUT VIRGINIA
|
||||
|
||||
"It's still too painful for me to talk about, I'm afraid."
|
||||
|
||||
>LINDER, TELL ME ABOUT YOURSELF
|
||||
|
||||
"You've probably read about me in the papers. In fact they just published
|
||||
something about me when I won that award. And I've heard lots about you. That's
|
||||
why I asked you here."
|
||||
|
||||
>HELP LINDER
|
||||
|
||||
You'll have to be more specific.
|
||||
|
||||
>GIVE THE NOTE TO THE CAT
|
||||
|
||||
You can't give a threatening note to a cat!
|
||||
|
||||
>SEARCH ME
|
||||
|
||||
You'd do a much better job if you stood up.
|
||||
The rain outside begins to taper off.
|
||||
|
||||
>STAND UP
|
||||
|
||||
You are on your own feet again.
|
||||
|
||||
>SEARCH ME
|
||||
|
||||
You find nothing unusual.
|
||||
|
||||
>SEARCH THE ROOM
|
||||
|
||||
(You'd do better to examine or search one thing at a time. Searching a whole
|
||||
room or area thoroughly would take hours. A cursory search would take about 7
|
||||
minutes, and it might not reveal much. Would you like to do it anyway?) (Answer
|
||||
YES or NO.) >YES
|
||||
|
||||
The rain storm outside has passed now.
|
||||
The clock chimes once to mark the half hour.
|
||||
Your cursory search revealed nothing new.
|
||||
|
||||
>SEARCH THE DESK
|
||||
|
||||
You find nothing unusual.
|
||||
Monica bursts into the office, wearing a felt hat and wool coat, and struggling
|
||||
to get her driving gloves on. She glances icily in your direction and then back
|
||||
to her father. "I'm off to the pictures with Terry, Dad. Good-bye." She hugs
|
||||
him briefly but firmly, burying her head in his shoulder. He pushes her away
|
||||
and says, "You're leaving now?! I thought you'd be talking to the detective
|
||||
here. What about the threat on my life?" He has the hurt look of an orphan pup.
|
||||
She answers, "You don't need me here. I need to get away now and then. I'm not
|
||||
like Mother, you know." Tears well up in her eyes but she brushes them away
|
||||
before they drop. She turns to leave.
|
||||
|
||||
>MONICA, WAIT!
|
||||
|
||||
Monica stops and turns toward you.
|
||||
Monica is acting impatient.
|
||||
|
||||
>MONICA, TELL ME ABOUT STILES
|
||||
|
||||
"Oh, that lover boy thinks he's a smooth apple, all right. If you ask me, he's
|
||||
just a harmless grifter."
|
||||
Monica is acting impatient.
|
||||
|
||||
>TELL ME ABOUT THE MOVIE
|
||||
|
||||
(said to Monica)
|
||||
"I think we'll see 'Dead End'. Terry wants to check out this guy named Bogart."
|
||||
Monica is acting impatient.
|
||||
|
||||
>TELL ME ABOUT TERRY
|
||||
|
||||
(said to Monica)
|
||||
"That has nothing to do with why Dad asked you here."
|
||||
Monica is acting impatient.
|
||||
|
||||
>SHOW THE NOTE TO HER
|
||||
|
||||
"I don't know anything about it, shamus."
|
||||
Monica looks more nervous. "I really must go now, or I'll be late for the
|
||||
film." She hugs her father again and dashes out the door.
|
||||
Monica heads off to the west.
|
||||
|
||||
>FOLLOW HER
|
||||
|
||||
Linder says with frustration, "I wish you wouldn't try to go off while we're
|
||||
trying to talk."
|
||||
Outside somewhere, a car roars to life and speeds away.
|
||||
|
||||
>ASK LINDER ABOUT TERRY
|
||||
|
||||
"I can't help you there."
|
||||
|
||||
>ASK HIM ABOUT THE MOVIE
|
||||
|
||||
"That has nothing to do with why I asked you here."
|
||||
|
||||
>EXAMINE THE NOTE
|
||||
|
||||
The note is written in a spidery hand on fine rag paper. It says:
|
||||
"Linder --
|
||||
Since Virginia died, I've lost too much sleep because of you and your
|
||||
harrassments. The time has come to put this matter to rest once and for all.
|
||||
I'll be seeing you sooner than you imagine.
|
||||
-- Stiles"
|
||||
|
||||
>ANALYZE THE NOTE
|
||||
|
||||
You haven't met Sergeant Duffy yet tonight. You'll need his help to do that.
|
||||
|
||||
>FIND DUFFY
|
||||
|
||||
Sergeant Duffy is probably at the station, working late as usual.
|
||||
|
||||
>PHONE DUFFY
|
||||
|
||||
The night clerk at the station says he'll give Duffy your message.
|
||||
|
||||
>ASK LINDER ABOUT THE NOTE
|
||||
|
||||
"Yes, that's the note that Stiles sent to me."
|
||||
|
||||
>FIND PHONG
|
||||
|
||||
You last saw him about half an hour ago.
|
||||
|
||||
>PUSH THE BUTTON
|
||||
|
||||
Linder grabs your wrist and looks you hard in the eye. Then a wide smile breaks
|
||||
out on his face as he lets go. "Sorry if I'm rough, but I don't want any
|
||||
interruptions right now."
|
||||
|
||||
>SIT ON THE COUCH
|
||||
|
||||
(You can't see any couch here!)
|
||||
|
||||
>LOOK AROUND
|
||||
|
||||
(office)
|
||||
This is obviously the office of Mr. Linder's company, Pacific Trade Associates.
|
||||
At the west end of the office, a massive desk of teak and mahogany faces toward
|
||||
the window. It has no drawers, but the top is covered with piles of letters,
|
||||
some newspapers, a telephone, and various souvenirs from the Far East.
|
||||
Behind it is a large ornately-carved chair, like a cruiser escorting a battle
|
||||
ship, where Linder sits imperiously. A simple wooden chair, polished smooth by
|
||||
visitors, flanks the desk on the other side. On the north wall is a lounge,
|
||||
upholstered in green velvet and a bit lumpy, with a framed wood-block picture
|
||||
hanging over it. On the outside wall, next to a door and window, stands a
|
||||
grandfather clock, ticking relentlessly. A file cabinet stands in the corner.
|
||||
The door to the interior hallway is open.
|
||||
A cat is sleeping in the corner.
|
||||
|
||||
>EXAMINE THE CLOCK
|
||||
|
||||
This is a full-blown "grandfather" clock, seven feet tall, run by weights and
|
||||
regulated by a pendulum, whose dial shows day, date, and phase of the moon
|
||||
besides the time. According to the dial, today is Friday the 18th, the moon is
|
||||
just past full, and the time is now 8:52 p.m.
|
||||
|
||||
>LOOK AT THE PICTURE
|
||||
|
||||
There's nothing special about the picture.
|
||||
|
||||
>SIT ON THE LOUNGE
|
||||
|
||||
You are now sitting on the lounge.
|
||||
|
||||
>ASK LINDER ABOUT THE CLOCK
|
||||
|
||||
"I've always admired elaborate machines, and that's the finest example I could
|
||||
hope to own."
|
||||
|
||||
>GET A DRINK
|
||||
|
||||
You are now carrying the drink.
|
||||
|
||||
>DRINK IT
|
||||
|
||||
You could drink this stuff all night, but you have work to do.
|
||||
|
||||
>SMOKE A CIGARET
|
||||
|
||||
You light up a Camel, take a deep drag, and watch the smoke drift through the
|
||||
air. A few more puffs, and you're ready to go to work again.
|
||||
|
||||
>LINDER, TELL ME ABOUT MONICA
|
||||
|
||||
"She's a loyal and intelligent girl. I'm very proud of her."
|
||||
The clock chimes 9 times to mark the hour.
|
||||
|
||||
>TELL ME ABOUT PHONG
|
||||
|
||||
"He and I go back a long time. Met in Asia, you know. And since I spend as much
|
||||
time there as here, he takes care of the house for me. A fine fellow, and I
|
||||
trust him implicitly."
|
||||
|
||||
>TELL ME ABOUT THE PICTURE
|
||||
|
||||
"I can't help you there."
|
||||
|
||||
>TELL ME ABOUT DUFFY
|
||||
|
||||
Sergeant Duffy is probably at the station, working late as usual.
|
||||
You hear the door bell ring.
|
||||
|
||||
Linder looks toward the window and says, "I don't think Phong has answered the
|
||||
door bell yet." He reaches toward the butler's button and at the same instant
|
||||
shouts "Stiles!" You turn around and dimly see a figure outside. Suddenly there
|
||||
is a flash of light and an explosion, and the window falls into dozens of shiny
|
||||
shards. The cat bolts and disappears somewhere. The figure outside turns and
|
||||
runs before you can see the face. When you turn back around, you see Linder
|
||||
slumping down in his chair, with a bloody stain spreading across his silk
|
||||
shirt. He teeters on the edge of the seat, then falls onto the floor, quite
|
||||
dead.
|
||||
|
||||
>STAND UP
|
||||
|
||||
You are on your own feet again.
|
||||
|
||||
>OPEN DOOR
|
||||
|
||||
(Which door do you mean, the office door, the back door, or the grandfather
|
||||
clock?)
|
||||
|
||||
>BACK
|
||||
|
||||
You'll have to unlock it first.
|
||||
|
||||
>UNLOCK IT
|
||||
|
||||
Okeh, the back door is now unlocked.
|
||||
Suddenly Phong enters the office. When he sees that Linder has cashed in his
|
||||
chips, he turns away for a minute and bows his head.
|
||||
|
||||
>OPEN IT
|
||||
|
||||
Okeh, the back door is now open.
|
||||
|
||||
>GO OUT
|
||||
|
||||
(office porch)
|
||||
You are standing on a small concrete slab outside Linder's office. A sign
|
||||
between the door and the window reads "PACIFIC TRADE ASSOCIATES". To the north
|
||||
is a tidy lawn, extending east to the edge of the woods. A path of stepping
|
||||
stones leads south to the back gate.
|
||||
You notice some fresh foot prints heading east.
|
||||
You hear the door bell ring.
|
||||
|
||||
>FOLLOW THEM
|
||||
|
||||
You would probably get lost in the woods. Even with a path to follow.
|
||||
|
||||
>S
|
||||
|
||||
(office path)
|
||||
You are on a path made of stepping stones, which leads from the back gate at
|
||||
the south to Linder's office at the north. In the east you can see a thick
|
||||
woods. To the west is the side yard.
|
||||
There's a muddy handgun here.
|
||||
|
||||
>PICK IT UP
|
||||
|
||||
You are now carrying the muddy handgun.
|
||||
|
||||
>N
|
||||
|
||||
(office porch)
|
||||
|
||||
>IN
|
||||
|
||||
(office)
|
||||
The body of Mr. Linder is still crumpled in a heap on the floor.
|
||||
|
||||
>EXAMINE BODY
|
||||
|
||||
The blood on Linder's shirt has clotted and turned dark.
|
||||
|
||||
>EXAMINE GUN
|
||||
|
||||
(Which gun do you mean, the muddy handgun or the snub-nosed Colt?)
|
||||
|
||||
>MUDDY
|
||||
|
||||
The gun is muddy from the ground, but you can see it's just a cheap low-quality
|
||||
handgun.
|
||||
Suddenly your assistant, Sgt. Duffy, appears from out of nowhere. "Detective,
|
||||
I'm glad you're safe! I thought I should come here on the streetcar, in case
|
||||
you needed help. I'm familiar with the house, since I was here to help
|
||||
investigate Mrs. Linder's death. Just as I walked up tonight, I heard a shot!
|
||||
The next thing I knew, this man, who calls himself Stiles, burst out of the
|
||||
woods behind the house. Naturally, I put the nippers on him and brought him
|
||||
along. I've stowed him in the living room. I'll stand by to help you." He
|
||||
scurries off to go about his work.
|
||||
|
||||
>DUFFY, ANALYZE THE MUDDY GUN
|
||||
|
||||
Sergeant Duffy, quiet as a mouse, walks up and takes the muddy handgun from
|
||||
you. "I'll return soon with the results," he says, and leaves as silently as he
|
||||
came.
|
||||
|
||||
>W
|
||||
|
||||
(hallway)
|
||||
This is the south end of a hallway that runs the length of the house. At the
|
||||
far end, to the north, you can see the living room; immediately to the south is
|
||||
a door. Other doors on both sides lead to other rooms.
|
||||
Mr. Phong, off to the north, ducks into a room to the west.
|
||||
|
||||
>N
|
||||
|
||||
(hallway)
|
||||
|
||||
>N
|
||||
|
||||
(hallway)
|
||||
This is near the middle of the central hallway. At the north end, you can see
|
||||
the living room; to the east and west are bedroom doors. The door to the east
|
||||
is open.
|
||||
|
||||
>N
|
||||
|
||||
(hallway)
|
||||
This is the north end of the central hallway. Just to the north, you can see
|
||||
warm yellow light in the living room.
|
||||
|
||||
>W
|
||||
|
||||
(kitchen)
|
||||
The Linder kitchen is full of electric appliances: range and hood,
|
||||
refrigerator, mixer, toaster, clock, and so on. Several white steel cabinets
|
||||
make for plenty of storage space. To the north is the dining room, to the east
|
||||
the hall.
|
||||
Phong is here, opening a can of worms.
|
||||
|
||||
>ASK HIM ABOUT THE WORMS
|
||||
|
||||
"I didn't think you had any interest in gardening! Those little babies are the
|
||||
best thing for the clay soil around here. You can just order them by mail and
|
||||
open them up when they arrive."
|
||||
|
||||
>LOOK IN THE FRIDGE
|
||||
|
||||
Too bad, but the refrigerator is closed.
|
||||
|
||||
>OPEN IT
|
||||
|
||||
You open the refrigerator and see a bunch of cold food.
|
||||
|
||||
>CLOSE IT
|
||||
|
||||
You'd have to be more clever to do that to the bunch of cold food.
|
||||
|
||||
>CLOSE THE FRIDGE
|
||||
|
||||
Closed.
|
||||
|
||||
>N
|
||||
|
||||
(dining room)
|
||||
A table and benches, built out of blond wood for six people, sit in the middle
|
||||
of the room. On the south wall is a swinging door that leads to the kitchen,
|
||||
and on the east wall a double door to the living room. Through a French door on
|
||||
the west wall you can see the front yard.
|
||||
|
||||
>E
|
||||
|
||||
(living room)
|
||||
Stiles is fastened to the davenport, looking sullen.
|
||||
|
||||
>TALK TO STILES
|
||||
|
||||
Mr. Stiles is listening.
|
||||
|
||||
>TELL ME ABOUT LINDER
|
||||
|
||||
(Which Linder do you mean, the late Mrs. Linder or Mr. Linder?)
|
||||
|
||||
>MR
|
||||
|
||||
(said to Mr. Stiles)
|
||||
"He's a smooth operator. I can think of many people who'd like to plug him. Not
|
||||
me, of course. I still don't understand why he sounded so urgent when he called
|
||||
me today and asked me to come here tonight."
|
||||
|
||||
>I
|
||||
|
||||
You are carrying:
|
||||
a threatening note
|
||||
a drink
|
||||
a telegram
|
||||
a pair of handcuffs
|
||||
a snub-nosed Colt
|
||||
a match book
|
||||
|
||||
>SHOW HIM THE NOTE
|
||||
|
||||
"Holy smoke! That sort of looks like my writing, but I didn't write it."
|
||||
|
||||
>ASK ABOUT VIRGINIA
|
||||
|
||||
"Virginia was a special woman. Repressed for years. I think that, if only ...
|
||||
Say, I don't have to answer your questions!"
|
||||
|
||||
>LOOK AT HIS SHOES
|
||||
|
||||
They're pointed wing tips with sensational welt features, but a bit shabby and
|
||||
more than a bit muddy.
|
||||
|
||||
>SHOW THE GUN TO HIM
|
||||
|
||||
"That has nothing to do with me."
|
||||
|
||||
>SHOW THE MATCH BOOK TO STILES
|
||||
|
||||
"That's my phone number! Linder must have jotted it down the day we had lunch
|
||||
at that restaurant, when he first offered me money to leave town."
|
||||
|
||||
>WAIT FOR DUFFY
|
||||
|
||||
Time passes...
|
||||
Suddenly, Sergeant Duffy returns with the muddy handgun. For a moment you muse
|
||||
on his almost magical appearances. "The gun has recently been fired, and it
|
||||
contains traces of cheap gun powder." With that, he leaves, handing you the
|
||||
muddy handgun as he whisks away.
|
||||
It's now 9:42 p.m.
|
||||
|
||||
>SHOW THE GUN TO STILES
|
||||
|
||||
(Which gun do you mean, the muddy handgun or the snub-nosed Colt?)
|
||||
|
||||
>MUDDY
|
||||
|
||||
"I've never seen it before. Anyhow, I don't like guns."
|
||||
|
||||
>Q
|
||||
|
||||
(If you want to continue from this point at another time, you must "SUSPEND"
|
||||
first.) Do you want to stop your investigation now? (Answer YES or NO.) >YES
|
||||
|
|
@ -0,0 +1,47 @@
|
|||
"COMPILE/LOAD FILE for WITNESS
|
||||
Copyright (C) 1983 Infocom, Inc. All rights reserved."
|
||||
|
||||
<COND (<GASSIGNED? PREDGEN>
|
||||
<SETG ZSTR-ON <SETG ZSTR-OFF ,TIME>>
|
||||
<PRINC "Compiling">
|
||||
<ID 0>)
|
||||
(T <PRINC "Loading">)>
|
||||
|
||||
<PRINC " WITNESS: An INTERLOGIC Mystery
|
||||
">
|
||||
|
||||
<COND (<GASSIGNED? PREDGEN>
|
||||
<BLOAT 90000 0 0 3500 0 0 0 0 0 512>)>
|
||||
|
||||
<SET REDEFINE T>
|
||||
|
||||
<CONSTANT SERIAL 0>
|
||||
|
||||
<OR <GASSIGNED? ZILCH>
|
||||
<SETG WBREAKS <STRING !\" !,WBREAKS>>>
|
||||
|
||||
<DEFINE IFILE (STR "OPTIONAL" (FLOAD? <>) "AUX" (TIM <TIME>))
|
||||
<INSERT-FILE .STR .FLOAD?>>
|
||||
|
||||
<DIRECTIONS NORTH SOUTH EAST WEST NE NW SE SW UP DOWN IN OUT>
|
||||
|
||||
<IFILE "MACROS" T>
|
||||
<IFILE "SYNTAX" T>
|
||||
|
||||
<IFILE "PLACES" T>
|
||||
<IFILE "PEOPLE" T>
|
||||
<IFILE "THINGS" T>
|
||||
|
||||
<ENDLOAD>
|
||||
<IFILE "CLOCK" T>
|
||||
<IFILE "MAIN" T>
|
||||
<IFILE "PARSER" T>
|
||||
<IFILE "VERBS" T>
|
||||
<IFILE "EVENTS" T>
|
||||
|
||||
<PROPDEF SIZE 5>
|
||||
<PROPDEF CAPACITY 0>
|
||||
|
||||
<GC-MON T>
|
||||
<COND (<GASSIGNED? PREDGEN>
|
||||
<GC 0 T 5>)>
|
||||
|
|
@ -0,0 +1,9 @@
|
|||
|
||||
|
||||
.FUNCT PICK-ONE,FROB
|
||||
GET FROB,0
|
||||
RANDOM STACK
|
||||
GET FROB,STACK
|
||||
RSTACK
|
||||
|
||||
.ENDI
|
||||
|
|
@ -0,0 +1,133 @@
|
|||
"MACROS for WITNESS
|
||||
Copyright (c) 1983 Infocom, Inc. All rights reserved."
|
||||
|
||||
<ZSTR-OFF>
|
||||
|
||||
<SETG C-ENABLED? 0>
|
||||
<SETG C-ENABLED 1>
|
||||
<SETG C-DISABLED 0>
|
||||
|
||||
<DEFMAC TELL ("ARGS" A)
|
||||
<FORM PROG ()
|
||||
!<MAPF ,LIST
|
||||
<FUNCTION ("AUX" E P O)
|
||||
<COND (<EMPTY? .A> <MAPSTOP>)
|
||||
(<SET E <NTH .A 1>>
|
||||
<SET A <REST .A>>)>
|
||||
<COND (<TYPE? .E ATOM>
|
||||
<COND (<OR <=? <SET P <SPNAME .E>>
|
||||
"CRLF">
|
||||
<=? .P "CR">>
|
||||
<MAPRET '<CRLF>>)
|
||||
(<=? .P "V">
|
||||
<MAPRET '<VPRINT>>)
|
||||
(<=? .P "PRSO">
|
||||
<MAPRET '<PRSO-PRINT>>)
|
||||
(<=? .P "PRSI">
|
||||
<MAPRET '<PRSI-PRINT>>)
|
||||
(<=? .P "THE-PRSO">
|
||||
<MAPRET '<THE-PRSO-PRINT>>)
|
||||
(<=? .P "THE-PRSI">
|
||||
<MAPRET '<THE-PRSI-PRINT>>)
|
||||
(<EMPTY? .A>
|
||||
<ERROR INDICATOR-AT-END? .E>)
|
||||
(ELSE
|
||||
<SET O <NTH .A 1>>
|
||||
<SET A <REST .A>>
|
||||
<COND (<OR <=? <SET P <SPNAME .E>>
|
||||
"DESC">
|
||||
<=? .P "D">
|
||||
<=? .P "OBJ">
|
||||
<=? .P "O">>
|
||||
<MAPRET <FORM PRINTD .O>>)
|
||||
(<OR <=? .P "NUM">
|
||||
<=? .P "N">>
|
||||
<MAPRET <FORM PRINTN .O>>)
|
||||
(<OR <=? .P "CHAR">
|
||||
<=? .P "CHR">
|
||||
<=? .P "C">>
|
||||
<MAPRET <FORM PRINTC .O>>)
|
||||
(ELSE
|
||||
<MAPRET
|
||||
<FORM PRINT
|
||||
<FORM GETP .O .E>>>)>)>)
|
||||
(<TYPE? .E STRING ZSTRING>
|
||||
<MAPRET <FORM PRINTI .E>>)
|
||||
(<TYPE? .E FORM LVAL GVAL>
|
||||
<MAPRET <FORM PRINT .E>>)
|
||||
(ELSE <ERROR UNKNOWN-TYPE .E>)>>>>>
|
||||
|
||||
<DEFMAC VERB? ("TUPLE" ATMS "AUX" (O ()) (L ()))
|
||||
<REPEAT ()
|
||||
<COND (<EMPTY? .ATMS>
|
||||
<RETURN!- <COND (<LENGTH? .O 1> <NTH .O 1>)
|
||||
(ELSE <FORM OR !.O>)>>)>
|
||||
<REPEAT ()
|
||||
<COND (<EMPTY? .ATMS> <RETURN!->)>
|
||||
<SET ATM <NTH .ATMS 1>>
|
||||
<SET L
|
||||
(<FORM GVAL <PARSE <STRING "V?" <SPNAME .ATM>>>>
|
||||
!.L)>
|
||||
<SET ATMS <REST .ATMS>>
|
||||
<COND (<==? <LENGTH .L> 3> <RETURN!->)>>
|
||||
<SET O (<FORM EQUAL? ',PRSA !.L> !.O)>
|
||||
<SET L ()>>>
|
||||
|
||||
<DEFMAC DOBJ? ("TUPLE" ATMS "AUX" (O ()) (L ()))
|
||||
<REPEAT ()
|
||||
<COND (<EMPTY? .ATMS>
|
||||
<RETURN!- <COND (<LENGTH? .O 1> <NTH .O 1>)
|
||||
(ELSE <FORM OR !.O>)>>)>
|
||||
<REPEAT ()
|
||||
<COND (<EMPTY? .ATMS> <RETURN!->)>
|
||||
<SET ATM <NTH .ATMS 1>>
|
||||
<SET L (<FORM GVAL .ATM> !.L)>
|
||||
<SET ATMS <REST .ATMS>>
|
||||
<COND (<==? <LENGTH .L> 3> <RETURN!->)>>
|
||||
<SET O (<FORM EQUAL? ',PRSO !.L> !.O)>
|
||||
<SET L ()>>>
|
||||
|
||||
<DEFMAC IOBJ? ("TUPLE" ATMS "AUX" (O ()) (L ()))
|
||||
<REPEAT ()
|
||||
<COND (<EMPTY? .ATMS>
|
||||
<RETURN!- <COND (<LENGTH? .O 1> <NTH .O 1>)
|
||||
(ELSE <FORM OR !.O>)>>)>
|
||||
<REPEAT ()
|
||||
<COND (<EMPTY? .ATMS> <RETURN!->)>
|
||||
<SET ATM <NTH .ATMS 1>>
|
||||
<SET L (<FORM GVAL .ATM> !.L)>
|
||||
<SET ATMS <REST .ATMS>>
|
||||
<COND (<==? <LENGTH .L> 3> <RETURN!->)>>
|
||||
<SET O (<FORM EQUAL? ',PRSI !.L> !.O)>
|
||||
<SET L ()>>>
|
||||
|
||||
<DEFMAC RFATAL ()
|
||||
'<PROG () <PUSH 2> <RSTACK>>>
|
||||
|
||||
<DEFMAC PROB ('BASE? "OPTIONAL" 'LOSER?)
|
||||
<COND (<ASSIGNED? LOSER?> <FORM ZPROB .BASE?>)
|
||||
(ELSE <FORM G? .BASE? '<RANDOM 100>>)>>
|
||||
|
||||
;<ROUTINE ZPROB (BASE)
|
||||
<G? .BASE <RANDOM 100>>>
|
||||
|
||||
<ROUTINE PICK-ONE (FROB)
|
||||
<GET .FROB <RANDOM <GET .FROB 0>>>>
|
||||
|
||||
<DEFMAC ENABLE ('INT) <FORM PUT .INT ,C-ENABLED? 1>>
|
||||
|
||||
<DEFMAC DISABLE ('INT) <FORM PUT .INT ,C-ENABLED? 0>>
|
||||
|
||||
<DEFMAC FLAMING? ('OBJ)
|
||||
<FORM AND <FORM FSET? .OBJ ',FLAMEBIT>
|
||||
<FORM FSET? .OBJ ',ONBIT>>>
|
||||
|
||||
<DEFMAC OPENABLE? ('OBJ)
|
||||
<FORM OR <FORM FSET? .OBJ ',DOORBIT>
|
||||
<FORM FSET? .OBJ ',CONTBIT>>>
|
||||
|
||||
<DEFMAC ABS ('NUM)
|
||||
<FORM COND (<FORM L? .NUM 0> <FORM - 0 .NUM>)
|
||||
(T .NUM)>>
|
||||
|
||||
<ZSTR-ON>
|
||||
|
|
@ -0,0 +1,361 @@
|
|||
|
||||
|
||||
.FUNCT GO
|
||||
START::
|
||||
|
||||
?FCN: SET 'LIT,TRUE-VALUE
|
||||
SET 'SCORE,20
|
||||
SET 'WINNER,PLAYER
|
||||
SET 'HERE,DRIVEWAY-ENTRANCE
|
||||
CALL THIS-IS-IT,FRONT-DOOR
|
||||
CALL THIS-IS-S-HE,PHONG
|
||||
SET 'DIFFICULTY,DIFFICULTY-MAX
|
||||
FSET? HERE,TOUCHBIT /?CND1
|
||||
CALL QUEUE-MAIN-EVENTS
|
||||
CALL START-MOVEMENT
|
||||
CALL INTRO
|
||||
CALL V-VERSION
|
||||
CRLF
|
||||
?CND1: MOVE PLAYER,HERE
|
||||
CALL V-LOOK
|
||||
CALL MAIN-LOOP
|
||||
JUMP ?FCN
|
||||
|
||||
|
||||
.FUNCT MAIN-LOOP,ICNT,OCNT,NUM,CNT,OBJ,TBL,V,PTBL,OBJ1,TMP,?TMP1
|
||||
?PRG1: SET 'CNT,0
|
||||
SET 'OBJ,FALSE-VALUE
|
||||
SET 'PTBL,TRUE-VALUE
|
||||
EQUAL? QCONTEXT-ROOM,HERE /?CND3
|
||||
SET 'QCONTEXT,FALSE-VALUE
|
||||
?CND3: CALL PARSER >P-WON
|
||||
ZERO? P-WON /?ELS8
|
||||
GET P-PRSI,P-MATCHLEN >ICNT
|
||||
GET P-PRSO,P-MATCHLEN >OCNT
|
||||
ZERO? OCNT \?ELS13
|
||||
PUSH OCNT
|
||||
JUMP ?CND9
|
||||
?ELS13: GRTR? OCNT,1 \?ELS15
|
||||
SET 'TBL,P-PRSO
|
||||
ZERO? ICNT \?ELS18
|
||||
SET 'OBJ,FALSE-VALUE
|
||||
JUMP ?CND16
|
||||
?ELS18: GET P-PRSI,1 >OBJ
|
||||
?CND16: PUSH OCNT
|
||||
JUMP ?CND9
|
||||
?ELS15: GRTR? ICNT,1 \?ELS22
|
||||
SET 'PTBL,FALSE-VALUE
|
||||
SET 'TBL,P-PRSI
|
||||
GET P-PRSO,1 >OBJ
|
||||
PUSH ICNT
|
||||
JUMP ?CND9
|
||||
?ELS22: PUSH 1
|
||||
?CND9: SET 'NUM,STACK
|
||||
ZERO? OBJ \?CND25
|
||||
EQUAL? ICNT,1 \?CND25
|
||||
GET P-PRSI,1 >OBJ
|
||||
?CND25: EQUAL? PRSA,V?WALK \?ELS32
|
||||
CALL PERFORM,PRSA,PRSO >V
|
||||
JUMP ?CND30
|
||||
?ELS32: ZERO? NUM \?ELS34
|
||||
GETB P-SYNTAX,P-SBITS
|
||||
BAND STACK,P-SONUMS
|
||||
ZERO? STACK \?ELS37
|
||||
CALL PERFORM,PRSA >V
|
||||
SET 'PRSO,FALSE-VALUE
|
||||
JUMP ?CND30
|
||||
?ELS37: PRINTI "(There isn't anything to "
|
||||
GET P-ITBL,P-VERBN >TMP
|
||||
ZERO? P-OFLAG /?ELS44
|
||||
GET TMP,0
|
||||
PRINTB STACK
|
||||
JUMP ?CND42
|
||||
?ELS44: GETB TMP,2 >?TMP1
|
||||
GETB TMP,3
|
||||
CALL WORD-PRINT,?TMP1,STACK
|
||||
?CND42: PRINTI "!)"
|
||||
CRLF
|
||||
SET 'V,FALSE-VALUE
|
||||
JUMP ?CND30
|
||||
?ELS34: ZERO? PTBL /?ELS51
|
||||
GRTR? NUM,1 \?ELS51
|
||||
EQUAL? PRSA,V?COMPARE,V?ARREST \?ELS51
|
||||
CALL PERFORM,PRSA,OBJECT-PAIR >V
|
||||
JUMP ?CND30
|
||||
?ELS51: SET 'TMP,0
|
||||
?PRG56: IGRTR? 'CNT,NUM \?ELS60
|
||||
GRTR? TMP,0 \?REP57
|
||||
PRINTI "The other object"
|
||||
EQUAL? TMP,1 /?CND66
|
||||
PRINTI "s"
|
||||
?CND66: PRINTI " that you mentioned "
|
||||
EQUAL? TMP,1 /?ELS75
|
||||
PRINTI "are"
|
||||
JUMP ?CND73
|
||||
?ELS75: PRINTI "is"
|
||||
?CND73: PRINTI "n't here."
|
||||
CRLF
|
||||
JUMP ?REP57
|
||||
?ELS60: ZERO? PTBL /?ELS88
|
||||
GET P-PRSO,CNT >OBJ1
|
||||
JUMP ?CND86
|
||||
?ELS88: GET P-PRSI,CNT >OBJ1
|
||||
?CND86: GRTR? NUM,1 \?CND92
|
||||
EQUAL? OBJ1,NOT-HERE-OBJECT \?ELS97
|
||||
INC 'TMP
|
||||
JUMP ?PRG56
|
||||
?ELS97: EQUAL? OBJ1,PLAYER \?ELS99
|
||||
JUMP ?PRG56
|
||||
?ELS99: EQUAL? OBJ1,IT \?ELS104
|
||||
PRINTD P-IT-OBJECT
|
||||
JUMP ?CND102
|
||||
?ELS104: PRINTD OBJ1
|
||||
?CND102: PRINTI ": "
|
||||
?CND92: ZERO? PTBL /?ELS113
|
||||
PUSH OBJ1
|
||||
JUMP ?CND109
|
||||
?ELS113: PUSH OBJ
|
||||
?CND109: CALL QCONTEXT-CHECK,STACK >V
|
||||
ZERO? PTBL /?ELS121
|
||||
PUSH OBJ1
|
||||
JUMP ?CND117
|
||||
?ELS121: PUSH OBJ
|
||||
?CND117: SET '?TMP1,STACK
|
||||
ZERO? PTBL /?ELS129
|
||||
PUSH OBJ
|
||||
JUMP ?CND125
|
||||
?ELS129: PUSH OBJ1
|
||||
?CND125: CALL PERFORM,PRSA,?TMP1,STACK >V
|
||||
EQUAL? V,M-FATAL \?PRG56
|
||||
JUMP ?CND30
|
||||
?REP57:
|
||||
?CND30: EQUAL? V,M-FATAL \?CND6
|
||||
SET 'P-CONT,FALSE-VALUE
|
||||
JUMP ?CND6
|
||||
?ELS8: SET 'P-CONT,FALSE-VALUE
|
||||
?CND6: ZERO? P-WON /?PRG1
|
||||
EQUAL? PRSA,V?VERSION,V?$TANDY /?PRG1
|
||||
EQUAL? PRSA,V?DEBUG,V?$WHERE,V?RESTART /?PRG1
|
||||
EQUAL? PRSA,V?QUIT,V?$VERIFY,V?UNSCRIPT /?PRG1
|
||||
EQUAL? PRSA,V?SCRIPT,V?UNSPACE,V?SPACE /?PRG1
|
||||
EQUAL? PRSA,V?SAVE,V?TIME,V?VERBOSE /?PRG1
|
||||
EQUAL? PRSA,V?SUPER-BRIEF,V?BRIEF,V?TELL \?ELS147
|
||||
JUMP ?PRG1
|
||||
?ELS147: CALL CLOCKER >V
|
||||
JUMP ?PRG1
|
||||
|
||||
|
||||
.FUNCT QCONTEXT-CHECK,PRSO,OTHER,WHO=0,N=0
|
||||
EQUAL? PRSA,V?WHAT,V?HELP /?THN6
|
||||
EQUAL? PRSA,V?TELL-ME,V?SHOW \FALSE
|
||||
EQUAL? PRSO,PLAYER \FALSE
|
||||
?THN6: FIRST? HERE >OTHER /?KLU31
|
||||
?KLU31:
|
||||
?PRG10: ZERO? OTHER \?ELS14
|
||||
JUMP ?REP11
|
||||
?ELS14: FSET? OTHER,PERSON \?CND12
|
||||
INC 'N
|
||||
SET 'WHO,OTHER
|
||||
?CND12: NEXT? OTHER >OTHER /?KLU32
|
||||
?KLU32: JUMP ?PRG10
|
||||
?REP11: EQUAL? 1,N \?CND17
|
||||
ZERO? QCONTEXT \?CND17
|
||||
CALL SAID-TO,WHO
|
||||
?CND17: ZERO? QCONTEXT /FALSE
|
||||
IN? QCONTEXT,HERE \FALSE
|
||||
EQUAL? QCONTEXT-ROOM,HERE \FALSE
|
||||
EQUAL? WINNER,PLAYER \FALSE
|
||||
SET 'WINNER,QCONTEXT
|
||||
PRINTI "(said to "
|
||||
PRINTD QCONTEXT
|
||||
PRINTR ")"
|
||||
|
||||
|
||||
.FUNCT SAID-TO,WHO
|
||||
SET 'WINNER,WHO
|
||||
SET 'QCONTEXT,WHO
|
||||
SET 'QCONTEXT-ROOM,HERE
|
||||
RETURN QCONTEXT-ROOM
|
||||
|
||||
|
||||
.FUNCT FAKE-ORPHAN,TMP,?TMP1
|
||||
CALL ORPHAN,P-SYNTAX,FALSE-VALUE
|
||||
PRINTI "(Be specific: what object do you want to "
|
||||
GET P-OTBL,P-VERBN >TMP
|
||||
ZERO? TMP \?ELS5
|
||||
PRINTI "tell"
|
||||
JUMP ?CND3
|
||||
?ELS5: GETB P-VTBL,2
|
||||
ZERO? STACK \?ELS9
|
||||
GET TMP,0
|
||||
PRINTB STACK
|
||||
JUMP ?CND3
|
||||
?ELS9: GETB TMP,2 >?TMP1
|
||||
GETB TMP,3
|
||||
CALL WORD-PRINT,?TMP1,STACK
|
||||
PUTB P-VTBL,2,0
|
||||
?CND3: SET 'P-OFLAG,TRUE-VALUE
|
||||
SET 'P-WON,FALSE-VALUE
|
||||
PRINTR "?)"
|
||||
|
||||
|
||||
.FUNCT PERFORM,A,O=0,I=0,V,OA,OO,OI,?TMP1
|
||||
ZERO? DEBUG /?CND1
|
||||
PRINTI "[Perform: "
|
||||
PRINTN A
|
||||
ZERO? O /?CND9
|
||||
EQUAL? A,V?WALK /?CND9
|
||||
PRINTI "/"
|
||||
PRINTD O
|
||||
?CND9: ZERO? I /?CND16
|
||||
PRINTI "/"
|
||||
PRINTD I
|
||||
?CND16: PRINTI "]"
|
||||
CRLF
|
||||
?CND1: SET 'OA,PRSA
|
||||
SET 'OO,PRSO
|
||||
SET 'OI,PRSI
|
||||
SET 'PRSA,A
|
||||
EQUAL? IT,I,O \?ELS26
|
||||
EQUAL? P-IT-LOC,HERE /?ELS26
|
||||
ZERO? I \?ELS31
|
||||
CALL FAKE-ORPHAN
|
||||
RETURN 2
|
||||
?ELS31: PRINTI "(The "
|
||||
PRINTD P-IT-OBJECT
|
||||
PRINTI " isn't here!)"
|
||||
CRLF
|
||||
RETURN 2
|
||||
?ELS26: EQUAL? HIM-HER,I,O \?CND24
|
||||
CALL META-LOC,P-HIM-HER
|
||||
EQUAL? STACK,HERE /?CND24
|
||||
GETP P-HIM-HER,P?CHARACTER
|
||||
GET GLOBAL-CHARACTER-TABLE,STACK >P-HIM-HER
|
||||
?CND24: EQUAL? O,IT \?ELS44
|
||||
SET 'O,P-IT-OBJECT
|
||||
JUMP ?CND42
|
||||
?ELS44: EQUAL? O,HIM-HER \?CND42
|
||||
SET 'O,P-HIM-HER
|
||||
?CND42: EQUAL? I,IT \?ELS49
|
||||
SET 'I,P-IT-OBJECT
|
||||
JUMP ?CND47
|
||||
?ELS49: EQUAL? I,HIM-HER \?CND47
|
||||
SET 'I,P-HIM-HER
|
||||
?CND47: SET 'PRSO,O
|
||||
ZERO? PRSO /?CND52
|
||||
EQUAL? PRSA,V?WALK /?CND52
|
||||
FSET? PRSO,PERSON \?ELS59
|
||||
SET 'P-HIM-HER,PRSO
|
||||
SET 'P-HIM-HER-LOC,HERE
|
||||
JUMP ?CND52
|
||||
?ELS59: SET 'P-IT-OBJECT,PRSO
|
||||
SET 'P-IT-LOC,HERE
|
||||
?CND52: SET 'PRSI,I
|
||||
EQUAL? NOT-HERE-OBJECT,PRSO,PRSI \?ELS64
|
||||
CALL D-APPLY,STR?131,NOT-HERE-OBJECT-F >V
|
||||
ZERO? V /?ELS64
|
||||
JUMP ?CND62
|
||||
?ELS64: SET 'O,PRSO
|
||||
ZERO? O /?ELS68
|
||||
SET 'I,PRSI
|
||||
ZERO? I /?ELS68
|
||||
CALL NULL-F
|
||||
ZERO? STACK /?ELS68
|
||||
PRINTI "[in case last clause changed PRSx]"
|
||||
JUMP ?CND62
|
||||
?ELS68: GETP WINNER,P?ACTION
|
||||
CALL DD-APPLY,STR?132,WINNER,STACK >V
|
||||
ZERO? V /?ELS74
|
||||
JUMP ?CND62
|
||||
?ELS74: LOC WINNER
|
||||
GETP STACK,P?ACTION
|
||||
CALL D-APPLY,STR?133,STACK,M-BEG >V
|
||||
ZERO? V /?ELS76
|
||||
JUMP ?CND62
|
||||
?ELS76: GET PREACTIONS,A
|
||||
CALL D-APPLY,STR?134,STACK >V
|
||||
ZERO? V /?ELS78
|
||||
JUMP ?CND62
|
||||
?ELS78: ZERO? I /?ELS80
|
||||
SET 'NOW-PRSI,TRUE-VALUE
|
||||
ZERO? NOW-PRSI /?ELS80
|
||||
GETP I,P?ACTION
|
||||
CALL D-APPLY,STR?135,STACK >V
|
||||
ZERO? V /?ELS80
|
||||
JUMP ?CND62
|
||||
?ELS80: SET 'NOW-PRSI,FALSE-VALUE
|
||||
ZERO? NOW-PRSI \?ELS84
|
||||
ZERO? O /?ELS84
|
||||
EQUAL? A,V?WALK /?ELS84
|
||||
LOC O
|
||||
ZERO? STACK /?ELS84
|
||||
LOC O
|
||||
GETP STACK,P?CONTFCN
|
||||
ZERO? STACK /?ELS84
|
||||
LOC O >?TMP1
|
||||
LOC O
|
||||
GETP STACK,P?CONTFCN
|
||||
CALL DD-APPLY,STR?136,?TMP1,STACK >V
|
||||
ZERO? V /?ELS84
|
||||
JUMP ?CND62
|
||||
?ELS84: ZERO? O /?ELS88
|
||||
EQUAL? A,V?WALK /?ELS88
|
||||
GETP O,P?ACTION
|
||||
CALL D-APPLY,STR?137,STACK >V
|
||||
ZERO? V /?ELS88
|
||||
JUMP ?CND62
|
||||
?ELS88: GET ACTIONS,A
|
||||
CALL D-APPLY,FALSE-VALUE,STACK >V
|
||||
ZERO? V /?CND62
|
||||
?CND62: EQUAL? V,M-FATAL /?CND93
|
||||
LOC WINNER
|
||||
EQUAL? STACK,PRSO \?CND96
|
||||
SET 'PRSO,FALSE-VALUE
|
||||
?CND96: LOC WINNER
|
||||
GETP STACK,P?ACTION
|
||||
CALL D-APPLY,STR?138,STACK,M-END >V
|
||||
?CND93: SET 'PRSA,OA
|
||||
SET 'PRSO,OO
|
||||
SET 'PRSI,OI
|
||||
RETURN V
|
||||
|
||||
|
||||
.FUNCT DD-APPLY,STR,OBJ,FCN,FOO=0
|
||||
ZERO? DEBUG /?CND1
|
||||
PRINTI "["
|
||||
PRINTD OBJ
|
||||
PRINTI "=]"
|
||||
?CND1: CALL D-APPLY,STR,FCN,FOO
|
||||
RSTACK
|
||||
|
||||
|
||||
.FUNCT D-APPLY,STR,FCN,FOO=0,RES
|
||||
ZERO? FCN /FALSE
|
||||
ZERO? DEBUG /?CND8
|
||||
ZERO? STR \?ELS14
|
||||
PRINTI "[Action:]"
|
||||
CRLF
|
||||
JUMP ?CND8
|
||||
?ELS14: PRINTI "["
|
||||
PRINT STR
|
||||
PRINTI ": "
|
||||
?CND8: ZERO? FOO /?ELS25
|
||||
CALL FCN,FOO
|
||||
JUMP ?CND21
|
||||
?ELS25: CALL FCN
|
||||
?CND21: SET 'RES,STACK
|
||||
ZERO? DEBUG /?CND29
|
||||
ZERO? STR /?CND29
|
||||
EQUAL? RES,M-FATAL \?ELS36
|
||||
PRINTI "Fatal]"
|
||||
CRLF
|
||||
RETURN RES
|
||||
?ELS36: ZERO? RES \?ELS40
|
||||
PRINTI "Not handled]"
|
||||
CRLF
|
||||
RETURN RES
|
||||
?ELS40: PRINTI "Handled]"
|
||||
CRLF
|
||||
?CND29: RETURN RES
|
||||
|
||||
.ENDI
|
||||
|
|
@ -0,0 +1,283 @@
|
|||
"MAIN for WITNESS
|
||||
Copyright (C) 1983 Infocom, Inc. All rights reserved."
|
||||
|
||||
<GLOBAL P-WON <>>
|
||||
|
||||
<CONSTANT M-FATAL 2>
|
||||
|
||||
<CONSTANT M-HANDLED 1>
|
||||
|
||||
<CONSTANT M-NOT-HANDLED <>>
|
||||
|
||||
<CONSTANT M-BEG 1>
|
||||
|
||||
<CONSTANT M-END 6>
|
||||
|
||||
<CONSTANT M-ENTER 2>
|
||||
|
||||
<CONSTANT M-LOOK 3>
|
||||
|
||||
<CONSTANT M-FLASH 4>
|
||||
|
||||
<CONSTANT M-OBJDESC 5>
|
||||
|
||||
<ROUTINE GO ()
|
||||
<PUTB ,P-LEXV 0 59>
|
||||
<SETG LIT T>
|
||||
<SETG SCORE 20>
|
||||
<SETG WINNER ,PLAYER>
|
||||
<SETG HERE ,DRIVEWAY-ENTRANCE>
|
||||
<THIS-IS-IT ,FRONT-DOOR>
|
||||
<THIS-IS-S-HE ,PHONG>
|
||||
<SETG DIFFICULTY ,DIFFICULTY-MAX>
|
||||
<COND (<NOT <FSET? ,HERE ,TOUCHBIT>>
|
||||
<QUEUE-MAIN-EVENTS>
|
||||
<START-MOVEMENT>
|
||||
<INTRO>
|
||||
<V-VERSION>
|
||||
<CRLF>)>
|
||||
<MOVE ,PLAYER ,HERE>
|
||||
<V-LOOK>
|
||||
<MAIN-LOOP>
|
||||
<AGAIN>>
|
||||
|
||||
|
||||
<ROUTINE MAIN-LOOP ("AUX" TRASH)
|
||||
<REPEAT ()
|
||||
<SET TRASH <MAIN-LOOP-1>>>>
|
||||
|
||||
<ROUTINE MAIN-LOOP-1 ("AUX" ICNT OCNT NUM CNT OBJ TBL V PTBL OBJ1 TMP)
|
||||
#DECL ((CNT OCNT ICNT NUM) FIX (V) <OR 'T FIX FALSE> (OBJ)<OR FALSE OBJECT>
|
||||
(OBJ1) OBJECT (TBL) TABLE (PTBL) <OR FALSE ATOM>)
|
||||
<SET CNT 0>
|
||||
<SET OBJ <>>
|
||||
<SET PTBL T>
|
||||
<COND (<NOT <==? ,QCONTEXT-ROOM ,HERE>>
|
||||
<SETG QCONTEXT <>>)>
|
||||
<COND (<SETG P-WON <PARSER>>
|
||||
<SET ICNT <GET ,P-PRSI ,P-MATCHLEN>>
|
||||
<SET NUM
|
||||
<COND (<0? <SET OCNT <GET ,P-PRSO ,P-MATCHLEN>>> .OCNT)
|
||||
(<G? .OCNT 1>
|
||||
<SET TBL ,P-PRSO>
|
||||
<COND (<0? .ICNT> <SET OBJ <>>)
|
||||
(T <SET OBJ <GET ,P-PRSI 1>>)>
|
||||
.OCNT)
|
||||
(<G? .ICNT 1>
|
||||
<SET PTBL <>>
|
||||
<SET TBL ,P-PRSI>
|
||||
<SET OBJ <GET ,P-PRSO 1>>
|
||||
.ICNT)
|
||||
(T 1)>>
|
||||
<COND (<AND <NOT .OBJ> <1? .ICNT>> <SET OBJ <GET ,P-PRSI 1>>)>
|
||||
<COND (<==? ,PRSA ,V?WALK>
|
||||
<SET V <PERFORM ,PRSA ,PRSO>>)
|
||||
(<0? .NUM>
|
||||
<COND (<0? <BAND <GETB ,P-SYNTAX ,P-SBITS> ,P-SONUMS>>
|
||||
<SET V <PERFORM ,PRSA>>
|
||||
<SETG PRSO <>>)
|
||||
(T
|
||||
<TELL "(There isn't anything to ">
|
||||
<SET TMP <GET ,P-ITBL ,P-VERBN>>
|
||||
<COND (,P-OFLAG
|
||||
<PRINTB <GET .TMP 0>>)
|
||||
(T
|
||||
<WORD-PRINT <GETB .TMP 2> <GETB .TMP 3>>)>
|
||||
<TELL "!)" CR>
|
||||
<SET V <>>)>)
|
||||
(<AND .PTBL <G? .NUM 1> <VERB? ARREST COMPARE>>
|
||||
<SET V <PERFORM ,PRSA ,OBJECT-PAIR>>)
|
||||
(T
|
||||
<SET TMP 0>
|
||||
<REPEAT ()
|
||||
<COND (<G? <SET CNT <+ .CNT 1>> .NUM>
|
||||
<COND (<G? .TMP 0>
|
||||
<TELL "The other object">
|
||||
<COND (<NOT <EQUAL? .TMP 1>>
|
||||
<TELL "s">)>
|
||||
<TELL " that you mentioned ">
|
||||
<COND (<NOT <EQUAL? .TMP 1>>
|
||||
<TELL "are">)
|
||||
(T <TELL "is">)>
|
||||
<TELL "n't here." CR>)>
|
||||
<RETURN>)
|
||||
(T
|
||||
<COND (.PTBL <SET OBJ1 <GET ,P-PRSO .CNT>>)
|
||||
(T <SET OBJ1 <GET ,P-PRSI .CNT>>)>
|
||||
<COND (<G? .NUM 1>
|
||||
<COND (<==? .OBJ1 ,NOT-HERE-OBJECT>
|
||||
<SET TMP <+ .TMP 1>>
|
||||
<AGAIN>)
|
||||
(<==? .OBJ1 ,PLAYER> <AGAIN>)
|
||||
;(<FSET? .OBJ1 ,DUPLICATE> <AGAIN>)
|
||||
(T
|
||||
<COND (<EQUAL? .OBJ1 ,IT>
|
||||
<PRINTD ,P-IT-OBJECT>)
|
||||
(T <PRINTD .OBJ1>)>
|
||||
<TELL ": ">)>)>
|
||||
<SET V <QCONTEXT-CHECK <COND (.PTBL .OBJ1)
|
||||
(T .OBJ)>>>
|
||||
<SET V
|
||||
<PERFORM ,PRSA ;"? SETG PRSx to these?"
|
||||
<COND (.PTBL .OBJ1) (T .OBJ)>
|
||||
<COND (.PTBL .OBJ)(T .OBJ1)>>>
|
||||
<COND (<==? .V ,M-FATAL> <RETURN>)>)>>)>
|
||||
<COND (<==? .V ,M-FATAL> <SETG P-CONT <>>)>)
|
||||
(T
|
||||
<SETG P-CONT <>>)>
|
||||
<COND (,P-WON
|
||||
<COND (<VERB? TELL BRIEF SUPER-BRIEF VERBOSE TIME SAVE
|
||||
SPACE UNSPACE SCRIPT UNSCRIPT $VERIFY
|
||||
QUIT RESTART $WHERE DEBUG $TANDY
|
||||
;"DIAGNOSE INVENTORY SCORE" VERSION> T)
|
||||
(T <SET V <CLOCKER>>)>)>>
|
||||
|
||||
<ROUTINE QCONTEXT-CHECK (PRSO "AUX" OTHER (WHO <>) (N 0))
|
||||
<COND (<OR <VERB? ;FIND HELP WHAT>
|
||||
<AND <VERB? SHOW TELL-ME> <==? .PRSO ,PLAYER>>> ;"? more?"
|
||||
<SET OTHER <FIRST? ,HERE>>
|
||||
<REPEAT ()
|
||||
<COND (<NOT .OTHER> <RETURN>)
|
||||
(<FSET? .OTHER ,PERSON>
|
||||
<SET N <+ 1 .N>>
|
||||
<SET WHO .OTHER>)>
|
||||
<SET OTHER <NEXT? .OTHER>>>
|
||||
<COND (<AND <==? 1 .N> <NOT ,QCONTEXT>>
|
||||
<SAID-TO .WHO>)>
|
||||
<COND (<AND ,QCONTEXT
|
||||
<IN? ,QCONTEXT ,HERE>
|
||||
<==? ,QCONTEXT-ROOM ,HERE>
|
||||
<==? ,WINNER ,PLAYER>> ;"? more?"
|
||||
<SETG WINNER ,QCONTEXT>
|
||||
<TELL "(said to " D ,QCONTEXT ")" CR>)>)>>
|
||||
|
||||
<ROUTINE SAID-TO (WHO)
|
||||
<SETG WINNER .WHO>
|
||||
<SETG QCONTEXT .WHO>
|
||||
<SETG QCONTEXT-ROOM ,HERE>>
|
||||
|
||||
"<GLOBAL L-PRSA <>>
|
||||
|
||||
<GLOBAL L-PRSO <>>
|
||||
|
||||
<GLOBAL L-PRSI <>>"
|
||||
|
||||
<ROUTINE FAKE-ORPHAN ("AUX" TMP)
|
||||
<ORPHAN ,P-SYNTAX <>>
|
||||
<TELL "(Be specific: what object do you want to ">
|
||||
<SET TMP <GET ,P-OTBL ,P-VERBN>>
|
||||
<COND (<==? .TMP 0> <TELL "tell">)
|
||||
(<0? <GETB ,P-VTBL 2>>
|
||||
<PRINTB <GET .TMP 0>>)
|
||||
(T
|
||||
<WORD-PRINT <GETB .TMP 2> <GETB .TMP 3>>
|
||||
<PUTB ,P-VTBL 2 0>)>
|
||||
<SETG P-OFLAG T>
|
||||
<SETG P-WON <>>
|
||||
<TELL "?)" CR>>
|
||||
|
||||
<GLOBAL NOW-PRSI <>>
|
||||
|
||||
<ROUTINE PERFORM (A "OPTIONAL" (O <>) (I <>) "AUX" V OA OO OI)
|
||||
#DECL ((A) FIX (O) <OR FALSE OBJECT FIX> (I) <OR FALSE OBJECT> (V)ANY)
|
||||
<COND (,DEBUG
|
||||
<TELL "[Perform: ">
|
||||
%<COND (<GASSIGNED? PREDGEN> '<TELL N .A>)
|
||||
(T '<PRINC <NTH ,ACTIONS <+ <* .A 2> 1>>>)>
|
||||
<COND (<AND .O <NOT <==? .A ,V?WALK>>>
|
||||
<TELL "/" D .O>)>
|
||||
<COND (.I <TELL "/" D .I>)>
|
||||
<TELL "]" CR>)>
|
||||
<SET OA ,PRSA>
|
||||
<SET OO ,PRSO>
|
||||
<SET OI ,PRSI>
|
||||
<SETG PRSA .A>
|
||||
<COND (<NOT <EQUAL? .A ,V?WALK>>
|
||||
<COND (<AND <EQUAL? ,IT .I .O>
|
||||
<NOT <EQUAL? ,P-IT-LOC ,HERE>>>
|
||||
<COND (<NOT .I> <FAKE-ORPHAN>)
|
||||
(T
|
||||
<TELL "(The " D ,P-IT-OBJECT " isn't here!)" CR>)>
|
||||
<RFATAL>)
|
||||
(<AND <EQUAL? ,HIM-HER .I .O>
|
||||
<NOT <EQUAL? <META-LOC ,P-HIM-HER> ,HERE>>>
|
||||
<SETG P-HIM-HER <GET ,GLOBAL-CHARACTER-TABLE
|
||||
<GETP ,P-HIM-HER ,P?CHARACTER>>>)>)>
|
||||
<COND (<==? .O ,IT> <SET O ,P-IT-OBJECT>)
|
||||
(<==? .O ,HIM-HER> <SET O ,P-HIM-HER>)>
|
||||
<COND (<==? .I ,IT> <SET I ,P-IT-OBJECT>)
|
||||
(<==? .I ,HIM-HER> <SET I ,P-HIM-HER>)>
|
||||
<SETG PRSO .O>
|
||||
<COND (<AND ,PRSO <NOT <VERB? WALK>>>
|
||||
<COND (<FSET? ,PRSO ,PERSON>
|
||||
<SETG P-HIM-HER ,PRSO>
|
||||
<SETG P-HIM-HER-LOC ,HERE>)
|
||||
(T
|
||||
<SETG P-IT-OBJECT ,PRSO>
|
||||
<SETG P-IT-LOC ,HERE>)>)>
|
||||
<SETG PRSI .I>
|
||||
;<COND (<NOT <==? .A ,V?AGAIN>>
|
||||
<SETG L-PRSA .A>
|
||||
<COND (<==? .A ,V?WALK> <SETG L-PRSO <>>)
|
||||
(T <SETG L-PRSO .O>)>
|
||||
<SETG L-PRSI .I>)>
|
||||
<COND (<AND <EQUAL? ,NOT-HERE-OBJECT ,PRSO ,PRSI>
|
||||
<SET V <D-APPLY "Not Here" ,NOT-HERE-OBJECT-F>>> .V)
|
||||
(<AND <SET O ,PRSO> <SET I ,PRSI> <NULL-F>>
|
||||
<TELL "[in case last clause changed PRSx]">)
|
||||
(<SET V <DD-APPLY "Actor" ,WINNER <GETP ,WINNER ,P?ACTION>>> .V)
|
||||
(<SET V <D-APPLY "Room (M-BEG)"
|
||||
<GETP <LOC ,WINNER> ,P?ACTION>
|
||||
,M-BEG>> .V)
|
||||
(<SET V <D-APPLY "Preaction"
|
||||
<GET ,PREACTIONS .A>>> .V)
|
||||
(<AND .I
|
||||
<SETG NOW-PRSI T>
|
||||
<SET V <D-APPLY "PRSI" <GETP .I ,P?ACTION>>>>
|
||||
.V)
|
||||
(<AND <NOT <SETG NOW-PRSI <>>>
|
||||
.O
|
||||
<NOT <==? .A ,V?WALK>>
|
||||
<LOC .O>
|
||||
<GETP <LOC .O> ,P?CONTFCN>
|
||||
<SET V <DD-APPLY "Container" <LOC .O>
|
||||
<GETP <LOC .O> ,P?CONTFCN>>>>
|
||||
.V)
|
||||
(<AND .O
|
||||
<NOT <==? .A ,V?WALK>>
|
||||
<SET V <D-APPLY "PRSO"
|
||||
<GETP .O ,P?ACTION>>>>
|
||||
.V)
|
||||
(<SET V <D-APPLY <>
|
||||
<GET ,ACTIONS .A>>> .V)>
|
||||
<COND (<NOT <==? .V ,M-FATAL>>
|
||||
<COND (<==? <LOC ,WINNER> ,PRSO> ;"was not in compiled PERFORM"
|
||||
<SETG PRSO <>>)>
|
||||
<SET V <D-APPLY "Room (M-END)"
|
||||
<GETP <LOC ,WINNER> ,P?ACTION> ,M-END>>)>
|
||||
<SETG PRSA .OA>
|
||||
<SETG PRSO .OO>
|
||||
<SETG PRSI .OI>
|
||||
.V>
|
||||
|
||||
<ROUTINE DD-APPLY (STR OBJ FCN "OPTIONAL" (FOO <>))
|
||||
<COND (,DEBUG <TELL "[" D .OBJ "=]">)>
|
||||
<D-APPLY .STR .FCN .FOO>>
|
||||
|
||||
<ROUTINE D-APPLY (STR FCN "OPTIONAL" (FOO <>) "AUX" RES)
|
||||
<COND (<NOT .FCN> <>)
|
||||
(T
|
||||
<COND (,DEBUG
|
||||
<COND (<NOT .STR>
|
||||
<TELL "[Action:]" CR>)
|
||||
(T <TELL "[" .STR ": ">)>)>
|
||||
<SET RES
|
||||
<COND (.FOO <APPLY .FCN .FOO>)
|
||||
(T <APPLY .FCN>)>>
|
||||
<COND (<AND ,DEBUG .STR>
|
||||
<COND (<==? .RES ,M-FATAL>
|
||||
<TELL "Fatal]" CR>)
|
||||
(<NOT .RES>
|
||||
<TELL "Not handled]" CR>)
|
||||
(T <TELL "Handled]" CR>)>)>
|
||||
.RES)>>
|
||||
|
|
@ -0,0 +1,90 @@
|
|||
@style(spacing 1)
|
||||
@title(WITNESS Game Package)
|
||||
@pageheading(DRAFT)
|
||||
@majorheading(WITNESS Game Package)
|
||||
@heading(Telegram:)
|
||||
|
||||
LK 9893B AL;K3O9U @*
|
||||
1938 FEB 18 233PM @*
|
||||
=CHIEF DETECTIVE, HOMICIDE DIV, POLICE DEPT, CABEZA PLANA, CALIF @*
|
||||
URGENTLY REQUEST YOUR ASSISTANCE.
|
||||
BELIEVE STILES ENDANGERS MY LIFE. PLEASE COME TO 4986 LYMAN DRIVE AT EIGHT
|
||||
THIS
|
||||
EVENING. -FREEMAN LINDER.
|
||||
|
||||
@heading(Newspaper Story:)
|
||||
|
||||
@center(FREEMAN LINDER RECEIVES AWARD)
|
||||
|
||||
Freeman Linder, president and chairman of Pacific Trade Associates
|
||||
Inc., received an award as "Goodwill Ambassador of the Year" from the
|
||||
Valley Asian-American Friendship Club at its dinner meeting
|
||||
Thursday night. Mr@. Linder was honored "for his long and
|
||||
energetic service in the cause of peace and friendship between
|
||||
the peoples of Asia and America."
|
||||
|
||||
In receiving the award Mr@. Linder gave a talk about his career
|
||||
and the changes he has seen in Asian-American relations. After
|
||||
quitting an engineering major in college to serve in the Marines in 1898,
|
||||
he was
|
||||
stationed in Shanghai during the "Boxer Rebellion" of 1900.
|
||||
When his term of service ended, he remained in Asia, travelling in China and
|
||||
Japan, and supporting himself as a free-lance engineering consultant,
|
||||
much like former President Hoover.
|
||||
|
||||
In 1910 he returned to the States, married, and tried to settle
|
||||
down in a job with an engineering company. However, he found his
|
||||
opportunities for advancement limited by the lack of a formal degree,
|
||||
so he signed on as a civilian engineer for the Japanese military
|
||||
during the World War.
|
||||
|
||||
After the Armistice, he
|
||||
founded Pacific Trade Associates, an
|
||||
export-import agency with its first offices in Tokyo and Los
|
||||
Angeles. His business grew rapidly with the general increase in
|
||||
trans-Pacific trade, and eventually it opened additional offices
|
||||
in Hong Kong and Singapore. He acquired a cosmopolitan
|
||||
knowledge of Asian cultures through his business contacts, and
|
||||
his talk included amusing anecdotes of culture shock on the part
|
||||
of both himself and others.
|
||||
(continued on page 69)
|
||||
|
||||
@heading(Another Newspaper Story:)
|
||||
|
||||
@center[VIRGINIA (CLAYTON) LINDER, 49]
|
||||
|
||||
Mrs@. Virginia F@. Linder (nee Clayton), 49, of 4986 Lyman Drive,
|
||||
Cabeza Plana, died Tuesday at Valley General Hospital of a gunshot
|
||||
wound. Police are investigating the circumstances of the shooting,
|
||||
but they have made no arrests. Mrs@. Linder is survived by her
|
||||
husband Freeman, president of Pacific Trade Associates, and her
|
||||
daughter Monica, a mechanical engineer employed by North American Aviation.
|
||||
A private memorial service will be held next Tuesday.
|
||||
The family requests that donations in lieu of flowers be made
|
||||
to ...
|
||||
(continued on page 105)
|
||||
|
||||
@heading(Matchbook)
|
||||
|
||||
As the story begins, you find a matchbook on the curb.
|
||||
G/R will create a custom matchbook with the name of a restaurant, like
|
||||
'The Brass Lantern'. The matches may be all gone, but there will be a
|
||||
phone number written on the inside flap, like Chandler 1729.
|
||||
|
||||
@heading(Mrs Linder's Suicide Note:)
|
||||
|
||||
Dear Monica,
|
||||
|
||||
By the time you find this note, you will know that I can't bear
|
||||
to live any more, with or without your father. If he had paid either more
|
||||
attention to me as a person, or less attention to me as a woman,
|
||||
I think none of this trouble would have come to us.
|
||||
You can't blame Ralph -- if he hadn't come along, someone else would.
|
||||
You have been such a comfort to me,
|
||||
but even you couldn't make up for my rotten marriage. If only I hadn't felt like a widow
|
||||
for so long. . . But there are already too many "ifs" in my story.
|
||||
There will be no "if" about the end of it, thanks to the hardware
|
||||
your father got for my "protection". This is the end of the battles and
|
||||
the bitterness. This should be a new beginning for you.
|
||||
|
||||
-- Mother.
|
||||
File diff suppressed because it is too large
Load Diff
File diff suppressed because it is too large
Load Diff
File diff suppressed because it is too large
Load Diff
|
|
@ -0,0 +1,366 @@
|
|||
You think it over. You realize that this arrest is pretty far-fetched. It could only mean humiliation for you.
|
||||
That's too many things to compare all at once!
|
||||
What, and let down the Police Department track and field team?!
|
||||
You're already sitting down.
|
||||
You'd do a much better job if you stood up.
|
||||
You're already hiding.
|
||||
You can't do that while you're hiding.
|
||||
"Excuse me, sir," says Phong, "but the detective has arrived."
|
||||
Phong is lying on the bed,
|
||||
reading a book.
|
||||
meditating.
|
||||
Phong is here,
|
||||
.
|
||||
Phong is gazing out the window.
|
||||
Phong is waiting for you to do something.
|
||||
Phong is here,
|
||||
.
|
||||
"No, I must be careful about that."
|
||||
"You'll have to ask Mr. Linder about that."
|
||||
"I don't have the key for the clock."
|
||||
"Okey."
|
||||
"Okey."
|
||||
"What are you talking about?" He looks frightened.
|
||||
"It's true I helped set you up for deception with the guns. But only because Mr. Linder asked me to! He said he wanted to frighten Stiles. He wasn't supposed to be killed! Monica must have muffed it. Or else ... could she ...?" He looks confused and angry.
|
||||
"I don't see why you're accusing me!
|
||||
Sure, I was in the yard, because
|
||||
I thought I heard a noise outside and went out to investigate.
|
||||
It's part of my job, you know."
|
||||
"I don't see why you're accusing me!
|
||||
You should ask Monica about those guns."
|
||||
"You haven't a clue, and you know it!"
|
||||
"That's my butler's button, of course."
|
||||
"I didn't think you had any interest in gardening! Those little babies are the best thing for the clay soil around here. You can just order them by mail and open them up when they arrive."
|
||||
"I don't have one, if that's what you mean."
|
||||
"Oh, Monica wired the house for butler's buttons."
|
||||
"Oh, Monica wired the windows with burglar alarms."
|
||||
"There's wire all over the house. You'll have to ask Monica."
|
||||
"I have the keys for all the doors in the house."
|
||||
"Don't you remember? I gave you all the keys I have."
|
||||
"That looks like the key to Mr. Linder's clock."
|
||||
"There's only one key to Mr. Linder's clock. I think he keeps it in the office somewhere."
|
||||
"That man is a marvel. Always seems to have several deals going at once. I don't know how he does it." Linder beams with self-pride.
|
||||
"Frankly, Detective, I can't say I
|
||||
'm sorry he's dead
|
||||
. He always promised me wealth here in America, but I've never seen it. I could
|
||||
have managed
|
||||
the Asian branch of his business if he'd let me. If I had any money, I'd quit on the spot and return home."
|
||||
"Frankly, Detective, I can't say I
|
||||
like him much
|
||||
. He always promised me wealth here in America, but I've never seen it. I could
|
||||
manage
|
||||
the Asian branch of his business if he'd let me. If I had any money, I'd quit on the spot and return home."
|
||||
"She's an intelligent girl. Mr. Linder is very proud of her, but I think she acts too much like a man.
|
||||
She really muffed it this time.
|
||||
"
|
||||
"If only Mr. Linder had been home more, he could have kept her in line."
|
||||
"Mr. Linder brought me here from Asia, to help manage his business and run his house. I guess I do more running than managing. If I can help you, just push the button anywhere in the house."
|
||||
"I was in the kitchen and heard a sound like a gunshot, so I ran to the office and found you and Mr. Linder. You were closer to it than I was."
|
||||
"He used to come around here now and then, when Mr. Linder was away. I never thought much about it until the fighting between Mr. and Mrs. got bad, just before Mrs. Linder passed on." He pauses. "I think Mr. Linder has been calling him on the telephone a lot lately."
|
||||
"Everyone was sad about that. Mr. Linder just threw himself into his work, as usual. Monica was terribly depressed, didn't even come out of her room for a long time. I doubt she'll ever get over it."
|
||||
"Mr. Linder probably kept it in his bank safe. I've never seen it."
|
||||
"You'll have to ask Mr. Linder about that."
|
||||
"What can I tell you? That's a 'flathead broom,' invented by your American Shakers, I believe."
|
||||
He seems surprised. "Uh, that was just some door-to-door salesman."
|
||||
"Yes, I think Monica bought those, using some other name."
|
||||
"I've heard Mr. Linder mention that restaurant.
|
||||
But I don't recognize the phone number."
|
||||
"I've heard Mr. Linder mention that restaurant.
|
||||
"
|
||||
Phong looks surprised but not alarmed. "This is the first I've heard of this."
|
||||
"Those are my gardening boots. They're muddy because, while you were in the office,
|
||||
I thought I heard a noise outside and went out to investigate.
|
||||
"
|
||||
"I might as well tell you: Mr. Linder concocted this scheme to frighten Stiles, and he got Monica and me to help him. But he was supposed to be only wounded, not killed!"
|
||||
Phong seems shaken, but all he says is,
|
||||
"That's my butler's button, of course."
|
||||
"Mr. Linder has a certain fondness for elaborate things like that."
|
||||
"If it's dust you're after, I plead guilty to plenty of it."
|
||||
"Oh, I guess that's part of the burglar alarm."
|
||||
"It's a mystery called 'Deadline.' Monica recommended it to me."
|
||||
"Yes, that's the telegram Mr. Linder sent this morning."
|
||||
"Yes, now you know that Mr. Linder forged that note. Stiles didn't send it to him."
|
||||
"Yes, that's the note that Stiles sent to Mr. Linder."
|
||||
"I'm sorry, Detective, but I can't help you."
|
||||
Phong looks offended. "I'm quite capable by myself, you know."
|
||||
You find a
|
||||
in Phong's pocket and take it.
|
||||
Phong's smile disappears and his body shifts subtly toward a fighting stance. "I don't think you really want to try that, Detective."
|
||||
"Here, you may as well take them. I don't see how Mr. Linder can object now."
|
||||
"I don't think Mr. Linder would like that."
|
||||
Linder is pacing back and forth.
|
||||
Linder is sitting on the
|
||||
.
|
||||
"I don't need Phong yet."
|
||||
Linder looks at his wrist watch and says, "I have
|
||||
"
|
||||
"Don't tell me what to do!"
|
||||
"That's the butler's button, of course."
|
||||
"Yes, Monica wired
|
||||
the whole house for butler's buttons.
|
||||
With all modesty, I think she's quite a mechanic."
|
||||
"Yes, Monica wired
|
||||
all the windows for burglars.
|
||||
With all modesty, I think she's quite a mechanic."
|
||||
"That's Monica's territory. I don't interfere."
|
||||
"What phone call? I haven't talked with Stiles since my wife's death. I'm really afraid he wants to do me in."
|
||||
"Phong keeps the house keys for me."
|
||||
"You've probably read about me in the papers. In fact they just published something about me when I won that award. And I've heard lots about you. That's why I asked you here."
|
||||
"It's still too painful for me to talk about, I'm afraid."
|
||||
"Money?! I asked you here to prevent a crime. I hope you're not thinking of some outlandish fee!"
|
||||
"She's a loyal and intelligent girl. I'm very proud of her."
|
||||
"He and I go back a long time. Met in Asia, you know. And since I spend as much time there as here, he takes care of the house for me. A fine fellow, and I trust him implicitly."
|
||||
"All I know about Stiles is that he's a writer of some kind, and sometimes he plays bit parts in films. I've never really met the man."
|
||||
"I'll explain all that shortly, after I finish this drink."
|
||||
"My friend Klutz, the Police Chief, recommended you to me."
|
||||
"That has nothing to do with why I asked you here."
|
||||
"Oh, Phong must have left it there after cleaning up."
|
||||
"I found that in an obscure but wealthy estate in Asia during the war and brought it home as booty. Sitting in it makes me feel like an 'Oriental Potentate.'"
|
||||
"She's Monica's cat. You'd do better to ask her."
|
||||
"I've always admired elaborate machines, and that's the finest example I could hope to own."
|
||||
"I didn't ask you here so you could search the house!"
|
||||
"I think Phong goes there sometimes. I've never been there myself." He almost flinched before answering, but now he's as smooth as ever.
|
||||
"I already told you that I haven't seen it before."
|
||||
Linder looks surprised and a bit alarmed. "This is the first I've heard of this. I don't know why my doctor didn't tell me about it."
|
||||
"That's the butler's button, of course."
|
||||
"I wish you wouldn't meddle in my files while we're trying to talk."
|
||||
"Oh, uh, that's part of the burglar alarm."
|
||||
"Yes, that's the telegram I sent this morning."
|
||||
"Yes, that's the note that Stiles sent to me."
|
||||
Linder looks bewildered, almost alarmed. "Whatever do you have in mind?"
|
||||
Many have tried, but none has succeeded.
|
||||
Many have tried, but none has succeeded.
|
||||
Stiles is waiting for you to say something.
|
||||
The visitor is in a hurry.
|
||||
Sgt. Duffy is leading Stiles by the handcuffs.
|
||||
Stiles is fastened to the davenport,
|
||||
looking sullen.
|
||||
Stiles is fastened to the davenport,
|
||||
yawning and trying not to doze off.
|
||||
Sgt. Duffy is holding a prisoner by the arm.
|
||||
"I wouldn't tell you even if I knew."
|
||||
"I've never seen you before."
|
||||
"Linder phoned me today and almost commanded me to come here tonight to talk about our deal. Last time, he at least was decent enough to buy me lunch. He
|
||||
said he wanted to pay me a bundle to leave town."
|
||||
"Is that your man? When I came running out of the woods, he grabbed me as if I was some kind of criminal. He wouldn't let me go! So here I am."
|
||||
"Don't ask me. I never touch them."
|
||||
"What about them? They're muddy because I had to run through the yard and woods to get away from the shooting."
|
||||
"I don't get it. I think he's more dangerous than I am!"
|
||||
"Yeah, Linder
|
||||
said he wanted to pay me a bundle to leave town."
|
||||
"She's probably just another dizzy dame, but I don't really know her well enough to say."
|
||||
"Virginia was a special woman. Repressed for years. I think that, if only ... Say, I don't have to answer your questions!"
|
||||
"He's a smooth operator. I can think of many people who'd like to plug him. Not me, of course. I still don't understand why he sounded so urgent when he called me today and asked me to come here tonight."
|
||||
"He seems straight, but I don't really trust slanteyes."
|
||||
"I was just walking up to Linder's office when there was this explosion and the window fell apart. 'Holy jumping catfish!' I thought, 'Someone took a shot at me!' So I ran to the gate, but it was locked. The only way out I could see was through the woods."
|
||||
"There's not much to tell. I'm a writer, but that doesn't take you far these days. So I do some film work on the side. Some day my agent will wise up and find me a decent publisher."
|
||||
"I've never seen it before. Anyhow, I don't like guns."
|
||||
"That's my phone number! Linder must have jotted it down the day we had lunch at that restaurant,
|
||||
when he first offered me money to leave town."
|
||||
"I think that's the name of the restaurant where Linder took me to lunch,
|
||||
when he first offered me money to leave town."
|
||||
"So the old man was on the way out, eh? Wish I'd known that." He pauses. "I mean, I could have taken his money and blown town until he kicked the bucket, then come back. Too late now."
|
||||
"Holy smoke! That sort of looks like my writing, but I didn't write it."
|
||||
When you try it, he whirls around in a fighting stance. "Don't mess around with me, buddy. I've handled thieves before."
|
||||
Stiles
|
||||
's eyes are full of hate, and
|
||||
he says something unprintable.
|
||||
There's no need. Duffy's cuffs are secure enough.
|
||||
Your key won't fit the cuffs.
|
||||
Your key won't fit the cuffs.
|
||||
The shoes don't seem to match
|
||||
the foot prints that you found in the
|
||||
side yard.
|
||||
The shoes and the foot prints match each other perfectly.
|
||||
The shoes look similar to
|
||||
the foot prints that you found in the
|
||||
back yard.
|
||||
Monica is fastened to the
|
||||
with the
|
||||
.
|
||||
Monica is lying on her bed, softly sobbing.
|
||||
Monica is leaning over the toilet, gasping.
|
||||
Monica is here, biting her nails.
|
||||
Monica
|
||||
stops talking and
|
||||
looks at you sharply.
|
||||
"Why should I?"
|
||||
"What murder? What are you talking about?" Her cheeks quiver like jelly.
|
||||
"You were there when it happened. Isn't it obvious that Stiles did it?"
|
||||
"It's true I helped set up the gun mechanism. But Dad was already dying! You can find the medical report on the desk
|
||||
here
|
||||
in my room. He was ... dying ..." She breaks down in tears.
|
||||
"I've told you already: he was dying!" Tears dribble down her cheeks.
|
||||
"I don't understand! I believed that medical report, and I don't know why the doctor lied to me about the tumor. You think I wanted to murder my own father? I thought he was dying already!" Her eyes are pleading with you now, begging you to believe her.
|
||||
"That has nothing to do with why Dad asked you here."
|
||||
"That's the butler's button, you cheesehead."
|
||||
"I have nothing to say to you about that."
|
||||
"That bell system is just one of the features I've put in this house. Beyond your imagination, probably."
|
||||
"That alarm system is another of the features I've put in this house. You probably know the kind of low-life that would try to break in here."
|
||||
"You want wire? You can find all kinds
|
||||
here
|
||||
in the workshop."
|
||||
"I have no secrets. Anyone can see what I am."
|
||||
"Phong keeps the house keys. Ask him."
|
||||
"What can I say? He
|
||||
wa
|
||||
s my father, a hard-working, clever man."
|
||||
"What can I say? He
|
||||
'
|
||||
s my father, a hard-working, clever man."
|
||||
She rambles a bit, as if dreaming. "To be honest, I feel relieved ... that he's met his Maker. Now I won't feel as if I'm under his thumb when he's home. He really treated all of us like ... his property, even Mother. I guess I'm an orphan now, but ... "
|
||||
She seems to remember who you are, then clams up.
|
||||
"Oh, I can tell you lots about him. Do you want to know if he was a good husband? A good father? Anything but a selfish ..."
|
||||
She seems to remember who you are, then clams up.
|
||||
"That's between Mother and me."
|
||||
"She was the most noble woman I've ever known. Did her best to be a 'good wife' even though she was alone so much. No one understood her as I did, certainly not Father. Sometimes I feel I could just ..." She slams a clenched fist into her palm.
|
||||
She seems to remember who you are, then clams up.
|
||||
"What do you think this is, a cheap whodunit?"
|
||||
"Isn't it obvious? That bastard Stiles squibbed him off!"
|
||||
"He's a right gee, no matter what some people say about his race."
|
||||
"That poor bastard. First he fell in love with Mother, a married woman; then he actually trusted her husband. I don't know what he uses for brains."
|
||||
"That bastard who killed Dad? I'd spit in his face if it was worth the trouble."
|
||||
"Oh, that lover boy thinks he's a smooth apple, all right. If you ask me, he's just a harmless grifter."
|
||||
"I don't know anything about you, but I hope you can help Dad."
|
||||
"I don't want to talk about it."
|
||||
"Terry's a good friend of mine, that's all."
|
||||
"Dad kept it in his bank safe. I'll bet Phong would like to see it."
|
||||
"You'll have to ask Dad about that."
|
||||
"That has nothing to do with why Dad asked you here."
|
||||
"She's my cat. I named her Asta, because she's at least as smart as the dog in 'The Thin Man.'"
|
||||
"I don't know where Dad keeps it."
|
||||
"That's the only key for the clock. So what?"
|
||||
"What about it? It's no crime to get a little heat for self-protection."
|
||||
Monica has the trapped look of a wild animal. "I can't understand why that heater was inside the clock."
|
||||
"I don't know what you're talking about."
|
||||
"I already told you: Dad
|
||||
was
|
||||
about to kick the bucket
|
||||
anyway."
|
||||
"Dad gave
|
||||
so I could try to understand what was wrong and what his chances were. Now I guess Stiles has ended Dad's pain."
|
||||
"I already told you: Dad
|
||||
's
|
||||
about to kick the bucket
|
||||
."
|
||||
"How did you find that? Dad gave it to me so I could try to understand what's wrong and what his chances are. They don't look good." She looks alarmed.
|
||||
"Oh, uh, that's part of a timed lock I set up for the office."
|
||||
"You seem to have discovered Dad's little plot to frighten Stiles. Sure, I helped set it up for him. But I don't know what went wrong. He wasn't supposed to die!" Her lower lip is quivering.
|
||||
"That's the butler's button, you cheesehead."
|
||||
"Phong really ought to do a better job of cleaning around here."
|
||||
"That gat you found? Phong planted it so it would look as if Stiles used it."
|
||||
"That gat you found? It must belong to Stiles."
|
||||
"I've never seen it before. It looks as if you don't take good care of it."
|
||||
"It's a swell mystery called 'Deadline.' I haven't figured it out yet."
|
||||
"That must be the telegram Dad sent this morning."
|
||||
"That looks like my ticket stub. I didn't know I dropped it."
|
||||
"It was called 'Dead End'. I don't think this Bogart guy is pretty enough to make it big."
|
||||
"I think we'll see 'Dead End'. Terry wants to check out this guy named Bogart."
|
||||
"I don't know anything about it, shamus.
|
||||
And I'm really getting tired of your questions.
|
||||
"
|
||||
"If I never see you again, it's jake with me."
|
||||
Monica writhes away from your touch and manages to kick you in the shin.
|
||||
"How can I give you anything when I'm tied up?"
|
||||
You find a single key in Monica's pocket and take it.
|
||||
You find a hand gun in Monica's pocket and take it.
|
||||
Monica screams, "Leave me alone! I'll get over it! Please!"
|
||||
Monica
|
||||
's eyes are full of hate, and
|
||||
s
|
||||
he says something unprintable.
|
||||
She's already fastened to the
|
||||
.
|
||||
(with your handcuffs)
|
||||
She puts up a struggle, but you manage to do it.
|
||||
There's nothing to tie her
|
||||
with!
|
||||
She's already fastened with the
|
||||
.
|
||||
(to the
|
||||
)
|
||||
She puts up a struggle, but you manage to do it.
|
||||
There's nothing to
|
||||
her
|
||||
to!
|
||||
She's not even tied up!
|
||||
She's not fastened to the
|
||||
!
|
||||
Monica rubs her wrists as you take the
|
||||
.
|
||||
Her eyes dart from door to door, then she bolts for the hallway. But, within seconds, Sgt. Duffy brings her back.
|
||||
She refuses to look at you.
|
||||
You can't take her and the
|
||||
both!
|
||||
Monica pushes you away with surprising strength. "I don't know what game you're playing, Detective, but count me out. If you think I'm just a dumb twist, think again." Her eyes burn like polished gems.
|
||||
Like a fly, the cat springs up just in time, then goes to a different corner to settle down.
|
||||
The cat purrs a little louder and curls one paw.
|
||||
You can't speak to someone who isn't here.
|
||||
can't hear you.
|
||||
isn't here!
|
||||
You will eventually, shamus, you will.
|
||||
You're not with her yet.
|
||||
You'll have to be more specific.
|
||||
Duffy must be around here somewhere. There's no point in trying to phone him.
|
||||
The night clerk at the station says he'll give Duffy your message.
|
||||
Sergeant Duffy is probably at the station, working late as usual.
|
||||
You'd wait quite a while, since Sergeant Duffy is always nearby but never approaches you without a good reason.
|
||||
Oh, come on now! Not trusty
|
||||
!
|
||||
Like a lurking grue in the dark places of the earth, Sergeant Duffy is never far from the scene of a crime. If you witness a crime, you can be sure he'll show up soon. Then, if you ANALYZE something, he will appear in an instant to take it to the lab. When the results are available, he will rush them back to you. If you ARREST someone, he will be there with the handcuffs. You can't find a more dedicated civil servant.
|
||||
Duffy is too quick to follow.
|
||||
It looks as though Duffy didn't hear you.
|
||||
Duffy
|
||||
appears for an instant but
|
||||
politely declines your offer.
|
||||
"I will, as soon as I case the joint."
|
||||
"Oh, I called the coroner as soon as I saw the body. They'll be here as soon as they have time."
|
||||
"What?? I won't release a suspect!"
|
||||
"With all respect, I think you should do that yourself."
|
||||
Duffy appears for a moment.
|
||||
"
|
||||
Oh, I called the coroner as soon as I saw the body. They'll be here as soon as they have time.
|
||||
Oh, I called the coroner as soon as I saw the body. They'll be here as soon as they have time.
|
||||
I thought I told you already. The coroner
|
||||
found no evidence of the alleged stomach tumor. In fact, he could find no organic disease that would either explain the death or support the theory that Linder wanted to die. He
|
||||
concluded that Linder died of a single small-caliber bullet through the heart. And here's something peculiar: there were no traceable rifle marks on the bullet.
|
||||
Come off it, Detective. We've worked together before. You sure you didn't stop at a bar tonight?
|
||||
Ah, that's where the late Mrs. Linder did herself in. A messy business, Detective.
|
||||
She shot herself in the bathtub.
|
||||
Oh, I know that place, Fritzi's. Untidy, but clean.
|
||||
Fascinating! It could have been a suicide, then.
|
||||
Ah, Connecticut! I have relations there, you know. In fact, one young one wants to be a detective some day.
|
||||
I wish I could help you, Detective.
|
||||
"
|
||||
He scurries off again.
|
||||
Duffy
|
||||
appears for an instant but
|
||||
politely declines your offer.
|
||||
"You can't leave yet, Detective. Think of your reputation!"
|
||||
"Hello again, Detective."
|
||||
Duffy peeks around a corner, tips his hat to you, and disappears again.
|
||||
"I would rather not."
|
||||
"I don't need your help."
|
||||
"
|
||||
You're the detective!
|
||||
"
|
||||
"I'm sure you can find it, Detective."
|
||||
is
|
||||
.
|
||||
looks briefly toward
|
||||
and
|
||||
and then speaks in a whisper.
|
||||
looks briefly toward
|
||||
and then speaks in a whisper.
|
||||
looks briefly toward
|
||||
and then speaks in a whisper.
|
||||
Monica writhes away from your touch and manages to kick you in the shin.
|
||||
"Please don't take them! I'm cold enough as it is!"
|
||||
"I'm beginning to wonder if I got a decent detective or not!"
|
||||
Necrophilia went out with raccoon coats!
|
||||
The shoes don't seem to match
|
||||
the foot prints that you found in the
|
||||
yard.
|
||||
They're straw slippers with thongs, clean and obviously comfortable.
|
||||
They're pointed wing tips with sensational welt features, but a bit shabby and more than a bit muddy.
|
||||
They're tan pumps with Cuban heels, clean and stylish.
|
||||
File diff suppressed because it is too large
Load Diff
File diff suppressed because it is too large
Load Diff
File diff suppressed because it is too large
Load Diff
File diff suppressed because it is too large
Load Diff
|
|
@ -0,0 +1,245 @@
|
|||
@style(spacing 1)
|
||||
[You are chief police detective in the suburb of Cabeza Plana.
|
||||
Today you received a telegram from a Mr@. Linder, saying that his life
|
||||
is in danger and asking for your help. His name "rang a bell," and you
|
||||
consulted a police file on the case of his wife's recent suicide.
|
||||
Now you are ready to meet him for the first time.]
|
||||
|
||||
Somewhere near Los Angeles. A cold Friday evening in February 1938.
|
||||
In this climate, cold is anywhere below about fifty degrees. Storm
|
||||
clouds are swimming across the sky, their bottoms glowing faintly from
|
||||
the city lights in the distance. A search light pans slowly under the
|
||||
clouds, heralding another film premiere. The air seems expectant, waiting
|
||||
for the rain to begin, like a cat waiting for the ineffable moment
|
||||
to ambush.
|
||||
|
||||
The taxi has just dropped you off at the entrance to the Linders' driveway.
|
||||
The driver didn't seem to like venturing into this maze of twisty streets
|
||||
any more than you did. But the house windows are full of light, and
|
||||
radio music drifts toward you. Your favorite pistol, a snub-nosed Colt
|
||||
.32, is snug in its holster. You just picked up a match book off the
|
||||
curb. It might come in handy. Good thing you looked up the police file
|
||||
on Mrs. Linder's death. Her suicide note and the newspaper story told
|
||||
you all you know about the family. The long week is finished, except
|
||||
for this appointment. But why does an ominous feeling grip you?
|
||||
|
||||
The WITNESS: An INTERLOGIC Mystery@*
|
||||
Copyright (c) 1983 Infocom, Inc. All rights reserved.@*
|
||||
WITNESS and INTERLOGIC are trademarks of Infocom, Inc.@*
|
||||
Revision number 15 / Serial number 830621
|
||||
|
||||
You are now in the driveway entrance.@*
|
||||
You are standing at the foot of the driveway, the entrance to the Linder
|
||||
property. The entire lot is screened from the street and the neighbors
|
||||
by a wooden fence, except on the east side, which fronts on dense bamboo
|
||||
woods. The house looks like a mixture of a California bungalow and
|
||||
East Asian influences. From here you can see the driveway leading north
|
||||
and, beyond that, the front door.
|
||||
|
||||
What should you, the detective, do now?
|
||||
|
||||
>NORTH
|
||||
|
||||
You are now on the driveway.@*
|
||||
The driveway, paved with peastone, runs from the entrance at the south
|
||||
end in a curve to a two-car garage at the east end. North of you is
|
||||
the front porch, the entrance to the house.
|
||||
|
||||
What next?
|
||||
|
||||
>NORTH
|
||||
|
||||
You are now on the front porch.@*
|
||||
The front porch is in an alcove, sheltered from the weather by the
|
||||
walls and overhanging roof. A yellowish electric light hangs near the
|
||||
closed front door to the east, giving you a dim view of the driveway
|
||||
to the south and the front yard behind a gate to the north.
|
||||
The gate is closed. A door bell glows at you, almost daring you to
|
||||
ring it.
|
||||
|
||||
What next?
|
||||
|
||||
>RING IT
|
||||
|
||||
Someone turns off the radio. You hear footsteps inside the house. Then
|
||||
the door swings open.
|
||||
"Good evening," says a smiling face, "I am Phong. Please come in."
|
||||
He leads you into the house and closes the door behind you.
|
||||
|
||||
You are now in the entry.@*
|
||||
Here in the entry is a small Shinto shrine, with a hanging scroll and
|
||||
an arrangement of flowers, as well as a coat closet and a platform
|
||||
for storing shoes. You can see a hallway to the east. The front door,
|
||||
on the west wall, is closed.@*
|
||||
Phong's straight black hair and folded eyelids make him obviously Asian,
|
||||
but no definite nationality. His open, almost gentle face holds a quick
|
||||
smile and eyes that seem to miss nothing. He carries his stout body
|
||||
lightly, but you can see great strength under his light shirt and dark
|
||||
trousers. You guess his age at about fifty, but who knows how many
|
||||
lifetimes of experience he carries?
|
||||
|
||||
What next?
|
||||
|
||||
>READ SCROLL
|
||||
|
||||
The scroll is written with a fine brush. Freely translated, it reads:
|
||||
|
||||
@begin(verbatim)
|
||||
The WITNESS: An INTERLOGIC Mystery
|
||||
from Infocom, Inc.
|
||||
by Stu Galley
|
||||
based on an idea by
|
||||
Marc Blank and Dave Lebling
|
||||
Copyright (c) 1983 Infocom, Inc.
|
||||
All rights reserved.
|
||||
WITNESS and INTERLOGIC
|
||||
are trademarks of Infocom, Inc.
|
||||
@end(verbatim)
|
||||
|
||||
Phong says, "I believe the Linders are in the living room. Please follow
|
||||
me." He leads you into a hallway and turns left. This hallway seems
|
||||
to run the length of the house, from the garage at the south end to
|
||||
the living room at the north. There is enough warm yellow light flooding
|
||||
from the living room for you to see a few doors on each side of the
|
||||
hall. As you get near the living room, you hear voices talking, half-loud
|
||||
and fast.
|
||||
|
||||
You are now in the living room.@*
|
||||
A huge fieldstone fireplace on the south wall holds a blazing fire,
|
||||
filling the living room with warmth and light. Grouped in front of
|
||||
the fire are a glass-topped coffee table and a rattan davenport and
|
||||
club chair, with cushions covered in a print showing bamboo plants
|
||||
in the style of Japanese brush-painting. A lamp with a printed shade
|
||||
and a telephone sit on the table.
|
||||
On the north wall are a console radio and a liquor cabinet made of
|
||||
light-colored wood. A single door in the east wall is closed, and at
|
||||
the west end of the room is a double door.
|
||||
|
||||
"Excuse me, sir," says Phong, "but the detective has arrived."
|
||||
|
||||
Monica stops talking and looks at you sharply. She is a woman in her
|
||||
mid-twenties. Her grey eyes flash, emphasizing her dark waved hair
|
||||
and light but effective make-up. She wears a navy Rayon blouse, tan
|
||||
slacks, and tan pumps with Cuban heels. She acts as though you were
|
||||
a masher who just gave her a whistle.@*
|
||||
Linder stands at least six foot, with a powerful frame but quick actions,
|
||||
like a cat. His eyeglasses sit on top of his head, where thin strands
|
||||
of long black hair go here and there, mostly combed backward. His wide-set
|
||||
hazel eyes size you up quickly from within their pouches in his ruddy
|
||||
face. He wears a silk peach-colored Mandarin shirt and chocolate trousers,
|
||||
impeccably tailored and laundered, but sweat gleams on his high forehead,
|
||||
and he looks as though he hasn't slept much lately.
|
||||
|
||||
Linder turns to you and says, "Detective, am I glad to see you! This
|
||||
is my daughter, Monica, and of course you've met Phong already." He
|
||||
looks at a wrist watch with a gleaming silver bracelet. "I see you're
|
||||
right on time. I'll be with you as soon as I finish my drink."
|
||||
Mr. Phong heads off to the south.
|
||||
|
||||
(Mr. Linder is listening.)@*
|
||||
What next?
|
||||
|
||||
>MONICA, TELL ME ABOUT VIRGINIA
|
||||
|
||||
Monica looks briefly toward Mr. Linder and then speaks in a whisper.
|
||||
"She was the most noble woman I've ever known. Did her best to be a
|
||||
'good wife' even though she was alone so much. No one understood her
|
||||
as I did, certainly not Father. Sometimes I feel I could just ..."
|
||||
She slams a clenched fist into her palm. She seems to remember who
|
||||
you are, then clams up.
|
||||
|
||||
(Monica is listening.)@*
|
||||
What next?
|
||||
|
||||
>WAIT 60 MINUTES
|
||||
|
||||
Time passes...
|
||||
|
||||
Suddenly, a clap of thunder rolls across the hills outside.
|
||||
|
||||
Without warning, lightning flashes outside, and a few seconds later
|
||||
thunder rattles the house.
|
||||
|
||||
Rain begins to fall outside in a sprinkle.
|
||||
|
||||
Linder gulps down the rest of his drink. "Well, Detective," he says,
|
||||
"I'm anxious to get on with our business. Let's you and I go to my
|
||||
office so we can talk undisturbed." He takes you by the arm and leads
|
||||
you through the hallway. Just south of the entry, he opens a door to
|
||||
the east and leads you through it.
|
||||
|
||||
(office)@*
|
||||
This is obviously the office of Mr. Linder's company, Pacific Trade
|
||||
Associates. At the west end of the office, a massive desk of teak and
|
||||
mahogany faces toward the window. It has no drawers, but the top is
|
||||
covered with piles of letters, some newspapers, a telephone, and various
|
||||
souvenirs from the Far East.@*
|
||||
Behind it is a large ornately-carved chair, like a cruiser escorting
|
||||
a battle ship. A simple wooden chair, polished smooth by visitors,
|
||||
flanks the desk on the other side. On the north wall is a lounge, upholstered
|
||||
in green velvet and a bit lumpy, with a framed wood-block picture hanging
|
||||
over it. On the outside wall, next to a door and window, stands a grandfather
|
||||
clock, ticking relentlessly. A file cabinet stands in the corner.@*
|
||||
The door to the interior hallway is open.@*
|
||||
A cat is sleeping in the corner.@*
|
||||
Linder sits down in the carved chair.@*
|
||||
It's now 8:13 p.m.
|
||||
|
||||
>SIT ON WOODEN CHAIR
|
||||
|
||||
You are now sitting on the wooden chair.@*
|
||||
Linder begins his story. "My late wife, may she rest in peace, got
|
||||
involved with a young man named Stiles. Naturally I tried to stop this
|
||||
affair, but without much success. Since my wife passed away, this Stiles
|
||||
fellow has gone off the deep end, I'm afraid, and blamed me for her
|
||||
death. I tried my best to ignore him, but he seems to have lost his
|
||||
senses. This morning I received this note and decided to ask your help."
|
||||
He hands the note to you.@*
|
||||
The rain outside is falling heavily now.
|
||||
|
||||
>WAIT FOR MONICA
|
||||
|
||||
Time passes...
|
||||
|
||||
The rain outside begins to taper off.
|
||||
|
||||
The rain storm outside has passed now.
|
||||
|
||||
The clock chimes once to mark the half hour.
|
||||
|
||||
Monica bursts into the office, wearing a felt hat and wool coat, and
|
||||
struggling to get her driving gloves on. She glances icily in your
|
||||
direction and then back to her father. "I'm off to the pictures with
|
||||
Terry, Dad. Good-bye." She hugs him briefly but firmly, burying her
|
||||
head in his shoulder. He pushes her away and says, "You're leaving
|
||||
now?! I thought you'd be talking to the detective here. What about
|
||||
the threat on my life?" He has the hurt look of an orphan pup. She
|
||||
answers, "You don't need me here. I need to get away now and then.
|
||||
I'm not like Mother, you know." Tears well up in her eyes but she brushes
|
||||
them away before they drop. She turns to leave.@*
|
||||
Monica, for whom you are waiting, has arrived.@*
|
||||
It's now 8:36 p.m.
|
||||
|
||||
>WAIT FOR PHONG
|
||||
|
||||
Time passes...
|
||||
|
||||
Monica heads off to the west.@*
|
||||
Do you want to keep waiting? (Answer YES or NO.) >YES
|
||||
|
||||
Outside somewhere, a car roars to life and speeds away.
|
||||
|
||||
The clock chimes 9 times to mark the hour.
|
||||
|
||||
You hear the door bell ring.
|
||||
|
||||
Linder looks toward the window and says, "I don't think Phong has answered
|
||||
the door bell yet." He reaches toward the butler's button and at the
|
||||
same instant shouts "Stiles!" You turn around and dimly see a figure
|
||||
outside. Suddenly there is a flash of light and an explosion, and the
|
||||
window falls into dozens of shiny shards. The cat bolts and disappears
|
||||
somewhere. The figure outside turns and runs before you can see the
|
||||
face. When you turn back around, you see Linder slumping down in his
|
||||
chair, with a bloody stain spreading across his silk shirt. He teeters
|
||||
on the edge of the seat, then falls onto the floor, quite dead.@*
|
||||
It's now 9:03 p.m.
|
||||
|
|
@ -0,0 +1,180 @@
|
|||
<ROUTINE WITNESS ()
|
||||
<TELL
|
||||
"[You are chief police detective in the suburb of Cabeza Plana.
|
||||
Today you received a telegram from a Mr. Linder, saying that his life
|
||||
is in danger and asking for your help. His name \"rang a bell,\" and you
|
||||
consulted a police file on the case of his wife's recent suicide.
|
||||
Now you are ready to meet him for the first time.]|
|
||||
|
|
||||
Somewhere near Los Angeles. A cold Friday evening in February 1938.
|
||||
In this climate, cold is anywhere below about fifty degrees. Storm
|
||||
clouds are swimming across the sky, their bottoms glowing faintly from
|
||||
the city lights in the distance. A search light pans slowly under the
|
||||
clouds, heralding another film premiere. The air seems expectant, waiting
|
||||
for the rain to begin, like a cat waiting for the ineffable moment
|
||||
to ambush.|
|
||||
|
|
||||
The taxi has just dropped you off at the entrance to the Linders' driveway.
|
||||
The driver didn't seem to like venturing into this maze of twisty streets
|
||||
any more than you did. But the house windows are full of light, and
|
||||
radio music drifts toward you. Your favorite pistol, a snub-nosed Colt
|
||||
.32, is snug in its holster. The long week is finished, except
|
||||
for this appointment. But why does an ominous feeling grip you?|
|
||||
|
|
||||
The WITNESS: An INTERLOGIC Mystery|
|
||||
Copyright (c) 1983 Infocom, Inc. All rights reserved.|
|
||||
WITNESS is a trademark of Infocom, Inc.|
|
||||
|
|
||||
What next?|
|
||||
|
|
||||
>RING THE DOORBELL|
|
||||
|
|
||||
Someone turns off the radio. You hear footsteps inside the house. Then
|
||||
the door swings open.
|
||||
\"Good evening,\" says a smiling face, \"I am Phong. Please come in.\"
|
||||
He leads you into the house and closes the door behind you.|
|
||||
|
|
||||
You are now in the entry.|
|
||||
Here in the entry is a small Shinto shrine, with a hanging scroll and
|
||||
an arrangement of flowers, as well as a coat closet and a platform
|
||||
for storing shoes. You can see a hallway to the east.|
|
||||
Phong's straight black hair and folded eyelids make him obviously Asian,
|
||||
but no definite nationality. His open, almost gentle face holds a quick
|
||||
smile and eyes that seem to miss nothing. He carries his stout body
|
||||
lightly, but you can see great strength under his light shirt and dark
|
||||
trousers. You guess his age at about fifty, but who knows how many
|
||||
lifetimes of experience he carries?|
|
||||
|
|
||||
Phong says, \"I believe the Linders are in the living room. Please follow
|
||||
me.\" He leads you into a hallway and turns left. This hallway seems
|
||||
to run the length of the house, from the garage at the south end to
|
||||
the living room at the north. There is enough warm yellow light flooding
|
||||
from the living room for you to see a few doors on each side of the
|
||||
hall. As you get near the living room, you hear voices talking, half-loud
|
||||
and fast.|
|
||||
|
|
||||
You are now in the living room.|
|
||||
A huge fieldstone fireplace on the south wall holds a blazing fire,
|
||||
filling the living room with warmth and light. Grouped in front of
|
||||
the fire are a glass-topped coffee table and a rattan davenport and
|
||||
club chair, with cushions covered in a print showing bamboo plants
|
||||
in the style of Japanese brush-painting. A lamp with a printed shade
|
||||
and a telephone sit on the table.
|
||||
On the north wall are a console radio and a liquor cabinet made of
|
||||
light-colored wood.|
|
||||
|
|
||||
\"Excuse me, sir,\" says Phong, \"but the detective has arrived.\"|
|
||||
|
|
||||
Monica stops talking and looks at you sharply. She is a woman in her
|
||||
mid-twenties. Her grey eyes flash, emphasizing her dark waved hair
|
||||
and light but effective make-up. She wears a navy Rayon blouse, tan
|
||||
slacks, and tan pumps with Cuban heels. She acts as though you were
|
||||
a masher who just gave her a whistle.|
|
||||
Linder stands at least six foot, with a powerful frame but quick actions,
|
||||
like a cat. His eyeglasses sit on top of his head, where thin strands
|
||||
of long black hair go here and there, mostly combed backward. His wide-set
|
||||
hazel eyes size you up quickly from within their pouches in his ruddy
|
||||
face. He wears a silk peach-colored Mandarin shirt and chocolate trousers,
|
||||
impeccably tailored and laundered, but sweat gleams on his high forehead,
|
||||
and he looks as though he hasn't slept much lately.|
|
||||
|
|
||||
Linder turns to you and says, \"Detective, am I glad to see you! This
|
||||
is my daughter, Monica, and of course you've met Phong already.\" He
|
||||
looks at a wrist watch with a gleaming silver bracelet. \"I see you're
|
||||
right on time. I'll be with you as soon as I finish my drink.\"
|
||||
Mr. Phong heads off to the south.|
|
||||
|
|
||||
What next?|
|
||||
|
|
||||
>WAIT|
|
||||
|
|
||||
Time passes...|
|
||||
|
|
||||
Suddenly, a clap of thunder rolls across the hills outside.|
|
||||
|
|
||||
Without warning, lightning flashes outside, and a few seconds later
|
||||
thunder rattles the house.|
|
||||
|
|
||||
Rain begins to fall outside in a sprinkle.|
|
||||
|
|
||||
Linder gulps down the rest of his drink. \"Well, Detective,\" he says,
|
||||
\"I'm anxious to get on with our business. Let's you and I go to my
|
||||
office so we can talk undisturbed.\" He takes you by the arm and leads
|
||||
you through the hallway. Just south of the entry, he opens a door to
|
||||
the east and leads you through it.|
|
||||
|
|
||||
(office)|
|
||||
This is obviously the office of Mr. Linder's company, Pacific Trade
|
||||
Associates. At the west end of the office, a massive desk of teak and
|
||||
mahogany faces toward the window. It has no drawers, but the top is
|
||||
covered with piles of letters, some newspapers, a telephone, and various
|
||||
souvenirs from the Far East.|
|
||||
Behind it is a large ornately-carved chair, like a cruiser escorting
|
||||
a battle ship. A simple wooden chair, polished smooth by visitors,
|
||||
flanks the desk on the other side. On the north wall is a lounge, upholstered
|
||||
in green velvet and a bit lumpy, with a framed wood-block picture hanging
|
||||
over it. On the outside wall, next to a door and window, stands a grandfather
|
||||
clock, ticking relentlessly. A file cabinet stands in the corner.|
|
||||
A cat is sleeping in the corner.|
|
||||
Linder sits down in the carved chair.|
|
||||
It's now 8:13 p.m.|
|
||||
|
|
||||
>SIT ON WOODEN CHAIR|
|
||||
|
|
||||
You are now sitting on the wooden chair.|
|
||||
Linder begins his story. \"My late wife, may she rest in peace, got
|
||||
involved with a young man named Stiles. Naturally I tried to stop this
|
||||
affair, but without much success. Since my wife passed away, this Stiles
|
||||
fellow has gone off the deep end, I'm afraid, and blamed me for her
|
||||
death. I tried my best to ignore him, but he seems to have lost his
|
||||
senses. This morning I received this note and decided to ask your help.\"
|
||||
He hands the note to you.|
|
||||
The rain outside is falling heavily now.|
|
||||
|
|
||||
>WAIT|
|
||||
|
|
||||
Time passes...|
|
||||
|
|
||||
The rain outside begins to taper off.|
|
||||
|
|
||||
The rain storm outside has passed now.|
|
||||
|
|
||||
The clock chimes once to mark the half hour.|
|
||||
|
|
||||
Monica bursts into the office, wearing a felt hat and wool coat, and
|
||||
struggling to get her driving gloves on. She glances icily in your
|
||||
direction and then back to her father. \"I'm off to the pictures with
|
||||
Terry, Dad. Good-bye.\" She hugs him briefly but firmly, burying her
|
||||
head in his shoulder.|
|
||||
He pushes her away and says, \"You're leaving
|
||||
now?! I thought you'd be talking to the detective here. What about
|
||||
the threat on my life?\" He has the hurt look of an orphan pup.|
|
||||
She
|
||||
answers, \"You don't need me here. I need to get away now and then.
|
||||
I'm not like Mother, you know.\" Tears well up in her eyes but she brushes
|
||||
them away before they drop. She turns to leave.|
|
||||
Monica, for whom you are waiting, has arrived.|
|
||||
It's now 8:36 p.m.|
|
||||
|
|
||||
>WAIT|
|
||||
|
|
||||
Time passes...|
|
||||
|
|
||||
Monica heads off to the west.|
|
||||
|
|
||||
Outside somewhere, a car roars to life and speeds away.|
|
||||
|
|
||||
The clock chimes 9 times to mark the hour.|
|
||||
|
|
||||
You hear the door bell ring.|
|
||||
|
|
||||
Linder looks toward the window and says, \"I don't think Phong has answered
|
||||
the door bell yet.\" He reaches toward the butler's button and at the
|
||||
same instant shouts \"Stiles!\" You turn around and dimly see a figure
|
||||
outside. Suddenly there is a flash of light and an explosion, and the
|
||||
window falls into dozens of shiny shards. The cat bolts and disappears
|
||||
somewhere. The figure outside turns and runs before you can see the
|
||||
face. When you turn back around, you see Linder slumping down in his
|
||||
chair, with a bloody stain spreading across his silk shirt. He teeters
|
||||
on the edge of the seat, then falls onto the floor, quite dead.|
|
||||
It's now 9:03 p.m.">>
|
||||
File diff suppressed because it is too large
Load Diff
|
|
@ -0,0 +1,2 @@
|
|||
|
||||
.ENDI
|
||||
|
|
@ -0,0 +1,639 @@
|
|||
"SYNTAX for WITNESS
|
||||
Copyright (C) 1983 Infocom, Inc. All rights reserved."
|
||||
|
||||
"SUBTITLE VOCABULARY"
|
||||
|
||||
<BUZZ A AN THE IS ARE AM AND OF THEN ;ALL ONE BUT EXCEPT \. \, \" \! \? ;Y
|
||||
AD ADELINE CH CHANDLER ;NUMBER MINUTE ;BACK ;PAGE CARRYING
|
||||
CAREFULLY CLOSELY ;THOROUGHLY QUIETLY SLOWLY QUICKLY BRIEFLY
|
||||
DO YOU HAVE WAS WERE YOUR ;WHY ;HOW ;WHEN ;DID PLEASE OK OKEY OKEH>
|
||||
|
||||
<SYNONYM WITH USING>
|
||||
<SYNONYM THROUGH THRU>
|
||||
<SYNONYM IN INSIDE INTO>
|
||||
<SYNONYM UNDER UNDERNEATH BENEATH>
|
||||
|
||||
<SYNONYM NORTH N>
|
||||
<SYNONYM SOUTH S>
|
||||
<SYNONYM EAST E>
|
||||
<SYNONYM WEST W>
|
||||
<SYNONYM DOWN D ;DOWNSTAIRS>
|
||||
<SYNONYM UP U ;UPSTAIRS>
|
||||
;<SYNONYM NW NORTHWEST>
|
||||
;<SYNONYM NE NORTHEAST>
|
||||
;<SYNONYM SW SOUTHWEST>
|
||||
;<SYNONYM SE SOUTHE>
|
||||
|
||||
<SYNTAX $VERIFY = V-$VERIFY>
|
||||
|
||||
<SYNTAX $DBG = V-DEBUG>
|
||||
;<SYNTAX WHN = V-$WHEN>
|
||||
<SYNTAX $TANDY = V-$TANDY>
|
||||
<SYNTAX $WHR = V-$WHERE>
|
||||
<SYNTAX $WHR OBJECT = V-$WHERE>
|
||||
<SYNTAX $WHR OBJECT OBJECT = V-$WHERE>
|
||||
|
||||
<SYNTAX ACCUSE OBJECT (FIND PERSON) = V-ACCUSE PRE-ACCUSE>
|
||||
<SYNTAX ACCUSE OBJECT (FIND PERSON) ;WITH OBJECT = V-ACCUSE PRE-ACCUSE>
|
||||
|
||||
;<SYNTAX AGAIN = V-AGAIN>
|
||||
|
||||
<SYNONYM ANALYZE ANALYSE CHECK TEST DUST>
|
||||
<SYNTAX ANALYZE OBJECT = V-ANALYZE PRE-ANALYZE>
|
||||
<SYNTAX ANALYZE OBJECT FOR OBJECT = V-ANALYZE PRE-ANALYZE>
|
||||
<SYNTAX ANALYZE OFF OBJECT = V-ANALYZE PRE-ANALYZE>
|
||||
<SYNTAX ANALYZE OBJECT ON OBJECT = V-SANALYZE PRE-SANALYZE>
|
||||
|
||||
<SYNONYM ANSWER REPLY>
|
||||
<SYNTAX ANSWER = V-ANSWER>
|
||||
<SYNTAX ANSWER OBJECT = V-REPLY>
|
||||
|
||||
<SYNTAX APPLY OBJECT TO OBJECT = V-PUT PRE-PUT>
|
||||
|
||||
<SYNTAX ARREST OBJECT (FIND PERSON) (MANY) = V-ARREST PRE-ARREST>
|
||||
<SYNTAX ARREST OBJECT (FIND PERSON) (MANY) FOR OBJECT = V-ARREST PRE-ARREST>
|
||||
|
||||
<SYNONYM ASK QUESTION INQUIRE>
|
||||
<SYNTAX ASK OBJECT (FIND PERSON) = V-TELL>
|
||||
<SYNTAX ASK ABOUT OBJECT (HELD CARRIED ;HAVE)
|
||||
= V-ASK-CONTEXT-ABOUT PRE-ASK-CONTEXT-ABOUT>
|
||||
<SYNTAX ASK FOR OBJECT (HELD CARRIED ;HAVE)
|
||||
= V-ASK-CONTEXT-FOR PRE-ASK-CONTEXT-FOR>
|
||||
<SYNTAX ASK OBJECT (FIND PERSON)
|
||||
ABOUT OBJECT (HELD CARRIED ;HAVE) = V-ASK-ABOUT>
|
||||
<SYNTAX ASK OBJECT (FIND PERSON)
|
||||
FOR OBJECT (HELD CARRIED ;HAVE) = V-ASK-FOR>
|
||||
|
||||
<SYNONYM ATTACK FIGHT>
|
||||
<SYNTAX ATTACK OBJECT (FIND PERSON) (ON-GROUND IN-ROOM)
|
||||
WITH OBJECT (FIND WEAPONBIT) (HELD CARRIED HAVE)
|
||||
= V-ATTACK>
|
||||
|
||||
;<SYNTAX BLOW OUT OBJECT = V-LAMP-OFF>
|
||||
|
||||
<SYNTAX BRIEF = V-BRIEF>
|
||||
|
||||
;<SYNONYM BRING FETCH>
|
||||
;<SYNTAX BRING = V-BRING>
|
||||
|
||||
<SYNONYM BRUSH CLEAN WIPE>
|
||||
<SYNTAX BRUSH OBJECT (HELD CARRIED ON-GROUND IN-ROOM) = V-BRUSH ;*>
|
||||
<SYNTAX BRUSH OFF OBJECT (HELD CARRIED) = V-BRUSH>
|
||||
<SYNTAX BRUSH OBJECT (HELD CARRIED ON-GROUND IN-ROOM)
|
||||
WITH OBJECT
|
||||
= V-BRUSH>
|
||||
|
||||
;<SYNTAX BUG = V-BUG>
|
||||
|
||||
;<SYNONYM BURN INCINERATE IGNITE>
|
||||
;<SYNTAX BURN OBJECT (FIND BURNBIT) (HELD CARRIED ON-GROUND IN-ROOM)
|
||||
WITH OBJECT (FIND FLAMEBIT) (HELD CARRIED ON-GROUND IN-ROOM HAVE)
|
||||
= V-BURN PRE-BURN>
|
||||
;<SYNTAX BURN DOWN OBJECT (FIND BURNBIT) (HELD CARRIED ON-GROUND IN-ROOM)
|
||||
WITH OBJECT (FIND FLAMEBIT) (HELD CARRIED ON-GROUND IN-ROOM HAVE)
|
||||
= V-BURN PRE-BURN>
|
||||
|
||||
<SYNONYM CALL ;HEY ;DIAL PHONE>
|
||||
;<SYNTAX CALL = V-CALL-LOSE>
|
||||
<SYNTAX $CALL OBJECT = V-$CALL>
|
||||
<SYNTAX CALL OBJECT = V-PHONE>
|
||||
<SYNTAX CALL OBJECT ON OBJECT = V-PHONE>
|
||||
<SYNTAX CALL TO OBJECT = V-$CALL>
|
||||
<SYNTAX CALL UP OBJECT = V-PHONE>
|
||||
|
||||
<SYNONYM CLIMB ;SIT HATCH>
|
||||
<SYNTAX CLIMB OBJECT ;(FIND CLIMBBIT) (ON-GROUND IN-ROOM) = V-CLIMB-FOO>
|
||||
<SYNTAX CLIMB DOWN OBJECT ;(FIND CLIMBBIT) (ON-GROUND IN-ROOM) = V-CLIMB-DOWN>
|
||||
<SYNTAX CLIMB IN OBJECT (FIND VEHBIT)(ON-GROUND IN-ROOM) = V-THROUGH>
|
||||
<SYNTAX CLIMB ON OBJECT (FIND VEHBIT) (ON-GROUND IN-ROOM) = V-CLIMB-ON>
|
||||
<SYNTAX CLIMB UP OBJECT ;(FIND CLIMBBIT) (ON-GROUND IN-ROOM) = V-CLIMB-UP>
|
||||
|
||||
<SYNTAX CLOSE OBJECT (FIND DOORBIT) (HELD CARRIED ON-GROUND IN-ROOM)
|
||||
= V-CLOSE>
|
||||
|
||||
<SYNONYM MATCH COMPARE>
|
||||
<SYNTAX MATCH OBJECT (MANY) = V-COMPARE PRE-COMPARE>
|
||||
<SYNTAX MATCH OBJECT (HELD CARRIED ON-GROUND IN-ROOM)
|
||||
TO OBJECT (HELD CARRIED ON-GROUND IN-ROOM) = V-COMPARE>
|
||||
<SYNTAX MATCH OBJECT (HELD CARRIED ON-GROUND IN-ROOM)
|
||||
WITH OBJECT (HELD CARRIED ON-GROUND IN-ROOM) = V-COMPARE>
|
||||
|
||||
<SYNTAX CONFRONT OBJECT (FIND PERSON) WITH OBJECT = V-CONFRONT>
|
||||
|
||||
;<SYNONYM COUNT>
|
||||
;<SYNTAX COUNT OBJECT = V-COUNT>
|
||||
|
||||
;<SYNONYM CROSS FORD>
|
||||
;<SYNTAX CROSS OBJECT = V-CROSS>
|
||||
|
||||
<SYNONYM CURSE DAMN SHIT FUCK PISS>
|
||||
<SYNTAX CURSE = V-CURSES>
|
||||
<SYNTAX CURSE OBJECT (FIND PERSON) = V-CURSES>
|
||||
<SYNTAX CURSE ON OBJECT (FIND PERSON) = V-CURSES>
|
||||
|
||||
;<SYNONYM CUT SLICE PIERCE>
|
||||
;<SYNTAX CUT OBJECT WITH OBJECT (FIND WEAPONBIT) (CARRIED HELD) = V-CUT>
|
||||
|
||||
<SYNONYM DESTROY DAMAGE BREAK SMASH>
|
||||
<SYNTAX DESTROY OBJECT (ON-GROUND IN-ROOM HELD CARRIED)
|
||||
= V-MUNG ;PRE-MUNG>
|
||||
<SYNTAX DESTROY OBJECT (ON-GROUND IN-ROOM HELD CARRIED)
|
||||
WITH OBJECT (HELD CARRIED TAKE)
|
||||
= V-MUNG ;PRE-MUNG>
|
||||
<SYNTAX DESTROY DOWN OBJECT (ON-GROUND IN-ROOM HELD CARRIED)
|
||||
WITH OBJECT (HELD CARRIED TAKE)
|
||||
= V-MUNG ;PRE-MUNG>
|
||||
|
||||
;<SYNTAX DIAGNOSE = V-DIAGNOSE>
|
||||
|
||||
<SYNTAX DIAL OBJECT = V-PHONE>
|
||||
<SYNTAX DIAL OBJECT ON OBJECT = V-PHONE>
|
||||
<SYNTAX DIAL UP OBJECT = V-PHONE>
|
||||
|
||||
<SYNONYM DRINK IMBIBE SWALLOW>
|
||||
<SYNTAX DRINK OBJECT (FIND DRINKBIT) (HELD CARRIED ON-GROUND IN-ROOM)
|
||||
= V-DRINK>
|
||||
|
||||
<SYNONYM DROP ;RELEASE>
|
||||
<SYNTAX DROP OBJECT (HELD MANY HAVE) = V-DROP ;*>
|
||||
<SYNTAX DROP OBJECT (HELD MANY HAVE) DOWN OBJECT = V-PUT PRE-PUT>
|
||||
<SYNTAX DROP OBJECT (HELD MANY HAVE) IN OBJECT = V-PUT PRE-PUT>
|
||||
<SYNTAX DROP OBJECT (HELD MANY HAVE) ON OBJECT = V-PUT PRE-PUT>
|
||||
|
||||
;<SYNTAX EASIER = V-EASIER>
|
||||
|
||||
<SYNONYM EAT CONSUME>
|
||||
<SYNTAX EAT OBJECT (FIND FOODBIT) (HELD CARRIED ON-GROUND IN-ROOM TAKE MANY)
|
||||
= V-EAT>
|
||||
|
||||
<SYNTAX ENTER = V-ENTER>
|
||||
<SYNTAX ENTER OBJECT = V-THROUGH>
|
||||
|
||||
<SYNONYM EXAMINE DESCRIBE INSPECT>
|
||||
<SYNTAX EXAMINE OBJECT (HELD CARRIED IN-ROOM ON-GROUND ;MANY)
|
||||
= V-EXAMINE PRE-EXAMINE>
|
||||
|
||||
;<SYNTAX EXIT = V-EXIT>
|
||||
;<SYNTAX EXIT OBJECT = V-EXIT>
|
||||
|
||||
<SYNONYM EXTINGUISH DOUSE>
|
||||
<SYNTAX EXTINGUISH
|
||||
OBJECT (FIND LIGHTBIT) (MANY HELD CARRIED ON-GROUND IN-ROOM TAKE HAVE)
|
||||
= V-LAMP-OFF>
|
||||
|
||||
;<SYNTAX FILL OBJECT (FIND CONTBIT) (HELD CARRIED ON-GROUND IN-ROOM)
|
||||
WITH OBJECT
|
||||
= V-FILL>
|
||||
;<SYNTAX FILL OBJECT (FIND CONTBIT) (HELD CARRIED ON-GROUND IN-ROOM)
|
||||
= V-FILL>
|
||||
|
||||
<SYNONYM FIND WHERE THERE SEEN>
|
||||
<SYNTAX FIND OBJECT (HELD CARRIED ;HAVE) = V-FIND PRE-FIND>
|
||||
|
||||
<SYNTAX FINGERPRINT OBJECT (HELD CARRIED IN-ROOM ON-GROUND)
|
||||
= V-FINGERPRINT ;PRE-FINGERPRINT>
|
||||
|
||||
;<SYNTAX FLUSH OBJECT (ON-GROUND IN-ROOM) = V-FLUSH>
|
||||
;<SYNTAX FLUSH OBJECT (ON-GROUND IN-ROOM)
|
||||
DOWN OBJECT = V-FLUSH-DOWN>
|
||||
|
||||
<SYNONYM FOLLOW PURSUE CHASE TRACE>
|
||||
<SYNTAX FOLLOW OBJECT = V-FOLLOW>
|
||||
<SYNTAX FOLLOW OBJECT (FIND PERSON) OBJECT = V-FOLLOW> ;"Follow me north."
|
||||
<SYNTAX FOLLOW OBJECT (FIND PERSON) TO OBJECT = V-FOLLOW> ;"F. me to office."
|
||||
|
||||
<SYNONYM GIVE HAND DONATE OFFER>
|
||||
<SYNTAX GIVE OBJECT (MANY HELD CARRIED ON-GROUND IN-ROOM)
|
||||
TO OBJECT (FIND PERSON) (ON-GROUND)
|
||||
= V-GIVE PRE-GIVE>
|
||||
<SYNTAX GIVE OBJECT (FIND PERSON) (ON-GROUND)
|
||||
OBJECT (MANY)
|
||||
= V-SGIVE PRE-SGIVE>
|
||||
|
||||
<SYNTAX GOODBYE = V-GOODBYE>
|
||||
<SYNTAX GOODBYE OBJECT = V-GOODBYE>
|
||||
|
||||
<SYNONYM HANDCUFF CUFF>
|
||||
<SYNTAX HANDCUFF OBJECT (FIND PERSON) = V-HANDCUFF>
|
||||
<SYNTAX HANDCUFF OBJECT TO OBJECT = V-TIE-TO PRE-TIE-TO>
|
||||
|
||||
;<SYNTAX HARDER = V-HARDER>
|
||||
|
||||
<SYNONYM HELLO HI>
|
||||
<SYNTAX HELLO = V-HELLO ;*>
|
||||
<SYNTAX HELLO OBJECT = V-HELLO>
|
||||
|
||||
<SYNTAX HELP = V-HELP>
|
||||
<SYNTAX HELP OBJECT (FIND PERSON) = V-HELP>
|
||||
|
||||
<SYNONYM HIDE CROUCH>
|
||||
<SYNTAX HIDE = V-HIDE>
|
||||
<SYNTAX HIDE BEHIND OBJECT = V-HIDE-BEHIND>
|
||||
<SYNTAX HIDE IN OBJECT = V-THROUGH>
|
||||
<SYNTAX HIDE ON OBJECT = V-THROUGH>
|
||||
<SYNTAX HIDE OBJECT (CARRIED HELD HAVE) IN OBJECT = V-PUT PRE-PUT>
|
||||
<SYNTAX HIDE OBJECT (CARRIED HELD HAVE) UNDER OBJECT = V-PUT-UNDER>
|
||||
|
||||
<SYNONYM I INVENTORY>
|
||||
<SYNTAX I = V-INVENTORY>
|
||||
|
||||
;<SYNONYM JUMP LEAP>
|
||||
;<SYNTAX JUMP = V-LEAP>
|
||||
;<SYNTAX JUMP ACROSS OBJECT = V-LEAP>
|
||||
;<SYNTAX JUMP IN OBJECT = V-LEAP>
|
||||
;<SYNTAX JUMP OVER OBJECT = V-LEAP>
|
||||
|
||||
<SYNONYM KICK BITE TAUNT>
|
||||
<SYNTAX KICK OBJECT = V-KICK>
|
||||
|
||||
<SYNONYM KILL ;SHOOT ;STRANGLE>
|
||||
<SYNTAX KILL OBJECT (FIND PERSON) (ON-GROUND IN-ROOM) = V-KILL>
|
||||
<SYNTAX KILL OBJECT (FIND PERSON) (ON-GROUND IN-ROOM)
|
||||
WITH OBJECT (FIND WEAPONBIT) (HELD CARRIED HAVE)
|
||||
= V-KILL>
|
||||
|
||||
<SYNTAX KISS OBJECT (FIND PERSON) (ON-GROUND IN-ROOM) = V-KISS>
|
||||
|
||||
<SYNONYM KNOCK RAP>
|
||||
<SYNTAX KNOCK ON OBJECT = V-KNOCK>
|
||||
<SYNTAX KNOCK AT OBJECT = V-KNOCK ;*>
|
||||
<SYNTAX KNOCK DOWN OBJECT (FIND PERSON) (ON-GROUND IN-ROOM) = V-ATTACK>
|
||||
|
||||
<SYNTAX KNOW ABOUT OBJECT (HELD CARRIED ;HAVE) = V-WHAT>
|
||||
<SYNTAX KNOW WHERE OBJECT (HELD CARRIED ;HAVE) = V-FIND PRE-FIND>
|
||||
|
||||
<SYNONYM LEAN STAND PROP>
|
||||
<SYNTAX LEAN = V-STAND>
|
||||
<SYNTAX LEAN OBJECT AGAINST OBJECT = V-LEAN>
|
||||
<SYNTAX LEAN OBJECT ON OBJECT = V-LEAN>
|
||||
<SYNTAX LEAN OBJECT UP OBJECT = V-LEAN>
|
||||
<SYNTAX LEAN UP OBJECT (FIND RMUNGBIT) = V-STAND>
|
||||
|
||||
<SYNTAX LEAVE = V-LEAVE>
|
||||
<SYNTAX LEAVE OBJECT = V-DROP ;PRE-DROP>
|
||||
|
||||
<SYNTAX LIGHT OBJECT (FIND LIGHTBIT)(HELD CARRIED ON-GROUND IN-ROOM TAKE HAVE)
|
||||
= V-LAMP-ON ;*>
|
||||
;<SYNTAX LIGHT OBJECT (FIND LIGHTBIT) (HELD CARRIED ON-GROUND IN-ROOM)
|
||||
WITH OBJECT (FIND FLAMEBIT) (HELD CARRIED TAKE HAVE)
|
||||
= V-BURN PRE-BURN>
|
||||
|
||||
<SYNTAX LISTEN TO OBJECT = V-LISTEN>
|
||||
<SYNTAX LISTEN AT OBJECT = V-LISTEN>
|
||||
|
||||
<SYNTAX LOCK OBJECT (ON-GROUND IN-ROOM)
|
||||
;WITH ;OBJECT ;(FIND TOOLBIT) ;(HELD CARRIED ON-GROUND IN-ROOM TAKE)
|
||||
= V-LOCK PRE-UNLOCK>
|
||||
|
||||
<SYNONYM LOOK L STARE GAZE>
|
||||
<SYNTAX LOOK = V-LOOK>
|
||||
<SYNTAX LOOK OBJECT = V-EXAMINE PRE-EXAMINE> ;"for Roe & others"
|
||||
<SYNTAX LOOK AROUND OBJECT (FIND RMUNGBIT) = V-LOOK>
|
||||
<SYNTAX LOOK AT OBJECT (HELD CARRIED ON-GROUND IN-ROOM MANY)
|
||||
= V-EXAMINE PRE-EXAMINE>
|
||||
<SYNTAX LOOK AT OBJECT (HELD CARRIED MANY) THROUGH OBJECT = V-READ PRE-READ>
|
||||
<SYNTAX LOOK BEHIND OBJECT = V-LOOK-BEHIND>
|
||||
<SYNTAX LOOK DOWN OBJECT (FIND RMUNGBIT) = V-LOOK-DOWN>
|
||||
<SYNTAX LOOK FOR OBJECT (HELD CARRIED ;HAVE) = V-FIND>
|
||||
<SYNTAX LOOK IN OBJECT (HELD CARRIED ON-GROUND IN-ROOM)
|
||||
= V-LOOK-INSIDE PRE-LOOK-INSIDE>
|
||||
;<SYNTAX LOOK NEAR OBJECT = V-SEARCH-AROUND>
|
||||
<SYNTAX LOOK ON OBJECT (ON-GROUND IN-ROOM) = V-LOOK-ON>
|
||||
<SYNTAX LOOK OUT OBJECT = V-LOOK-OUTSIDE>
|
||||
<SYNTAX LOOK OVER OBJECT (HELD CARRIED ON-GROUND IN-ROOM)
|
||||
= V-EXAMINE PRE-EXAMINE>
|
||||
<SYNTAX LOOK UNDER OBJECT = V-LOOK-UNDER>
|
||||
<SYNTAX LOOK UP OBJECT (FIND RMUNGBIT) = V-LOOK-UP>
|
||||
<SYNTAX LOOK THROUGH OBJECT (HELD CARRIED ON-GROUND IN-ROOM)
|
||||
= V-LOOK-INSIDE PRE-LOOK-INSIDE>
|
||||
|
||||
;<SYNTAX LOWER OBJECT = V-LOWER>
|
||||
|
||||
<SYNTAX MAKE OBJECT FROM OBJECT (ON-GROUND IN-ROOM) = V-MAKE>
|
||||
<SYNTAX MAKE OBJECT ;WITH OBJECT (ON-GROUND IN-ROOM) = V-MAKE>
|
||||
|
||||
;<SYNONYM MOVE>
|
||||
<SYNTAX MOVE OBJECT (ON-GROUND IN-ROOM) = V-MOVE PRE-MOVE>
|
||||
|
||||
;<SYNONYM MUMBLE SIGH>
|
||||
;<SYNTAX MUMBLE = V-MUMBLE>
|
||||
|
||||
<SYNTAX OPEN OBJECT (FIND DOORBIT) (HELD CARRIED ON-GROUND IN-ROOM)
|
||||
= V-OPEN>
|
||||
<SYNTAX OPEN UP OBJECT (FIND DOORBIT) (HELD CARRIED ON-GROUND IN-ROOM)
|
||||
= V-OPEN>
|
||||
<SYNTAX OPEN OBJECT (FIND DOORBIT) (HELD CARRIED ON-GROUND IN-ROOM)
|
||||
WITH OBJECT (FIND TOOLBIT) (ON-GROUND IN-ROOM HELD CARRIED HAVE)
|
||||
= V-OPEN>
|
||||
|
||||
<SYNTAX PEEK IN OBJECT (HELD CARRIED ON-GROUND IN-ROOM)
|
||||
= V-LOOK-INSIDE PRE-LOOK-INSIDE>
|
||||
|
||||
<SYNTAX PICK OBJECT = V-PICK>
|
||||
<SYNTAX PICK OBJECT WITH OBJECT = V-PICK>
|
||||
<SYNTAX PICK UP OBJECT (FIND TAKEBIT) (ON-GROUND MANY)
|
||||
= V-TAKE PRE-TAKE>
|
||||
|
||||
<SYNTAX PLAY OBJECT = V-PLAY>
|
||||
|
||||
;<SYNONYM POKE JAB BLIND>
|
||||
;<SYNTAX POKE OBJECT (FIND PERSON) (ON-GROUND IN-ROOM)
|
||||
WITH OBJECT (FIND WEAPONBIT) (HELD CARRIED HAVE)
|
||||
= V-MUNG ;PRE-MUNG>
|
||||
|
||||
;<SYNONYM POUR SPILL>
|
||||
;<SYNTAX POUR OBJECT (HELD CARRIED) = V-DROP ;*>
|
||||
;<SYNTAX POUR OBJECT (HELD CARRIED) FROM OBJECT = V-DROP>
|
||||
;<SYNTAX POUR OBJECT (HELD CARRIED) IN OBJECT = V-DROP>
|
||||
;<SYNTAX POUR OBJECT (HELD CARRIED) ON OBJECT = V-POUR-ON PRE-POUR-ON>
|
||||
|
||||
<SYNONYM PULL TUG>
|
||||
<SYNTAX PULL OBJECT (ON-GROUND IN-ROOM) = V-MOVE PRE-MOVE ; *>
|
||||
<SYNTAX PULL ON OBJECT (ON-GROUND IN-ROOM) = V-MOVE PRE-MOVE>
|
||||
|
||||
<SYNONYM PUSH PRESS>
|
||||
<SYNTAX PUSH OBJECT (IN-ROOM ON-GROUND MANY) = V-PUSH>
|
||||
<SYNTAX PUSH ON OBJECT (IN-ROOM ON-GROUND MANY) = V-PUSH>
|
||||
<SYNTAX PUSH OBJECT UNDER OBJECT = V-PUT-UNDER>
|
||||
|
||||
<SYNONYM PUT STUFF INSERT PLACE>
|
||||
<SYNTAX PUT OBJECT (CARRIED HELD HAVE) AGAINST OBJECT = V-LEAN>
|
||||
<SYNTAX PUT OBJECT (HELD MANY HAVE) IN OBJECT = V-PUT PRE-PUT ;*>
|
||||
<SYNTAX PUT OBJECT (HELD MANY HAVE) ON OBJECT = V-PUT PRE-PUT>
|
||||
<SYNTAX PUT OBJECT (CARRIED HELD HAVE) UNDER OBJECT = V-PUT-UNDER>
|
||||
<SYNTAX PUT DOWN OBJECT (HELD MANY HAVE) = V-DROP>
|
||||
|
||||
<SYNONYM QUIT Q>
|
||||
<SYNTAX QUIT = V-QUIT>
|
||||
|
||||
<SYNONYM RAISE LIFT>
|
||||
<SYNTAX RAISE OBJECT = V-RAISE ;*>
|
||||
<SYNTAX RAISE UP OBJECT = V-RAISE>
|
||||
<SYNTAX RAISE OBJECT OFF OBJECT = V-TAKE>
|
||||
|
||||
<SYNONYM RAPE MOLEST ASSAULT>
|
||||
<SYNTAX RAPE OBJECT (FIND PERSON) = V-RAPE>
|
||||
|
||||
<SYNONYM READ SKIM PERUSE>
|
||||
<SYNTAX READ OBJECT (FIND READBIT) (HELD CARRIED ON-GROUND IN-ROOM TAKE)
|
||||
= V-READ PRE-READ ; *>
|
||||
<SYNTAX READ OBJECT (FIND READBIT) (HELD CARRIED ON-GROUND IN-ROOM TAKE)
|
||||
OBJECT = V-READ PRE-READ>
|
||||
<SYNTAX READ OBJECT (FIND READBIT) (HELD CARRIED ON-GROUND IN-ROOM TAKE)
|
||||
THROUGH OBJECT
|
||||
= V-READ PRE-READ>
|
||||
|
||||
<SYNTAX RESTART = V-RESTART>
|
||||
|
||||
<SYNONYM RESTORE CONTINUE RESUME>
|
||||
<SYNTAX RESTORE = V-RESTORE>
|
||||
|
||||
<SYNTAX REVIVE OBJECT = V-REVIVE>
|
||||
|
||||
<SYNONYM RING PEAL>
|
||||
<SYNTAX RING OBJECT ;(TAKE) = V-RING ;*>
|
||||
<SYNTAX RING OBJECT ;(TAKE) WITH OBJECT = V-RING>
|
||||
|
||||
;<SYNTAX ROLL UP OBJECT (ON-GROUND IN-ROOM) = V-MOVE PRE-MOVE>
|
||||
|
||||
<SYNONYM RUB TOUCH FEEL SHADE PAT PET>
|
||||
<SYNTAX RUB OBJECT = V-RUB>
|
||||
<SYNTAX RUB OBJECT (TAKE HAVE) ON OBJECT = V-RUB-OVER PRE-RUB-OVER>
|
||||
<SYNTAX RUB OBJECT (TAKE HAVE) OVER OBJECT = V-RUB-OVER PRE-RUB-OVER>
|
||||
<SYNTAX RUB OBJECT WITH OBJECT (TAKE HAVE) = V-RUB>
|
||||
|
||||
<SYNONYM SAVE SUSPEND PAUSE>
|
||||
<SYNTAX SAVE = V-SAVE>
|
||||
|
||||
<SYNONYM SAY TALK EXPLAIN>
|
||||
<SYNTAX SAY = V-SAY>
|
||||
<SYNTAX SAY ABOUT OBJECT (HELD CARRIED ;HAVE)
|
||||
= V-TELL-ME-ABOUT PRE-TELL-ME-ABOUT>
|
||||
<SYNTAX SAY TO OBJECT (FIND PERSON) (IN-ROOM) = V-TELL>
|
||||
|
||||
;<SYNTAX SCORE = V-SCORE>
|
||||
|
||||
<SYNTAX SCRIPT = V-SCRIPT>
|
||||
|
||||
<SYNONYM SEARCH DIG>
|
||||
<SYNTAX SEARCH OBJECT = V-SEARCH PRE-SEARCH>
|
||||
;<SYNTAX SEARCH OBJECT AROUND OBJECT = V-SEARCH-GROUND-AROUND>
|
||||
<SYNTAX SEARCH OBJECT FOR OBJECT (HELD CARRIED ;HAVE)
|
||||
= V-SEARCH-OBJECT-FOR PRE-SEARCH-OBJECT-FOR>
|
||||
;<SYNTAX SEARCH OBJECT NEAR OBJECT = V-SEARCH-GROUND-AROUND>
|
||||
;<SYNTAX SEARCH OBJECT UNDER OBJECT = V-SEARCH-GROUND-UNDER>
|
||||
|
||||
;<SYNTAX SEARCH AROUND OBJECT = V-SEARCH-AROUND>
|
||||
<SYNTAX SEARCH FOR OBJECT (HELD CARRIED ;HAVE) = V-FIND>
|
||||
<SYNTAX SEARCH IN OBJECT = V-SEARCH PRE-SEARCH>
|
||||
;<SYNTAX SEARCH NEAR OBJECT = V-SEARCH-AROUND>
|
||||
<SYNTAX SEARCH UP OBJECT = V-SEARCH PRE-SEARCH>
|
||||
|
||||
;<SYNTAX SEND FOR OBJECT = V-SEND-FOR>
|
||||
|
||||
;<SYNTAX SHAKE OBJECT = V-SHAKE>
|
||||
|
||||
<SYNONYM FIRE SHOOT BLAST>
|
||||
<SYNTAX FIRE OBJECT (FIND PERSON) (ON-GROUND IN-ROOM)
|
||||
WITH OBJECT (FIND WEAPONBIT) (HELD CARRIED HAVE)
|
||||
= V-SHOOT ;PRE-SHOOT>
|
||||
<SYNTAX FIRE OBJECT (FIND PERSON) = V-SHOOT ;PRE-SHOOT>
|
||||
<SYNTAX FIRE OBJECT (FIND WEAPONBIT) (HELD CARRIED HAVE)
|
||||
AT OBJECT (FIND PERSON) (ON-GROUND IN-ROOM)
|
||||
= V-SSHOOT PRE-SSHOOT>
|
||||
|
||||
<SYNTAX SHOW OBJECT (FIND PERSON) OBJECT = V-SHOW>
|
||||
<SYNTAX SHOW OBJECT TO OBJECT (FIND PERSON) = V-SSHOW PRE-SSHOW>
|
||||
|
||||
<SYNTAX SIT ON OBJECT (FIND FURNITURE ;SITBIT) (ON-GROUND IN-ROOM) = V-SIT>
|
||||
<SYNTAX SIT DOWN OBJECT (FIND FURNITURE ;SITBIT) (ON-GROUND IN-ROOM) = V-SIT>
|
||||
<SYNTAX SIT IN OBJECT (FIND FURNITURE ;SITBIT) (ON-GROUND IN-ROOM) = V-SIT>
|
||||
|
||||
;<SYNONYM SKIP HOP>
|
||||
;<SYNTAX SKIP = V-SKIP>
|
||||
|
||||
<SYNONYM SLAP HURT INJURE HIT PUNCH>
|
||||
<SYNTAX SLAP OBJECT (FIND PERSON) = V-SLAP>
|
||||
<SYNTAX SLAP OBJECT AROUND = V-SLAP>
|
||||
|
||||
;<SYNTAX SLIDE OBJECT UNDER OBJECT = V-PUT-UNDER>
|
||||
|
||||
<SYNONYM SMELL SNIFF>
|
||||
<SYNTAX SMELL OBJECT = V-SMELL>
|
||||
|
||||
<SYNTAX SMOKE OBJECT ;(FIND BURNBIT) = V-SMOKE>
|
||||
|
||||
<SYNTAX SPACE = V-SPACE>
|
||||
|
||||
;<SYNTAX SQUEEZE OBJECT = V-SQUEEZE>
|
||||
;<SYNTAX SQUEEZE OBJECT ON OBJECT = V-PUT PRE-PUT>
|
||||
|
||||
<SYNTAX STRIKE OBJECT (FIND PERSON) (ON-GROUND IN-ROOM) = V-SLAP>
|
||||
;<SYNTAX STRIKE OBJECT (ON-GROUND IN-ROOM HELD CARRIED) = V-LAMP-ON>
|
||||
<SYNTAX STRIKE OBJECT (FIND PERSON) (ON-GROUND IN-ROOM)
|
||||
WITH OBJECT (FIND WEAPONBIT) (HELD CARRIED ON-GROUND IN-ROOM HAVE)
|
||||
= V-ATTACK>
|
||||
|
||||
<SYNONYM SUPER SUPERBRIEF>
|
||||
<SYNTAX SUPER = V-SUPER-BRIEF>
|
||||
|
||||
;<SYNONYM SWIM BATHE WADE>
|
||||
;<SYNTAX SWIM = V-SWIM>
|
||||
;<SYNTAX SWIM IN OBJECT = V-SWIM>
|
||||
|
||||
;<SYNONYM SWING THRUST>
|
||||
;<SYNTAX SWING OBJECT (FIND WEAPONBIT) (HELD CARRIED HAVE)
|
||||
= V-SWING>
|
||||
;<SYNTAX SWING OBJECT (FIND WEAPONBIT) (HELD CARRIED HAVE)
|
||||
AT OBJECT (FIND PERSON) (ON-GROUND IN-ROOM)
|
||||
= V-SWING>
|
||||
|
||||
<SYNONYM TAKE GET HOLD CARRY REMOVE LEAD STEAL>
|
||||
<SYNTAX TAKE OBJECT (FIND TAKEBIT) (ON-GROUND MANY)
|
||||
= V-TAKE PRE-TAKE ;*>
|
||||
<SYNTAX TAKE OBJECT (IN-ROOM) OBJECT = V-TAKEOUT PRE-TAKEOUT>
|
||||
;"TAKE person OUTSIDE"
|
||||
<SYNTAX TAKE OBJECT (FIND TAKEBIT) (IN-ROOM CARRIED MANY)
|
||||
FROM OBJECT
|
||||
= V-TAKE PRE-TAKE>
|
||||
<SYNTAX TAKE OBJECT (FIND TAKEBIT) (CARRIED IN-ROOM MANY)
|
||||
OFF OBJECT
|
||||
= V-TAKE PRE-TAKE>
|
||||
<SYNTAX TAKE OBJECT (FIND TAKEBIT) (CARRIED IN-ROOM MANY)
|
||||
OUT OBJECT
|
||||
= V-TAKE PRE-TAKE>
|
||||
<SYNTAX TAKE OBJECT TO OBJECT = V-SSHOW PRE-SSHOW>
|
||||
;<SYNTAX TAKE OBJECT (FIND TAKEBIT) (IN-ROOM CARRIED TAKE HAVE)
|
||||
UP OBJECT = V-HOLD-UP>
|
||||
<SYNTAX TAKE IN OBJECT (FIND VEHBIT) (ON-GROUND IN-ROOM) = V-THROUGH>
|
||||
<SYNTAX TAKE ON OBJECT (FIND VEHBIT) (ON-GROUND IN-ROOM) = V-CLIMB-ON>
|
||||
<SYNTAX TAKE OUT OBJECT (FIND VEHBIT) (ON-GROUND IN-ROOM) = V-DISEMBARK>
|
||||
<SYNTAX TAKE UP OBJECT (FIND RMUNGBIT) = V-STAND>
|
||||
|
||||
;<SYNTAX TASTE OBJECT = V-TASTE>
|
||||
|
||||
<SYNTAX TELL OBJECT (FIND PERSON) (IN-ROOM) = V-TELL>
|
||||
<SYNTAX TELL OBJECT (FIND PERSON)
|
||||
ABOUT OBJECT (HELD CARRIED ;HAVE) = V-TELL-ME PRE-TELL-ME>
|
||||
|
||||
<SYNONYM THANKS THANK>
|
||||
<SYNTAX THANKS = V-THANKS>
|
||||
<SYNTAX THANKS OBJECT = V-THANKS>
|
||||
|
||||
<SYNONYM THROW HURL CHUCK TOSS>
|
||||
<SYNTAX THROW OBJECT (HELD CARRIED HAVE)
|
||||
AT OBJECT (FIND PERSON) (ON-GROUND IN-ROOM)
|
||||
= V-THROW-AT>
|
||||
<SYNTAX THROW OBJECT (HELD CARRIED HAVE)
|
||||
IN OBJECT = V-PUT PRE-PUT>
|
||||
<SYNTAX THROW OBJECT (HELD CARRIED HAVE)
|
||||
ON OBJECT = V-PUT PRE-PUT>
|
||||
<SYNTAX THROW OBJECT (HELD CARRIED HAVE)
|
||||
OVER OBJECT = V-PUT PRE-PUT>
|
||||
<SYNTAX THROW OBJECT (HELD CARRIED HAVE)
|
||||
THROUGH OBJECT (FIND PERSON) (ON-GROUND IN-ROOM)
|
||||
= V-THROW-THROUGH>
|
||||
|
||||
<SYNONYM TIE FASTEN SECURE ATTACH>
|
||||
;<SYNTAX TIE OBJECT TO OBJECT = V-TIE PRE-TIE>
|
||||
<SYNTAX TIE OBJECT (FIND PERSON) (ON-GROUND IN-ROOM)
|
||||
TO OBJECT (FIND FURNITURE) (ON-GROUND IN-ROOM)
|
||||
= V-TIE-TO PRE-TIE-TO>
|
||||
<SYNTAX TIE UP OBJECT (FIND PERSON) (ON-GROUND IN-ROOM)
|
||||
TO OBJECT (FIND FURNITURE) (ON-GROUND IN-ROOM)
|
||||
= V-TIE-TO PRE-TIE-TO>
|
||||
<SYNTAX TIE OBJECT (FIND PERSON) (ON-GROUND IN-ROOM)
|
||||
WITH OBJECT ;(FIND TOOLBIT) (ON-GROUND IN-ROOM HELD CARRIED HAVE)
|
||||
= V-TIE-WITH PRE-TIE-WITH>
|
||||
<SYNTAX TIE UP OBJECT (FIND PERSON) (ON-GROUND IN-ROOM)
|
||||
WITH OBJECT ;(FIND TOOLBIT) (ON-GROUND IN-ROOM HELD CARRIED HAVE)
|
||||
= V-TIE-WITH PRE-TIE-WITH>
|
||||
|
||||
<SYNONYM TIME T>
|
||||
<SYNTAX TIME = V-TIME>
|
||||
|
||||
<SYNONYM TURN FLIP SHUT>
|
||||
<SYNTAX TURN OBJECT ;(FIND TURNBIT) (HELD CARRIED ON-GROUND IN-ROOM)
|
||||
= V-TURN ;PRE-TURN>
|
||||
<SYNTAX TURN DOWN OBJECT = V-TURN-DOWN>
|
||||
<SYNTAX TURN IN OBJECT ;(FIND TURNBIT) (HELD CARRIED ON-GROUND IN-ROOM)
|
||||
= V-TURN ;PRE-TURN>
|
||||
<SYNTAX TURN OFF OBJECT (FIND LIGHTBIT) (HELD CARRIED ON-GROUND IN-ROOM)
|
||||
= V-LAMP-OFF>
|
||||
<SYNTAX TURN ON OBJECT (FIND LIGHTBIT) (HELD CARRIED ON-GROUND IN-ROOM)
|
||||
= V-LAMP-ON>
|
||||
<SYNTAX TURN TO OBJECT (HELD CARRIED ON-GROUND IN-ROOM)
|
||||
= V-TURN ;PRE-TURN>
|
||||
<SYNTAX TURN UP OBJECT = V-TURN-UP>
|
||||
|
||||
<SYNTAX UNLOCK OBJECT (ON-GROUND IN-ROOM)
|
||||
;WITH ;OBJECT ;(FIND TOOLBIT) ;(HELD CARRIED ON-GROUND IN-ROOM TAKE)
|
||||
= V-UNLOCK PRE-UNLOCK>
|
||||
|
||||
<SYNTAX UNSCRIPT = V-UNSCRIPT>
|
||||
|
||||
<SYNTAX UNSPACE = V-UNSPACE>
|
||||
|
||||
<SYNONYM UNTIE FREE UNFASTEN UNATTACH UNHOOK UNCUFF>
|
||||
<SYNTAX UNTIE OBJECT (ON-GROUND IN-ROOM HELD CARRIED)
|
||||
= V-UNTIE ;PRE-UNTIE>
|
||||
<SYNTAX UNTIE OBJECT (ON-GROUND IN-ROOM HELD CARRIED)
|
||||
FROM OBJECT
|
||||
= V-UNTIE ;PRE-UNTIE>
|
||||
|
||||
<SYNTAX USE OBJECT = V-USE>
|
||||
|
||||
<SYNTAX VERBOSE = V-VERBOSE>
|
||||
|
||||
<SYNONYM RELEASE REVISION VERSION EDITION>
|
||||
<SYNTAX RELEASE = V-VERSION>
|
||||
<SYNTAX RELEASE OBJECT (FIND PERSON) = V-UNTIE>
|
||||
|
||||
<SYNONYM WAIT Z STAY STOP MEDITATE>
|
||||
<SYNTAX WAIT = V-WAIT>
|
||||
<SYNTAX WAIT OBJECT = V-WAIT-FOR>
|
||||
<SYNTAX WAIT FOR OBJECT = V-WAIT-FOR>
|
||||
<SYNTAX WAIT TILL OBJECT = V-WAIT-UNTIL>
|
||||
<SYNTAX WAIT UNTIL OBJECT = V-WAIT-UNTIL>
|
||||
|
||||
<SYNONYM WAKE AWAKE SURPRISE STARTLE>
|
||||
<SYNTAX WAKE OBJECT (FIND PERSON) (ON-GROUND IN-ROOM) = V-ALARM ;*>
|
||||
<SYNTAX WAKE UP OBJECT (FIND PERSON) (ON-GROUND IN-ROOM) = V-ALARM>
|
||||
|
||||
<SYNONYM WALK GO RUN PROCEED>
|
||||
<SYNTAX WALK OBJECT = V-WALK>
|
||||
<SYNTAX WALK AROUND OBJECT = V-WALK-AROUND>
|
||||
<SYNTAX WALK BEHIND OBJECT = V-HIDE-BEHIND>
|
||||
<SYNTAX WALK DOWN OBJECT ;(FIND CLIMBBIT) (ON-GROUND IN-ROOM) = V-CLIMB-DOWN>
|
||||
<SYNTAX WALK IN OBJECT = V-THROUGH>
|
||||
<SYNTAX WALK OBJECT OVER OBJECT = V-RUN-OVER>
|
||||
<SYNTAX WALK TO OBJECT = V-WALK-TO>
|
||||
<SYNTAX WALK UP OBJECT ;(FIND CLIMBBIT) (ON-GROUND IN-ROOM) = V-CLIMB-UP>
|
||||
<SYNTAX WALK THROUGH OBJECT = V-THROUGH>
|
||||
<SYNTAX WALK WITH OBJECT = V-FOLLOW>
|
||||
|
||||
;<SYNTAX WATCH OBJECT = V-EXAMINE>
|
||||
|
||||
;<SYNONYM WAVE BRANDISH>
|
||||
;<SYNTAX WAVE OBJECT (HELD CARRIED) = V-WAVE>
|
||||
;<SYNTAX WAVE OBJECT (HELD CARRIED) AT OBJECT = V-WAVE>
|
||||
|
||||
<SYNONYM WHAT WHATS WHAT\'S WHO>
|
||||
<SYNTAX WHAT OBJECT (HELD CARRIED ;HAVE) = V-WHAT>
|
||||
<SYNTAX WHAT ABOUT OBJECT (HELD CARRIED ;HAVE) = V-WHAT>
|
||||
<SYNTAX WHAT IN OBJECT (HELD CARRIED IN-ROOM ON-GROUND MANY)
|
||||
= V-LOOK-INSIDE PRE-LOOK-INSIDE>
|
||||
<SYNTAX WHAT ON OBJECT (HELD CARRIED IN-ROOM ON-GROUND MANY)
|
||||
= V-LOOK-INSIDE PRE-LOOK-INSIDE>
|
||||
|
||||
<SYNTAX WHEN = V-THANKS>
|
||||
<SYNONYM WHEN DID WHY HOW>
|
||||
|
||||
;<SYNTAX WRITE WITH OBJECT = V-WRITE>
|
||||
;<SYNTAX WRITE ON OBJECT WITH OBJECT = V-WRITE>
|
||||
|
||||
;<SYNONYM YELL SCREAM SHOUT>
|
||||
;<SYNTAX YELL = V-YELL>
|
||||
|
||||
<SYNONYM YES Y NO MAYBE>
|
||||
<SYNTAX YES = V-YN>
|
||||
|
|
@ -0,0 +1,712 @@
|
|||
|
||||
|
||||
.FUNCT RANDOM-PSEUDO
|
||||
PRINTR "You can't do anything useful with that."
|
||||
|
||||
|
||||
.FUNCT NOT-HERE-OBJECT-F,TBL,PRSO?=1,OBJ
|
||||
EQUAL? PRSO,NOT-HERE-OBJECT \?ELS3
|
||||
EQUAL? PRSI,NOT-HERE-OBJECT \?ELS3
|
||||
PRINTR "(Those things aren't here!)"
|
||||
?ELS3: EQUAL? PRSO,NOT-HERE-OBJECT \?ELS9
|
||||
SET 'TBL,P-PRSO
|
||||
JUMP ?CND1
|
||||
?ELS9: SET 'TBL,P-PRSI
|
||||
SET 'PRSO?,FALSE-VALUE
|
||||
?CND1: ZERO? PRSO? /?ELS14
|
||||
EQUAL? PRSA,V?WALK-TO,V?THROUGH,V?MAKE /?THN19
|
||||
EQUAL? PRSA,V?GIVE,V?$WHERE,V?WHAT /?THN19
|
||||
EQUAL? PRSA,V?SEARCH,V?LOOK-OUTSIDE,V?LOOK-INSIDE /?THN19
|
||||
EQUAL? PRSA,V?FOLLOW,V?FIND,V?EXAMINE /?THN19
|
||||
EQUAL? PRSA,V?CLIMB-UP,V?ASK-CONTEXT-FOR,V?ASK-CONTEXT-ABOUT \?CND12
|
||||
?THN19: CALL FIND-NOT-HERE,TBL,PRSO? >OBJ
|
||||
ZERO? OBJ /FALSE
|
||||
EQUAL? OBJ,NOT-HERE-OBJECT \TRUE
|
||||
JUMP ?CND12
|
||||
?ELS14: EQUAL? PRSA,V?TELL-ME,V?SGIVE /?THN34
|
||||
EQUAL? PRSA,V?SEARCH-OBJECT-FOR,V?ASK-FOR,V?ASK-ABOUT \?CND12
|
||||
?THN34: CALL FIND-NOT-HERE,TBL,PRSO? >OBJ
|
||||
ZERO? OBJ /FALSE
|
||||
EQUAL? OBJ,NOT-HERE-OBJECT \TRUE
|
||||
?CND12: SET 'P-WON,FALSE-VALUE
|
||||
PRINTI "(You can't see any"
|
||||
CALL NOT-HERE-PRINT
|
||||
PRINTR " here!)"
|
||||
|
||||
|
||||
.FUNCT FIND-NOT-HERE,TBL,PRSO?,M-F,OBJ
|
||||
CALL MOBY-FIND,TBL >M-F
|
||||
ZERO? DEBUG /?CND1
|
||||
PRINTI "[Moby-found "
|
||||
PRINTN M-F
|
||||
PRINTI " objects"
|
||||
PRINTI "]"
|
||||
CRLF
|
||||
?CND1: EQUAL? 1,M-F \?ELS11
|
||||
ZERO? DEBUG /?CND12
|
||||
PRINTI "[Namely: "
|
||||
PRINTD P-MOBY-FOUND
|
||||
PRINTI "]"
|
||||
CRLF
|
||||
?CND12: ZERO? PRSO? /?ELS20
|
||||
SET 'PRSO,P-MOBY-FOUND
|
||||
RFALSE
|
||||
?ELS20: SET 'PRSI,P-MOBY-FOUND
|
||||
RFALSE
|
||||
?ELS11: LESS? 1,M-F \?ELS25
|
||||
GET TBL,1 >OBJ
|
||||
GETP OBJ,P?GENERIC
|
||||
CALL STACK,OBJ >OBJ
|
||||
ZERO? OBJ /?ELS25
|
||||
ZERO? DEBUG /?CND28
|
||||
PRINTI "[Generic: "
|
||||
PRINTD OBJ
|
||||
PRINTI "]"
|
||||
CRLF
|
||||
?CND28: EQUAL? OBJ,NOT-HERE-OBJECT /TRUE
|
||||
ZERO? PRSO? /?ELS38
|
||||
SET 'PRSO,OBJ
|
||||
RFALSE
|
||||
?ELS38: SET 'PRSI,OBJ
|
||||
RFALSE
|
||||
?ELS25: ZERO? PRSO? \?ELS47
|
||||
EQUAL? PRSA,V?TELL-ME,V?ASK-FOR,V?ASK-ABOUT /?THN52
|
||||
?ELS47: ZERO? PRSO? /?ELS49
|
||||
EQUAL? PRSA,V?ASK-CONTEXT-FOR,V?ASK-CONTEXT-ABOUT /?THN52
|
||||
?ELS49: EQUAL? WINNER,PLAYER /?ELS43
|
||||
EQUAL? PRSA,V?SGIVE /?THN52
|
||||
EQUAL? PRSA,V?GIVE,V?WHAT,V?FIND \?ELS43
|
||||
?THN52: EQUAL? PRSA,V?ASK-FOR,V?ASK-ABOUT \?ELS56
|
||||
PRINTD PRSO
|
||||
JUMP ?CND54
|
||||
?ELS56: ZERO? QCONTEXT /?ELS67
|
||||
EQUAL? HERE,QCONTEXT-ROOM \?ELS67
|
||||
CALL META-LOC,QCONTEXT
|
||||
EQUAL? HERE,STACK \?ELS67
|
||||
PUSH QCONTEXT
|
||||
JUMP ?CND63
|
||||
?ELS67: EQUAL? WINNER,PLAYER /?ELS71
|
||||
PUSH WINNER
|
||||
JUMP ?CND63
|
||||
?ELS71: CALL FIND-FLAG,HERE,PERSON
|
||||
?CND63: PRINTD STACK
|
||||
?CND54: PRINTI " looks confused. ""I don't know anything about any"
|
||||
CALL NOT-HERE-PRINT
|
||||
PRINTR "!"""
|
||||
?ELS43: ZERO? PRSO? \?ELS79
|
||||
PRINTI "You wouldn't find any"
|
||||
CALL NOT-HERE-PRINT
|
||||
PRINTR " there."
|
||||
?ELS79: RETURN NOT-HERE-OBJECT
|
||||
|
||||
|
||||
.FUNCT NOT-HERE-PRINT,?TMP1
|
||||
ZERO? P-OFLAG \?THN6
|
||||
ZERO? P-MERGED /?ELS5
|
||||
?THN6: ZERO? P-XADJ /?CND8
|
||||
PRINTI " "
|
||||
PRINTB P-XADJN
|
||||
?CND8: ZERO? P-XNAM /FALSE
|
||||
PRINTI " "
|
||||
PRINTB P-XNAM
|
||||
RTRUE
|
||||
?ELS5: EQUAL? PRSO,NOT-HERE-OBJECT \?ELS23
|
||||
GET P-ITBL,P-NC1 >?TMP1
|
||||
GET P-ITBL,P-NC1L
|
||||
CALL BUFFER-PRINT,?TMP1,STACK,FALSE-VALUE
|
||||
RSTACK
|
||||
?ELS23: GET P-ITBL,P-NC2 >?TMP1
|
||||
GET P-ITBL,P-NC2L
|
||||
CALL BUFFER-PRINT,?TMP1,STACK,FALSE-VALUE
|
||||
RSTACK
|
||||
|
||||
|
||||
.FUNCT IT-F
|
||||
EQUAL? PRSI,IT \?THN10
|
||||
EQUAL? PRSA,V?TELL-ME /?THN10
|
||||
EQUAL? PRSA,V?SEARCH-OBJECT-FOR,V?ASK-FOR,V?ASK-ABOUT /?THN14
|
||||
?THN10: EQUAL? PRSO,IT \FALSE
|
||||
EQUAL? PRSA,V?WHAT /?THN14
|
||||
EQUAL? PRSA,V?FIND,V?ASK-CONTEXT-FOR,V?ASK-CONTEXT-ABOUT \FALSE
|
||||
?THN14: PRINTR """I'm not sure what you're talking about."""
|
||||
|
||||
|
||||
.FUNCT THE?,NOUN
|
||||
EQUAL? NOUN,MONICA-ROOM,LINDER-ROOM,LIMBO /TRUE
|
||||
EQUAL? NOUN,PHONG,LINDER,STILES /TRUE
|
||||
EQUAL? NOUN,GLOBAL-PHONG,GLOBAL-LINDER,GLOBAL-STILES /TRUE
|
||||
EQUAL? NOUN,MONICA,GLOBAL-MONICA,GLOBAL-TERRY /TRUE
|
||||
EQUAL? NOUN,IT,YOU,HIM-HER /TRUE
|
||||
EQUAL? NOUN,LINDER-WINDOW,GLOBAL-DUFFY /TRUE
|
||||
PRINTI " the"
|
||||
RTRUE
|
||||
|
||||
|
||||
.FUNCT THIS-IS-IT,OBJ
|
||||
SET 'P-IT-OBJECT,OBJ
|
||||
SET 'P-IT-LOC,HERE
|
||||
RETURN P-IT-LOC
|
||||
|
||||
|
||||
.FUNCT RECURSIVE-BOOK-F
|
||||
EQUAL? PRSA,V?ASK-FOR \?ELS5
|
||||
EQUAL? PRSO,PHONG \?ELS5
|
||||
FCLEAR PRSI,NDESCBIT
|
||||
RFALSE
|
||||
?ELS5: EQUAL? PRSA,V?TAKE,V?GIVE \?ELS9
|
||||
IN? RECURSIVE-BOOK,PHONG \?ELS9
|
||||
FCLEAR PRSO,NDESCBIT
|
||||
RFALSE
|
||||
?ELS9: EQUAL? PRSA,V?DROP \?ELS13
|
||||
IN? PHONG,BUTLER-ROOM \?ELS13
|
||||
MOVE RECURSIVE-BOOK,PHONG
|
||||
PRINTR "Phong picks up the book and starts to read."
|
||||
?ELS13: EQUAL? PRSA,V?EXAMINE \?ELS19
|
||||
PRINTR "This is a mystery story called 'Deadline,' just now published as a book."
|
||||
?ELS19: EQUAL? PRSA,V?LOOK-INSIDE /?THN24
|
||||
EQUAL? PRSA,V?OPEN,V?READ,V?SEARCH \FALSE
|
||||
?THN24: FSET RECURSIVE-BOOK,OPENBIT
|
||||
PRINTI "The book is a novel-length version of 'Deadline,' a whodunit set in the future in Connecticut. You start to read it, and it seems oddly familiar, as if you might live through it yourself some day."
|
||||
IN? GUN-RECEIPT,RECURSIVE-BOOK \?CND28
|
||||
FCLEAR GUN-RECEIPT,INVISIBLE
|
||||
PRINTI " A receipt of some kind is being used as a bookmark."
|
||||
?CND28: CRLF
|
||||
RTRUE
|
||||
|
||||
|
||||
.FUNCT GUN-RECEIPT-F
|
||||
EQUAL? PRSA,V?READ,V?EXAMINE \FALSE
|
||||
GET 0,8
|
||||
BOR STACK,2
|
||||
PUT 0,8,STACK
|
||||
PRINTI """ FRITZI'S
|
||||
fine merchandise - quick loans
|
||||
Cabeza Plana, Calif.
|
||||
Number: 69105
|
||||
Date: 12/1/37
|
||||
Sold to: Nemo Newbourne
|
||||
Address: 137 E. Second Street
|
||||
|
||||
Two handguns - - - - - - - - - $ 8.00
|
||||
|
||||
[PAID]"""
|
||||
GET 0,8
|
||||
BAND STACK,-3
|
||||
PUT 0,8,STACK
|
||||
RTRUE
|
||||
|
||||
|
||||
.FUNCT MATCHBOOK-F
|
||||
EQUAL? PRSA,V?SLAP,V?LAMP-ON \?ELS5
|
||||
PRINTR "The matches don't seem to work."
|
||||
?ELS5: EQUAL? PRSA,V?OPEN,V?LOOK-INSIDE \?ELS9
|
||||
PRINTR "(You'll find the match book in your game package.)"
|
||||
?ELS9: EQUAL? PRSA,V?LOOK-UP \FALSE
|
||||
CALL PHONE-IN?,HERE
|
||||
ZERO? STACK /FALSE
|
||||
PRINTR "The listing for Stiles in the phone book is the same as the number written in the match book."
|
||||
|
||||
|
||||
.FUNCT HANDCUFFS-F
|
||||
EQUAL? PRSA,V?TAKE \FALSE
|
||||
EQUAL? PRSO,HANDCUFFS \FALSE
|
||||
EQUAL? HANDCUFFS,MONICA-TIED-WITH \FALSE
|
||||
ZERO? PRSI /?THN15
|
||||
EQUAL? PRSI,MONICA \FALSE
|
||||
?THN15: CALL PERFORM,V?UNTIE,MONICA
|
||||
RTRUE
|
||||
|
||||
|
||||
.FUNCT HOUSE-F
|
||||
EQUAL? PRSA,V?FIND \?ELS5
|
||||
PRINTR "It's right here. Some detective you are."
|
||||
?ELS5: EQUAL? PRSA,V?WALK-TO \?ELS9
|
||||
EQUAL? HERE,DRIVEWAY-ENTRANCE,DRIVEWAY \?ELS9
|
||||
CALL PERFORM,V?WALK,P?NORTH
|
||||
RTRUE
|
||||
?ELS9: EQUAL? PRSA,V?THROUGH \?ELS13
|
||||
EQUAL? HERE,FRONT-YARD \?ELS18
|
||||
FSET? DINING-DOOR,OPENBIT \?ELS18
|
||||
CALL GOTO,DINING-ROOM
|
||||
RSTACK
|
||||
?ELS18: EQUAL? HERE,FRONT-PORCH \?ELS22
|
||||
FSET? FRONT-DOOR,OPENBIT \?ELS22
|
||||
CALL GOTO,ENTRY
|
||||
RSTACK
|
||||
?ELS22: EQUAL? HERE,OFFICE-PORCH \?ELS26
|
||||
FSET? OFFICE-BACK-DOOR,OPENBIT \?ELS26
|
||||
CALL GOTO,OFFICE
|
||||
RSTACK
|
||||
?ELS26: EQUAL? HERE,BACK-YARD \?ELS30
|
||||
FSET? MONICA-BACK-DOOR,OPENBIT \?ELS30
|
||||
CALL GOTO,MONICA-ROOM
|
||||
RSTACK
|
||||
?ELS30: EQUAL? HERE,ROCK-GARDEN \?ELS34
|
||||
FSET? LINDER-BACK-DOOR,OPENBIT \?ELS34
|
||||
CALL GOTO,LINDER-ROOM
|
||||
RSTACK
|
||||
?ELS34: PRINTR "You might try the front door."
|
||||
?ELS13: EQUAL? PRSA,V?EXAMINE \FALSE
|
||||
PRINTR "The house looks like a mixture of a California bungalow and East Asian influences."
|
||||
|
||||
|
||||
.FUNCT FENCE-F
|
||||
EQUAL? PRSA,V?CLIMB-UP,V?CLIMB-ON,V?CLIMB-FOO \?ELS5
|
||||
PRINTR "You can't leave the property yet. It would mean your job."
|
||||
?ELS5: EQUAL? PRSA,V?LOOK-OUTSIDE,V?LOOK-INSIDE,V?LOOK-BEHIND \?ELS9
|
||||
PRINTR "It's too dark to see anything."
|
||||
?ELS9: EQUAL? PRSA,V?FIND \?ELS13
|
||||
PRINTR "It's right here. Some detective you are."
|
||||
?ELS13: EQUAL? PRSA,V?EXAMINE \FALSE
|
||||
PRINTR "This is a Japanese-style ""shadow fence"" made of wooden slats, opaque from most angles but designed to let breezes through."
|
||||
|
||||
|
||||
.FUNCT GROUND-F
|
||||
EQUAL? PRSO,GROUND \?ELS5
|
||||
EQUAL? PRSA,V?WHAT /FALSE
|
||||
EQUAL? PRSA,V?FIND,V?ASK-CONTEXT-FOR,V?ASK-CONTEXT-ABOUT /FALSE
|
||||
?ELS5: EQUAL? PRSI,GROUND \?ELS11
|
||||
EQUAL? PRSA,V?TELL-ME /FALSE
|
||||
EQUAL? PRSA,V?SEARCH-OBJECT-FOR,V?ASK-FOR,V?ASK-ABOUT /FALSE
|
||||
?ELS11: GETP HERE,P?LINE
|
||||
EQUAL? STACK,OUTSIDE-LINE-C /?ELS17
|
||||
SET 'P-WON,FALSE-VALUE
|
||||
PRINTI "(You can't see any"
|
||||
CALL PRSO-PRINT
|
||||
PRINTR " here!)"
|
||||
?ELS17: EQUAL? PRSA,V?PUT \?ELS21
|
||||
EQUAL? PRSI,GROUND \?ELS21
|
||||
CALL PERFORM,V?DROP,PRSO
|
||||
RTRUE
|
||||
?ELS21: EQUAL? PRSA,V?SEARCH,V?EXAMINE \FALSE
|
||||
PRINTR "You don't find anything new there."
|
||||
|
||||
|
||||
.FUNCT FLOOR-F
|
||||
EQUAL? PRSO,FLOOR \?ELS5
|
||||
EQUAL? PRSA,V?WHAT /FALSE
|
||||
EQUAL? PRSA,V?FIND,V?ASK-CONTEXT-FOR,V?ASK-CONTEXT-ABOUT /FALSE
|
||||
?ELS5: EQUAL? PRSI,FLOOR \?ELS11
|
||||
EQUAL? PRSA,V?TELL-ME /FALSE
|
||||
EQUAL? PRSA,V?SEARCH-OBJECT-FOR,V?ASK-FOR,V?ASK-ABOUT /FALSE
|
||||
?ELS11: GETP HERE,P?LINE
|
||||
EQUAL? STACK,OUTSIDE-LINE-C \?ELS17
|
||||
SET 'P-WON,FALSE-VALUE
|
||||
PRINTI "(You can't see any"
|
||||
CALL PRSO-PRINT
|
||||
PRINTR " here!)"
|
||||
?ELS17: EQUAL? PRSA,V?PUT \?ELS21
|
||||
EQUAL? PRSI,FLOOR \?ELS21
|
||||
CALL PERFORM,V?DROP,PRSO
|
||||
RTRUE
|
||||
?ELS21: EQUAL? PRSA,V?SEARCH,V?EXAMINE \FALSE
|
||||
PRINTR "You don't find anything new there."
|
||||
|
||||
|
||||
.FUNCT MUSIC-F
|
||||
EQUAL? PRSA,V?LISTEN \FALSE
|
||||
ZERO? RADIO-ON /?ELS10
|
||||
PRINTR "You're too far away to make out what it is."
|
||||
?ELS10: PRINTR "You'd enjoy it more if you turned on the radio."
|
||||
|
||||
|
||||
.FUNCT LIQUOR-F
|
||||
ZERO? LINDER-FOLLOWS-YOU /?ELS5
|
||||
EQUAL? PRSA,V?EXAMINE \?ELS5
|
||||
PRINTR "Linder is drinking something that looks like whisky, straight up."
|
||||
?ELS5: EQUAL? PRSA,V?GIVE \?ELS15
|
||||
EQUAL? PRSI,PLAYER \?ELS15
|
||||
EQUAL? WINNER,PLAYER \?THN22
|
||||
?ELS15: EQUAL? PRSA,V?SGIVE \?ELS17
|
||||
EQUAL? PRSO,PLAYER \?ELS17
|
||||
EQUAL? WINNER,PLAYER \?THN22
|
||||
?ELS17: EQUAL? PRSA,V?ASK-FOR \?ELS19
|
||||
FSET? PRSO,PERSON /?THN22
|
||||
?ELS19: EQUAL? PRSA,V?TAKE \?ELS11
|
||||
CALL FIND-FLAG,HERE,PERSON
|
||||
ZERO? STACK \?THN22
|
||||
ZERO? PRSI /?ELS11
|
||||
FSET? PRSI,PERSON \?ELS11
|
||||
?THN22: ZERO? DRUNK-FLAG /?CND24
|
||||
CALL NO-DRINK
|
||||
RTRUE
|
||||
?CND24: SET 'DRUNK-FLAG,TRUE-VALUE
|
||||
EQUAL? MONICA,WINNER,PRSO,PRSI \?ELS32
|
||||
PRINTR """So you want to dip your beak? Go ahead."""
|
||||
?ELS32: MOVE DRINK,PLAYER
|
||||
FSET DRINK,TAKEBIT
|
||||
PRINTR """I think we both need one."" And so you both have one."
|
||||
?ELS11: EQUAL? PRSA,V?DRINK /?THN41
|
||||
EQUAL? PRSA,V?OPEN \FALSE
|
||||
EQUAL? PRSO,BOURBON,SCOTCH \FALSE
|
||||
?THN41: ZERO? DRUNK-FLAG /?ELS49
|
||||
CALL NO-DRINK
|
||||
RTRUE
|
||||
?ELS49: SET 'DRUNK-FLAG,TRUE-VALUE
|
||||
MOVE DRINK,PLAYER
|
||||
FSET DRINK,TAKEBIT
|
||||
PRINTR "You take a belt of the stuff and roll it on your tongue before swallowing. It's good whisky."
|
||||
|
||||
|
||||
.FUNCT NO-DRINK
|
||||
PRINTR "You could drink this stuff all night, but you have work to do."
|
||||
|
||||
|
||||
.FUNCT CIGARETTE-F
|
||||
EQUAL? PRSA,V?SEARCH-OBJECT-FOR,V?SEARCH,V?FIND \?ELS5
|
||||
PRINTR "Like any hard-boiled police detective, you must have a pack on you somewhere."
|
||||
?ELS5: EQUAL? PRSA,V?EXAMINE \?ELS9
|
||||
EQUAL? HERE,KITCHEN \?ELS14
|
||||
PRINTR "Phong's cigarettes are Lucky Strikes."
|
||||
?ELS14: PRINTR "All you can see is an ashtray full of butts."
|
||||
?ELS9: EQUAL? PRSA,V?SMOKE \?ELS22
|
||||
PRINTR "You light up a Camel, take a deep drag, and watch the smoke drift through the air. A few more puffs, and you're ready to go to work again."
|
||||
?ELS22: EQUAL? PRSA,V?TURN,V?GIVE \?ELS30
|
||||
EQUAL? PRSI,PLAYER \?ELS30
|
||||
EQUAL? WINNER,PLAYER \?THN37
|
||||
?ELS30: EQUAL? PRSA,V?SGIVE \?ELS32
|
||||
EQUAL? PRSO,PLAYER \?ELS32
|
||||
EQUAL? WINNER,PLAYER \?THN37
|
||||
?ELS32: EQUAL? PRSA,V?ASK-FOR \?ELS34
|
||||
FSET? PRSO,PERSON /?THN37
|
||||
?ELS34: EQUAL? PRSA,V?TAKE \FALSE
|
||||
CALL FIND-FLAG,HERE,PERSON,WINNER
|
||||
ZERO? STACK \?THN37
|
||||
FSET? PRSI,PERSON \FALSE
|
||||
?THN37: PRINTR """I think we both need one."" And so you both have one."
|
||||
|
||||
|
||||
.FUNCT BROKEN-GLASS-F
|
||||
EQUAL? PRSA,V?TAKE \FALSE
|
||||
PRINTR "You'd probably cut yourself on the sharp edges."
|
||||
|
||||
|
||||
.FUNCT INSIDE-GUN-F
|
||||
EQUAL? PRSA,V?COMPARE \?ELS5
|
||||
EQUAL? PRSO,OUTSIDE-GUN /?THN8
|
||||
EQUAL? PRSI,OUTSIDE-GUN \?ELS5
|
||||
?THN8: EQUAL? P-ADVERB,W?CAREFULLY \?ELS14
|
||||
SET 'GUNS-MATCHED,TRUE-VALUE
|
||||
PRINTI "The two guns are virtually identical,"
|
||||
PRINTR " except that one has a very short barrel."
|
||||
?ELS14: PRINTI "The two guns appear to be very similar,"
|
||||
PRINTR " except that one has a very short barrel."
|
||||
?ELS5: EQUAL? PRSA,V?EXAMINE \?ELS22
|
||||
PRINTI "Y"
|
||||
PRINTI "ou can see it's just a cheap low-quality handgun."
|
||||
PRINTR " The barrel is very short, as if someone sawed it off."
|
||||
?ELS22: EQUAL? PRSA,V?OPEN \?ELS26
|
||||
PRINTR "You open the gun, find no spare bullets inside, and close it again."
|
||||
?ELS26: EQUAL? PRSA,V?SMELL \FALSE
|
||||
PRINTR "It smells as though it's recently been fired."
|
||||
|
||||
|
||||
.FUNCT OUTSIDE-GUN-F
|
||||
EQUAL? PRSA,V?EXAMINE \?ELS5
|
||||
PRINTI "The gun is muddy from the ground, but y"
|
||||
PRINTR "ou can see it's just a cheap low-quality handgun."
|
||||
?ELS5: EQUAL? PRSA,V?OPEN \?ELS9
|
||||
PRINTR "You open the gun, find no spare bullets inside, and close it again."
|
||||
?ELS9: EQUAL? PRSA,V?SMELL \FALSE
|
||||
PRINTR "It smells as though it's recently been fired."
|
||||
|
||||
|
||||
.FUNCT GENERIC-GUN-F,OBJ
|
||||
EQUAL? PRSA,V?TAKE,V?SEARCH-OBJECT-FOR /?THN6
|
||||
EQUAL? PRSA,V?SGIVE,V?GIVE,V?WHAT /?THN6
|
||||
EQUAL? PRSA,V?TELL-ME,V?FIND,V?ASK-CONTEXT-FOR /?THN6
|
||||
EQUAL? PRSA,V?ASK-FOR,V?ASK-CONTEXT-ABOUT,V?ASK-ABOUT \?ELS5
|
||||
?THN6: RETURN GENERIC-GUN
|
||||
?ELS5: LOC PISTOL
|
||||
EQUAL? STACK,PLAYER,HERE /FALSE
|
||||
SET 'P-WON,FALSE-VALUE
|
||||
PRINTI "(You can't see any "
|
||||
PRINTI "gun"
|
||||
PRINTI " here!)"
|
||||
CRLF
|
||||
RETURN NOT-HERE-OBJECT
|
||||
|
||||
|
||||
.FUNCT PHONG-KEYS-F
|
||||
EQUAL? PRSA,V?GIVE \?ELS9
|
||||
EQUAL? PRSI,PLAYER \?ELS9
|
||||
EQUAL? WINNER,PHONG /?THN6
|
||||
?ELS9: EQUAL? PRSA,V?TAKE \FALSE
|
||||
IN? PHONG-KEYS,PHONG \FALSE
|
||||
?THN6: ZERO? PHONG-SEEN-CORPSE? /?ELS16
|
||||
MOVE PHONG-KEYS,PLAYER
|
||||
FCLEAR PHONG-KEYS,NDESCBIT
|
||||
PRINTR """Here, you may as well take them. I don't see how Mr. Linder can object now."""
|
||||
?ELS16: PRINTR """I don't think Mr. Linder would like that."""
|
||||
|
||||
|
||||
.FUNCT GENERIC-KEY-F,OBJ
|
||||
EQUAL? PRSA,V?TAKE,V?SEARCH-OBJECT-FOR /?THN6
|
||||
EQUAL? PRSA,V?SGIVE,V?GIVE,V?WHAT /?THN6
|
||||
EQUAL? PRSA,V?TELL-ME,V?FIND,V?ASK-CONTEXT-FOR /?THN6
|
||||
EQUAL? PRSA,V?ASK-FOR,V?ASK-CONTEXT-ABOUT,V?ASK-ABOUT \?ELS5
|
||||
?THN6: RETURN GENERIC-KEY
|
||||
?ELS5: LOC PHONG-KEYS
|
||||
EQUAL? STACK,PLAYER,HERE /FALSE
|
||||
SET 'P-WON,FALSE-VALUE
|
||||
PRINTI "(You can't see any "
|
||||
PRINTI "key"
|
||||
PRINTI " here!)"
|
||||
CRLF
|
||||
RETURN NOT-HERE-OBJECT
|
||||
|
||||
|
||||
.FUNCT HANDWRITING-F,?TMP1
|
||||
EQUAL? PRSA,V?ANALYZE \FALSE
|
||||
EQUAL? PRSO,HANDWRITING \FALSE
|
||||
ZERO? PRSI \FALSE
|
||||
LOC MATCHBOOK >?TMP1
|
||||
LOC THREAT-NOTE
|
||||
EQUAL? PLAYER,?TMP1,STACK \FALSE
|
||||
PRINTR "You didn't say what to analyze the handwriting on."
|
||||
|
||||
|
||||
.FUNCT GLOBAL-FINGERPRINTS-F
|
||||
EQUAL? PRSA,V?TAKE \FALSE
|
||||
EQUAL? PRSO,GLOBAL-FINGERPRINTS \FALSE
|
||||
ZERO? PRSI \?ELS12
|
||||
PRINTR "You didn't say what to take the fingerprints from."
|
||||
?ELS12: CALL PERFORM,V?FINGERPRINT,PRSI
|
||||
RTRUE
|
||||
|
||||
|
||||
.FUNCT GLOBAL-SUICIDE-F,STR
|
||||
EQUAL? PRSA,V?FIND \FALSE
|
||||
EQUAL? WINNER,PLAYER /FALSE
|
||||
PRINTR """She shot herself in the bathtub."""
|
||||
|
||||
|
||||
.FUNCT TELEPHONE-F
|
||||
EQUAL? PRSA,V?PHONE \?ELS5
|
||||
PRINTR "You should type what number to call, for example ""DIAL HYACINTH 1031."""
|
||||
?ELS5: EQUAL? PRSA,V?REPLY \?ELS9
|
||||
PRINTR "Don't bother unless it rings."
|
||||
?ELS9: EQUAL? PRSA,V?TAKE,V?RAISE \FALSE
|
||||
PRINTR "You lift the receiver and get a dial tone. Well done!"
|
||||
|
||||
|
||||
.FUNCT CORONER-F
|
||||
EQUAL? PRSA,V?PHONE \FALSE
|
||||
CALL PHONE-IN?,HERE
|
||||
ZERO? STACK /FALSE
|
||||
RANDOM 100
|
||||
GRTR? 69,STACK \?ELS12
|
||||
PRINTR "You dial the number and wait a long time for someone to answer. Finally you hear a voice: ""We're awful busy here. Call back in ten minutes."" He hangs up before you can say a word."
|
||||
?ELS12: PRINTR "You dial the number and get a busy signal."
|
||||
|
||||
|
||||
.FUNCT BUTTON-F
|
||||
EQUAL? HERE,FRONT-PORCH \?ELS5
|
||||
EQUAL? PRSI,BUTTON \?ELS8
|
||||
CALL PERFORM,PRSA,PRSO,DOORBELL
|
||||
RTRUE
|
||||
?ELS8: EQUAL? PRSO,BUTTON \FALSE
|
||||
CALL PERFORM,PRSA,DOORBELL,PRSI
|
||||
RTRUE
|
||||
?ELS5: CALL OUTSIDE?,HERE
|
||||
ZERO? STACK /?ELS12
|
||||
PRINTR "There's no button here."
|
||||
?ELS12: EQUAL? PRSA,V?RING,V?PUSH \FALSE
|
||||
IN? PHONG,HERE \?ELS21
|
||||
PRINTR "Phong looks annoyed. ""You needn't ring for me. I'm right here."""
|
||||
?ELS21: CALL YOU-RANG
|
||||
PRINTR "You barely hear a bell ring in the distance."
|
||||
|
||||
|
||||
.FUNCT YOU-RANG
|
||||
GET GOAL-TABLES,PHONG-C
|
||||
GET STACK,GOAL-S
|
||||
ZERO? STACK \FALSE
|
||||
SET 'PHONG-CALLED,TRUE-VALUE
|
||||
LOC PHONG >PHONG-OLD-LOC
|
||||
CALL ESTABLISH-GOAL,PHONG,HERE
|
||||
RSTACK
|
||||
|
||||
|
||||
.FUNCT BLACK-WIRE-F
|
||||
GETP HERE,P?LINE
|
||||
EQUAL? STACK,OUTSIDE-LINE-C \?ELS5
|
||||
PRINTR "There's no wire here."
|
||||
?ELS5: EQUAL? PRSO,WHITE-WIRE \?ELS9
|
||||
EQUAL? HERE,WORKSHOP /?ELS9
|
||||
CALL WINDOW-IN?,HERE
|
||||
ZERO? STACK \?ELS9
|
||||
PRINTR "There's no white wire here."
|
||||
?ELS9: EQUAL? PRSA,V?EXAMINE \?ELS15
|
||||
EQUAL? PRSO,BLACK-WIRE \?ELS20
|
||||
EQUAL? HERE,WORKSHOP \?ELS25
|
||||
PRINTI "You can see several kinds of "
|
||||
PRINTI "black"
|
||||
PRINTR " wire on spools, not to mention the snarl in the junction box."
|
||||
?ELS25: PRINTR "A pair of black wires goes from the butler's button into the floor."
|
||||
?ELS20: EQUAL? HERE,WORKSHOP \?ELS33
|
||||
PRINTI "You can see several kinds of "
|
||||
PRINTI "white"
|
||||
PRINTR " wire on spools, not to mention the snarl in the junction box."
|
||||
?ELS33: PRINTI "A pair of white wires goes from some sort of electric switch on the "
|
||||
EQUAL? HERE,ENTRY,GARAGE \?ELS44
|
||||
PUSH STR?128
|
||||
JUMP ?CND40
|
||||
?ELS44: PUSH STR?129
|
||||
?CND40: PRINT STACK
|
||||
PRINTR " into the frame."
|
||||
?ELS15: EQUAL? PRSA,V?FOLLOW \?ELS48
|
||||
EQUAL? PRSO,BLACK-WIRE \?ELS53
|
||||
PRINTR "The wire goes into the floor and disappears."
|
||||
?ELS53: EQUAL? HERE,WORKSHOP \?ELS57
|
||||
PRINTR "It just goes around and around the spools."
|
||||
?ELS57: PRINTR "The wire goes into the wall and disappears."
|
||||
?ELS48: EQUAL? PRSA,V?TAKE \FALSE
|
||||
PRINTR "You don't really want to do that."
|
||||
|
||||
|
||||
.FUNCT MUDDY-SHOES-F
|
||||
EQUAL? PRSA,V?PUT,V?COMPARE \?ELS5
|
||||
EQUAL? PRSO,BACK-FOOTPRINTS-CAST,BACK-FOOTPRINTS /?THN8
|
||||
EQUAL? PRSI,BACK-FOOTPRINTS-CAST,BACK-FOOTPRINTS \?ELS5
|
||||
?THN8: PRINTI "The boots don't seem to match "
|
||||
PRINTI "the foot prints that you found in the "
|
||||
PRINTR "back yard."
|
||||
?ELS5: EQUAL? PRSA,V?PUT,V?COMPARE \?ELS13
|
||||
EQUAL? PRSO,SIDE-FOOTPRINTS-CAST,SIDE-FOOTPRINTS /?THN16
|
||||
EQUAL? PRSI,SIDE-FOOTPRINTS-CAST,SIDE-FOOTPRINTS \?ELS13
|
||||
?THN16: EQUAL? PRSA,V?PUT /?THN23
|
||||
EQUAL? P-ADVERB,W?CAREFULLY \?ELS22
|
||||
?THN23: SET 'SIDE-FOOTPRINTS-MATCHED,TRUE-VALUE
|
||||
PRINTR "The boots and the foot prints match each other perfectly."
|
||||
?ELS22: PRINTI "The boots appear to be similar to "
|
||||
PRINTI "the foot prints that you found in the "
|
||||
PRINTR "side yard."
|
||||
?ELS13: EQUAL? PRSA,V?EXAMINE \?ELS32
|
||||
PRINTR "They're just ordinary gardening boots, with some fresh adobe mud around the bottom."
|
||||
?ELS32: EQUAL? PRSA,V?TAKE \FALSE
|
||||
FCLEAR MUDDY-SHOES,NDESCBIT
|
||||
RFALSE
|
||||
|
||||
|
||||
.FUNCT BED-F,RARG=100
|
||||
EQUAL? RARG,100 \FALSE
|
||||
EQUAL? PRSA,V?LOOK-ON,V?LOOK-INSIDE,V?EXAMINE \?ELS7
|
||||
EQUAL? HERE,MONICA-ROOM \?ELS7
|
||||
IN? MONICA,MONICA-ROOM \?ELS7
|
||||
PRINTR "Monica is lying on her bed, softly sobbing."
|
||||
?ELS7: EQUAL? PRSA,V?LOOK-UNDER \FALSE
|
||||
PRINTR "If you wanted to find the bogey man, you're out of luck."
|
||||
|
||||
|
||||
.FUNCT GLOBAL-CALL-F
|
||||
EQUAL? PRSA,V?WALK,V?TURN \FALSE
|
||||
PRINTR "(Use compass directions to move around here.)"
|
||||
|
||||
|
||||
.FUNCT CORPSE-F,ARG=0,T
|
||||
SUB PRESENT-TIME,MURDER-TIME >T
|
||||
EQUAL? ARG,M-OBJDESC \?ELS5
|
||||
PRINTR "The body of Mr. Linder is still crumpled in a heap on the floor."
|
||||
?ELS5: EQUAL? PRSA,V?ANALYZE \?ELS9
|
||||
EQUAL? PRSO,CORPSE \?ELS9
|
||||
EQUAL? PRSI,TUMOR \?CND12
|
||||
SET 'DUFFY-SAW-MEDICAL-REPORT,TRUE-VALUE
|
||||
?CND12: PRINTR "Only the coroner can do that."
|
||||
?ELS9: EQUAL? PRSA,V?ARREST \?ELS18
|
||||
EQUAL? PRSO,CORPSE \?ELS18
|
||||
CALL ARREST,GLOBAL-LINDER
|
||||
RSTACK
|
||||
?ELS18: EQUAL? PRSA,V?$CALL,V?PHONE /?THN25
|
||||
EQUAL? PRSA,V?TELL,V?ASK-FOR,V?ASK-ABOUT \?ELS22
|
||||
?THN25: EQUAL? PRSO,CORPSE \?ELS22
|
||||
PRINTI "Talking to corpses will get you nowhere."
|
||||
CRLF
|
||||
RETURN M-FATAL
|
||||
?ELS22: EQUAL? PRSA,V?TAKEOUT \?ELS30
|
||||
EQUAL? PRSI,LINDER-BACK-DOOR,MONICA-BACK-DOOR,OFFICE-BACK-DOOR \?ELS30
|
||||
PRINTI "You can't move"
|
||||
CALL THE-PRSO-PRINT
|
||||
PRINTR "."
|
||||
?ELS30: EQUAL? PRSA,V?TIE-WITH,V?TIE-TO \?ELS36
|
||||
PRINTR "Don't tell me you think the body's going to run away!"
|
||||
?ELS36: EQUAL? PRSA,V?RUB,V?EXAMINE \FALSE
|
||||
LESS? T,10 \?ELS45
|
||||
PRINTR "The blood is still spreading on Linder's shirt."
|
||||
?ELS45: LESS? T,60 \?ELS49
|
||||
PRINTR "The blood on Linder's shirt has clotted and turned dark."
|
||||
?ELS49: LESS? T,180 \?ELS53
|
||||
PRINTR "Linder's body is getting stiff."
|
||||
?ELS53: PRINTR "The corpse is pretty stiff now."
|
||||
|
||||
|
||||
.FUNCT GLOBAL-WARRANT-F
|
||||
EQUAL? PRSA,V?FIND,V?TAKE \FALSE
|
||||
PRINTR "Knowing the courts, it would probably take days to get one."
|
||||
|
||||
|
||||
.FUNCT STUB-F
|
||||
EQUAL? PRSA,V?READ,V?EXAMINE \FALSE
|
||||
GET 0,8
|
||||
BOR STACK,2
|
||||
PUT 0,8,STACK
|
||||
PRINTI "
|
||||
#570716
|
||||
|
||||
BIJOU THEATRE
|
||||
|
||||
ADMIT ONE
|
||||
|
||||
25 CENTS
|
||||
|
||||
-^-^-^-^-^-^-
|
||||
"
|
||||
GET 0,8
|
||||
BAND STACK,-3
|
||||
PUT 0,8,STACK
|
||||
RTRUE
|
||||
|
||||
|
||||
.FUNCT MIRROR-F
|
||||
EQUAL? PRSA,V?MUNG \?ELS5
|
||||
PRINTR "According to superstition, it's bad luck to break mirrors."
|
||||
?ELS5: EQUAL? PRSA,V?LOOK-INSIDE \FALSE
|
||||
PRINTR "A harried and weary police detective looks back at you, with a look that seems to say, ""Look what the cat dragged in."""
|
||||
|
||||
|
||||
.FUNCT CLOSET-F
|
||||
EQUAL? HERE,MONICA-ROOM,LINDER-ROOM,BUTLER-ROOM /?ELS5
|
||||
EQUAL? HERE,ENTRY /?ELS5
|
||||
SET 'P-WON,FALSE-VALUE
|
||||
PRINTI "(You can't see any "
|
||||
PRINTI "closet"
|
||||
PRINTR " here!)"
|
||||
?ELS5: EQUAL? PRSA,V?OPEN /?THN12
|
||||
EQUAL? PRSA,V?SEARCH,V?LOOK-INSIDE,V?EXAMINE \?ELS11
|
||||
?THN12: PRINTR "You open the closet and find a bunch of stylish clothes, but nothing in your size."
|
||||
?ELS11: EQUAL? PRSA,V?THROUGH \FALSE
|
||||
PRINTR "The closet's too crowded to get in."
|
||||
|
||||
|
||||
.FUNCT GLOBAL-CAN-OF-WORMS-F
|
||||
EQUAL? PHONG,PRSO,WINNER /FALSE
|
||||
EQUAL? PRSA,V?FIND \?ELS7
|
||||
PRINTR "In a sense, they're all around you!"
|
||||
?ELS7: EQUAL? PRSA,V?WHAT \?ELS11
|
||||
PRINTR "That would be telling!"
|
||||
?ELS11: EQUAL? HERE,KITCHEN \FALSE
|
||||
PRINTR "This case is tangled enough already."
|
||||
|
||||
|
||||
.FUNCT RANDOM-MEAL-F
|
||||
EQUAL? PRSA,V?FIND /?THN6
|
||||
EQUAL? PRSA,V?EAT,V?ASK-FOR,V?ASK-ABOUT \?ELS5
|
||||
?THN6: PRINTR "The blue-plate special at the diner was enough for you."
|
||||
?ELS5: PRINTR "What a strange notion!"
|
||||
|
||||
|
||||
.FUNCT GLOBAL-HOUSE-F
|
||||
EQUAL? PRSA,V?WALK-AROUND \FALSE
|
||||
PRINTR "(Use compass directions to move around here.)"
|
||||
|
||||
.ENDI
|
||||
File diff suppressed because it is too large
Load Diff
File diff suppressed because it is too large
Load Diff
|
|
@ -0,0 +1,36 @@
|
|||
.lm 0
|
||||
.rm 80
|
||||
.c
|
||||
LAYOUT OF "WITNESS"
|
||||
.s 5
|
||||
.lit
|
||||
Key: (D) = door
|
||||
*** = corridor
|
||||
+++ = transit line
|
||||
(T) = transfer point
|
||||
|
||||
|
||||
/
|
||||
----- NORTH
|
||||
\
|
||||
|
||||
|
||||
ROCK-GARDEN*+*+*+*+*+*+*BACK-YARD+*+OFFICE-PORCH*+*+*+*+*+*+STONE-PATH(D=gate)
|
||||
! (window) ! ! +
|
||||
(D) TUB-ROOM (D) (D,window) *
|
||||
! (D) ! ! +
|
||||
LINDER-ROOM(D)BATHROOM(D)MONICA-ROOM OFFICE(D)W.C. WORKSHOP *
|
||||
+ (D) ! + ! +
|
||||
+ TOILET-ROOM ! + ! *
|
||||
(D) (D) (D) (D) +
|
||||
+ ! + ! *
|
||||
LIVING-ROOM+*+*+HALL-1*+*+HALL-2+HALL-3*(T)HALL-4+(D)++GARAGE +
|
||||
* (D) (D) + (D) * SIDE-YARD
|
||||
DINING-ROOM(D)KITCHEN ! + ! * *
|
||||
! (window) ! + STORAGE-CLOSET * +
|
||||
(D) BUTLER(D)BUTLER + * *
|
||||
! -BATH -ROOM ENTRY (closet) * +
|
||||
! (window) (D) * *
|
||||
! (T) * +
|
||||
FRONT-YARD+++++++++++++++(D=gate)+FRONT-PORCH+*+*+*+*DRIVEWAY+*+*DRIVEWAY-GATE
|
||||
.eli
|
||||
|
|
@ -0,0 +1,38 @@
|
|||
.lm 0
|
||||
.rm 80
|
||||
.c
|
||||
MAP OF LINDER PROPERTY
|
||||
.s 5
|
||||
.lit
|
||||
/
|
||||
----- NORTH
|
||||
\
|
||||
|
||||
X fence * * woods * Xfence
|
||||
X X
|
||||
X rock back X
|
||||
X garden yard X
|
||||
X porch o o o o o o path o o o o gate
|
||||
!----=D==----!---===--!----=D==----!----==D=----!-----------! X
|
||||
! ! tub+sh ! ! ! ! X
|
||||
! Linder's !--- D --! Monica's ! office ! workshop ! X
|
||||
! bedroom D bath D bedroom ! ! ! X
|
||||
! ! ! ! ! ! X
|
||||
! !--- D --! ! ! ! X
|
||||
! ! toilet ! ! ! ! side X str-
|
||||
!----- D -------------------- D -------- D ---------- D ----! yard X eet
|
||||
! hall-1 -2 -3 -4 D ! X
|
||||
! --- D ----------- D - ---- D ----! ! X
|
||||
! living ! ! bath D ! ! storage ! 2-car ! X
|
||||
! ! !------- ! ! ! garage ! X
|
||||
! ! kitch ! ! !----------! ! X
|
||||
!---- DD ----! ! butler ! !clos./shoe! ! X
|
||||
! ! ! ! ! ! X
|
||||
! dining D ! ! entry ! ! X
|
||||
! ! ! ! ! ! X
|
||||
!----==D==--------==--!---===----!--------! D !-! ! - - - - - X
|
||||
X X front
|
||||
X front yard gate porch driveway entrance
|
||||
X X
|
||||
XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX
|
||||
.eli
|
||||
|
|
@ -0,0 +1,344 @@
|
|||
.ch Cast of Characters
|
||||
|
||||
(Last revised: 1983 Jan.` 20)
|
||||
|
||||
Freeman Linder, the victim
|
||||
|
||||
Monica Linder, his daughter
|
||||
|
||||
Hui Phong, the butler/housekeeper
|
||||
|
||||
Mr.` Stiles, the accused
|
||||
|
||||
Sgt.` Duffy, your assistant
|
||||
|
||||
|
||||
.comment Optional:/Mrs.` Linder, Linder's wife/Mrs.` Foobar, Stiles' companion (and alibi?)/Dr.` Cheswick, Linder's physician
|
||||
.ch Plot Summary
|
||||
|
||||
The time is February, 1938.
|
||||
Freeman Linder, a middle-aged Great White Hunter type, runs an
|
||||
Asian-American import-export business out of his house in Cabeza Plana,
|
||||
near Los Angeles. He discovered about a year ago that his wife had taken
|
||||
a lover, Ralph Stiles, an "effete snob" type. This discovery made
|
||||
their relationship deteriorate, with growing bitterness and belligerence,
|
||||
until Mrs Linder recently took her own life with a gun.
|
||||
Linder plans to take revenge on
|
||||
Stiles by framing him for attemped murder. To this end, he enlists the
|
||||
services of his Asian butler, Phong, and his daughter, Monica.
|
||||
|
||||
The plot is this: Linder has simultaneously sent two messages,
|
||||
a telegram to you (the inspector) and a phone call to Stiles.
|
||||
Your telegram (included in the
|
||||
game package) tells of a life-and-death emergency in which he believes
|
||||
his life is endangered; actually he wants you to witness the alleged crime
|
||||
and then arrest Stiles. In the phone call
|
||||
he says that he needs to speak with Stiles on an urgent matter,
|
||||
and could Stiles come discreetly to the house,
|
||||
going through the back yard directly to Linder's office door.
|
||||
|
||||
Inside Linder's office, which faces out onto the yard, an elaborate set-up
|
||||
is planned. In a grandfather clock next to the door and window, behind your
|
||||
back as you sit, a gun is positioned aiming through
|
||||
the keyhole toward Linder, who will be sitting behind
|
||||
his desk on the opposite side
|
||||
of the room. The gun is to be triggered by Linder by means of the butler's
|
||||
call button, hidden under the edge of his desk. Also triggered by the
|
||||
button is the detonation of a some explosive (gunpowder?) attached
|
||||
to the edge of the
|
||||
window pane adjacent to the clock. The net effect will be to simulate
|
||||
a shot fired through the window at Linder.
|
||||
|
||||
Two guns are purchased for this purpose. One, as mentioned before, is
|
||||
hidden in the grandfather clock. The other, which is fired in secret
|
||||
beforehand, is left lying on the
|
||||
ground (behind an open gate, which is rigged to close and lock after
|
||||
anyone passes through it), where you might find it later without much
|
||||
difficulty. Linder is a gun collector, and he has no trouble obtaining
|
||||
two identical small handguns that are unregistered and untraceable.
|
||||
|
||||
On the night in question, you arrive at the house at, say, 8:00 p.m. and have
|
||||
a chance to speak to Linder and other members of the household.
|
||||
I picture Linder and Monica talking in the living room and Phong
|
||||
cleaning up after their dinner. Phong lets you in and escorts you
|
||||
to the living room. After a while,
|
||||
Linder brings
|
||||
you into his office and, of
|
||||
course, shows you some incriminating evidence about Stiles
|
||||
(but not revealing everything
|
||||
about the circumstances surrounding it), and explains why he
|
||||
suspects that his life is endangered. During this time, Monica leaves
|
||||
to go see a movie with a friend. When Stiles's car appears,
|
||||
Phong rings the doorbell as a signal and sneaks into the house.
|
||||
Linder keeps an eye on the door/window and, when Stiles
|
||||
appears a short while later,
|
||||
causes the shot to be fired. Stiles panics and flees via the back of the
|
||||
yard (not the locked gate) but is brought back inside shortly
|
||||
by a police officer who followed you to Linder's house to offer help.
|
||||
This officer, Sgt. Duffy (an older relative of the Duffy in
|
||||
"Deadline"), immediately volunteers his services as
|
||||
your assistant. (Duffy is the source of hints, if any, for the
|
||||
player.) You both decide to investigate the incident
|
||||
together before calling in the police lab
|
||||
people.
|
||||
Duffy handcuffs Stiles and detains him in the living room.
|
||||
Monica returns home at 11:00 and appears to retire at 1:00, say.
|
||||
|
||||
(Here's an opportunity for a disappointing ending: while you and
|
||||
Linder are chatting in his office, there's a certain small chance that
|
||||
he receives a telephone call
|
||||
with some kind of disastrous financial news. It's so bad, in fact, that he
|
||||
suffers a seizure of some kind and, within a couple of your moves,
|
||||
sets off the hidden gun
|
||||
prematurely. If you get up from the chair to assist him, you
|
||||
could get shot in the back! Otherwise, the shot could go off before
|
||||
Stiles arrives at the window, making you a suspect in the
|
||||
shooting!)
|
||||
|
||||
The plot has thickened, however, because Monica Linder decided that she would
|
||||
take
|
||||
this opportunity to murder her father. Her mother and she were
|
||||
very close.
|
||||
Mr Linder was often away on business during Monica's childhood, and
|
||||
Mrs Linder imbued her daughter with a love/hatred for him,
|
||||
describing him in terms of abandonment. Monica is a
|
||||
talented mechanical engineer and helped her father construct the
|
||||
remote-controlled gun set-up, but she also blames him for her mother's
|
||||
death and
|
||||
has lost all love for him. Further,
|
||||
he has tried several times lately to seduce her.
|
||||
(Phong may have something to say in passing
|
||||
in this regard.) She therefore aims the gun so that her
|
||||
father will be killed when it is fired. Her idea is to convict Stiles of
|
||||
the murder and go free herself.
|
||||
(When the fatal shot goes off, she should be away from all
|
||||
buttons, which is the reason for going to a movie.)
|
||||
|
||||
Naturally, Phong has no idea of Monica's plan and will assume that the death
|
||||
was accidental. He will not 'spill the beans' on Linder's plan, however,
|
||||
since he also has reason
|
||||
to want Stiles removed from the scene. There are a number of
|
||||
pieces of evidence that contradict the simple explanation for the crime.
|
||||
These will be listed below. When you have evidence that Stiles didn't
|
||||
commit the crime (for example, finding the outside gun and
|
||||
discovering Phong's trail of foot prints leads to it but Stiles's doesn't),
|
||||
Phong will come forward and admit to having helped in the
|
||||
arrangement of the mechanical devices, but having no idea that they were to be
|
||||
used in this manner (Linder told him that they were trying to frighten
|
||||
Stiles). Monica will, as a last resort, attempt to convince you that her
|
||||
father was dying of something or other and had planned his own death. There
|
||||
will be evidence, however, that Monica is the only one who could have
|
||||
twisted Linder's plan into murder: namely, the key to the clock is hidden
|
||||
on her person, so she had final control of the gun's aim.
|
||||
|
||||
Once the outside gun is found, it might be possible to even convict Stiles of
|
||||
the murder of Linder. This ending is obviously sub-optimal, as an innocent
|
||||
person is convicted. Another possibility is to find the wires, etc. and
|
||||
decide that Linder planned his own death. Nobody would be arrested in this
|
||||
scenario. One might also arrest
|
||||
Monica with varying amounts of evidence, leading to a number of sub-optimal
|
||||
results and the optimal one, in which Monica's plan is totally revealed.
|
||||
|
||||
.comment (Is Linder's plot a good frame? Does his egotism make him think police are stupid?)
|
||||
.ch Evidence/Viewpoints
|
||||
|
||||
Key: a sentence beginning with "L:" (Linder), "M:" (Monica), "P:"
|
||||
(Phong), or "S:" (Stiles) tells what the character would say or
|
||||
feel
|
||||
about the item or person.
|
||||
|
||||
.hl 1 Pistols
|
||||
It should be possible to find the second gun on the grounds and to determine
|
||||
that it has been recently fired but wiped clean of finger prints.
|
||||
It should, with more difficulty, be possible to
|
||||
gain access to the insides of the grandfather clock and find the murder weapon
|
||||
itself. Both should be untraceable as to origin or ownership
|
||||
without the sales receipts.
|
||||
.br
|
||||
S: could show phobia about guns, due to his "liberal" outlook.
|
||||
|
||||
.hl 1 Gun Receipts
|
||||
The guns should have been purchased by Monica, with the knowledge of Phong.
|
||||
The receipts should be findable, perhaps hidden on the grounds or in the
|
||||
trash. It should be clear that there are two different receipts, not
|
||||
one, with a false name. Clearly, depending on what you know, Monica and
|
||||
Phong will give a variety of bewildering statements regarding the guns.
|
||||
|
||||
.hl 1 Remote control
|
||||
It should be possible to detect a button on some
|
||||
part of the desk. Pushing the button would have no effect after the murder
|
||||
was committed. I don't know what should happen if you push it before the
|
||||
crime occurs. Perhaps it isn't activated until it is supposed to happen.
|
||||
.br
|
||||
M: needs to de-activate the button after it's no longer needed.
|
||||
.br
|
||||
P: admits knowledge of set-up but thought purpose was to frighten Stiles.
|
||||
|
||||
.comment .hl 1 Chair/The chair where Linder sits is elaborately decorated so that the button is hard to notice./.br/L: "I found that in an obscure but wealthy estate in Southeast Asia during the war and brought it home as booty. Sitting in it makes you feel like an 'Oriental potentate'."
|
||||
|
||||
.hl 1 Window Pane/Carpet
|
||||
It is possible to find fragments of the explosive,
|
||||
perhaps, or an unusual spray of glass (perhaps glass in both directions from
|
||||
the window - inside and out), indicating that the cause of the explosion was
|
||||
not a projectile coming from outside. (What happens to the detonating wires
|
||||
when the window shatters as though a bullet passed through it? They should
|
||||
be detectable.)
|
||||
|
||||
.hl 1 Wall/Bullet Hole
|
||||
A bullet hole, perhaps from a dry run, should be findable in the wall or
|
||||
pillow across
|
||||
from the clock. It should be difficult to find, as it had been covered over
|
||||
to mask its identity. Or, perhaps the keyhole on the clock should have some
|
||||
powder on it after the shot.
|
||||
|
||||
.hl 1 Footprints
|
||||
This is where an "act of God" spoils the otherwise foolproof plan.
|
||||
It turns out that an unexpected rainfall has made the back yard
|
||||
muddy enough so that trails of foot prints are left by both
|
||||
Phong and Stiles. Phong's trail connects the outside gun
|
||||
and the house without approaching the street. Stiles's
|
||||
trail goes from street to office door and back without
|
||||
approaching the gun. If you are careful not to confuse the
|
||||
trails with your own foot prints, you can discover this
|
||||
fact. Or you can inspect Phong's shoes, perhaps.
|
||||
|
||||
.hl 1 Clock
|
||||
Examination should provide a good description of the clock itself, including
|
||||
the keyhole and mechanism. After the shot, the keyhole should have some
|
||||
powder marks until Phong or Monica cleans it off.
|
||||
The clock is the only decorative item in the office that is not
|
||||
Asian in origin. I picture a full-blown seven-foot clock, run by
|
||||
weights and regulated by a pendulum, whose dial shows day, date,
|
||||
and phase of moon besides the time.
|
||||
.br
|
||||
L: "I've always admired
|
||||
elaborate machines, and that's the finest example I could hope to
|
||||
own."
|
||||
|
||||
.hl 1 Clock Key
|
||||
Monica must hide the key after the set-up is complete, so
|
||||
that Linder can't discover her treachery. Then, after the
|
||||
inside gun shot, she must try
|
||||
to use the key to remove the inside gun from the clock
|
||||
without being discovered. She should hide it on her
|
||||
person as incriminating evidence.
|
||||
|
||||
.comment .hl 1 Blackmail Note / There should be at least one blackmail note from Stiles to Linder, presumably one which he shows you. Maybe a threatening note, forged by Linder, could also be found.
|
||||
|
||||
.hl 1 Workshop
|
||||
In the house should be a workshop, with gear capable
|
||||
of generating the remote-control device used in the murder.
|
||||
You could be able to find a spool of wire identical to that found at
|
||||
the broken window.
|
||||
|
||||
.hl 1 Medical Report
|
||||
It's possible that Monica, considering the possibility of the method of
|
||||
Linder's death being discovered, has generated a false medical report
|
||||
indicating that her father was close to death, this as a reason for her
|
||||
father's choosing to plan his death rather than an attempt on his life.
|
||||
Monica's explanation and the medical report should be convincing.
|
||||
(Ironic twist: an autopsy on Linder's body could show actual evidence
|
||||
of fatal disease, unknown to Monica, so that she
|
||||
could have just waited rather than
|
||||
resorting to murder.)
|
||||
|
||||
.hl 1 Broom
|
||||
In an easier version, a broom in the corner of the office before the
|
||||
gunshot occurs would give a hint about anticipated or previous broken glass.
|
||||
|
||||
.comment .hl 1 First Gunshot/L: "I imagine that was a car backfiring." (But he must hear it for his plan to work, so you also hear it distinctly and thus suspect this explanation.)/.br/M: "backfire", but after Linder's death "No doubt Stiles tested his gun to be sure it worked." (But outside gun has not been fired twice.)/.br/P: "backfire", but his finger prints are on it if he's not careful.
|
||||
|
||||
.comment .hl 1 Second Gunshot/P: thinks Linder's death was accidental./.br/S: flees scene but is captured by Duffy.
|
||||
.ch Game Package
|
||||
|
||||
This is a tough one for this case, since the crime isn't committed until you
|
||||
have arrived on the scene.
|
||||
|
||||
.hl 1 Telegram
|
||||
The telegram asking you to come to the Linder house. It should be
|
||||
appropriately melodramatic. For example:
|
||||
.s
|
||||
LK 9893B AL;K3O9U
|
||||
.br
|
||||
1938 FEB 18 233PM
|
||||
.br
|
||||
=CHIEF DETECTIVE, HOMICIDE DIV, POLICE DEPT, CABEZA PLANA, CALIF
|
||||
.br
|
||||
URGENTLY REQUEST YOUR ASSISTANCE.
|
||||
BELIEVE STILES ENDANGERS MY LIFE. PLEASE COME TO 4986 LYMAN DRIVE AT EIGHT
|
||||
THIS
|
||||
EVENING. -FREEMAN LINDER.
|
||||
|
||||
.hl 1 Scrapbook
|
||||
Perhaps a scrapbook about Mr. Linder, which you have for some reason.
|
||||
Maybe related to another case. Or a newspaper story about some
|
||||
military/diplomatic award or business venture of his.
|
||||
Example:
|
||||
|
||||
FREEMAN LINDER RECEIVES AWARD
|
||||
|
||||
Freeman Linder, president and chairman of Pacific Trade Associates
|
||||
Inc., received an award as "Goodwill Ambassador of the Year" from the
|
||||
Valley Asian-American Friendship Club at its dinner meeting
|
||||
Thursday night. Mr.` Linder was honored "for his long and
|
||||
energetic service in the cause of peace and friendship between
|
||||
the peoples of Asia and America."
|
||||
|
||||
In receiving the award Mr.` Linder gave a talk about his career
|
||||
and the changes he has seen in Asian-American relations. After
|
||||
quitting an engineering major in college to serve in the Marines in 1898,
|
||||
he was
|
||||
stationed in Shanghai during the "Boxer Rebellion" of 1900.
|
||||
When his term of service ended, he remained in Asia, travelling in China and
|
||||
Japan, and supporting himself as a free-lance engineering consultant,
|
||||
much like former President Hoover.
|
||||
|
||||
In 1910 he returned to the States, married, and tried to settle
|
||||
down in a job with an engineering company. However, he found his
|
||||
opportunities for advancement limited by the lack of a formal degree,
|
||||
so he signed on as a civilian engineer for the Japanese military
|
||||
during the Great War.
|
||||
|
||||
After the Armistice, he
|
||||
founded Pacific Trade Associates, an
|
||||
export-import agency with its first offices in Tokyo and Los
|
||||
Angeles. His business grew rapidly with the general increase in
|
||||
trans-Pacific trade, and eventually it opened additional offices
|
||||
in Hong Kong and Singapore. He acquired a cosmopolitan
|
||||
knowledge of Asian cultures through his business contacts, and
|
||||
his talk included amusing anecdotes of culture shock on the part
|
||||
of both himself and others.
|
||||
(continued on page 69)
|
||||
|
||||
.hl 1 Stiles Dossier
|
||||
You might, before coming to Linder's house, have picked up the police
|
||||
folder on Stiles, which might, for example, indicate that he has come between
|
||||
husbands and wives in the past, but has never been a party to violent crime.
|
||||
It should show evidence of instability, such as arrests on
|
||||
charges of petty theft, drug possession, drunk and disorderly,
|
||||
etc.
|
||||
|
||||
.hl 1 Biographies
|
||||
(from a society type page) of the various members of the
|
||||
family, to provide the proper background (like the interviews in Deadline).
|
||||
This could easily be a news story about Mrs Linder's death.
|
||||
For example:
|
||||
|
||||
VIRGINIA (CLAYTON) LINDER, 49
|
||||
|
||||
Mrs.` Virginia F.` Linder (nee Clayton), 49, of 4986 Lyman Drive,
|
||||
Cabeza Plana, died Tuesday at Valley General Hospital of a gunshot
|
||||
wound. Police are investigating the circumstances of the shooting,
|
||||
but they have made no arrests. Mrs.` Linder is survived by her
|
||||
husband Freeman, president of Pacific Trade Associates, and her
|
||||
daughter Monica, a mechanical engineer employed by North American Aviation.
|
||||
A private memorial service will be held next Tuesday.
|
||||
The family requests that donations in lieu of flowers be made
|
||||
to ...
|
||||
(continued on page 105)
|
||||
|
||||
.hl 1 Copy of Mrs Linder's Suicide Note?
|
||||
|
||||
.hl 1 The usuals
|
||||
Casebook, reference card, warranty card, ZUG card, dossier, and wrap
|
||||
card.
|
||||
|
|
@ -0,0 +1,3 @@
|
|||
-date- -rel- -size- -pre- -obj- -glo- -voc-
|
||||
7/11 24 104266 18591 250 174 714
|
||||
7/11 24 104272 18591 250 174 714
|
||||
|
|
@ -0,0 +1,29 @@
|
|||
Assembling WITNESS.XZAP.3
|
||||
Release: 23
|
||||
|
||||
64 Inserting WITNESSFREQ.XZAP.1 ( 646 bytes)
|
||||
710 Inserting WITNESSDAT.ZAP.1 (18375 bytes)
|
||||
19085 Inserting MACROS.ZAP.1 ( 17 bytes)
|
||||
19102 Inserting PLACES.ZAP.1 (11087 bytes)
|
||||
30189 Inserting PEOPLE.ZAP.1 (16997 bytes)
|
||||
47186 Inserting THINGS.ZAP.1 ( 5572 bytes)
|
||||
52758 Inserting SYNTAX.ZAP.1 ( 0 bytes)
|
||||
52758 Inserting CLOCK.ZAP.1 ( 215 bytes)
|
||||
52973 Inserting MAIN.ZAP.1 ( 1431 bytes)
|
||||
54404 Inserting PARSER.ZAP.2 ( 5793 bytes)
|
||||
60197 Inserting VERBS.ZAP.1 (16169 bytes)
|
||||
76366 Inserting EVENTS.ZAP.1 (21477 bytes)
|
||||
97843 Inserting WITNESSSTR.ZAP.1 ( 6417 bytes)
|
||||
|
||||
Symbols unused:
|
||||
PRE-THROUGH
|
||||
PRE-DROP
|
||||
ALWAYS-LIT
|
||||
|
||||
18591 bytes of preload.
|
||||
|
||||
104260 bytes (102K).
|
||||
19268 bytes too large for one-disk game on ATARI.
|
||||
250 objects.
|
||||
174 globals.
|
||||
|
||||
|
|
@ -0,0 +1 @@
|
|||
4
|
||||
File diff suppressed because it is too large
Load Diff
|
|
@ -0,0 +1,64 @@
|
|||
breeze gaze parlor tumor
|
||||
|
||||
a about accuse adobe advanced affair against air am ambulance an analyse
|
||||
analyze and answer appliance apply are area arm around arrangement
|
||||
arrest asian ask assault associates asta at attach attack auto autopsy
|
||||
awake back back-yard bamboo bare basin bath bathroom bathtub beast bed
|
||||
bedroom behind bell belt bench benches beneath bentley bite black blast
|
||||
block bloody blue body book bookcase bookmark books boot boots bottle
|
||||
boulder bourbon box brass break breakfast bribe brief briefly broken
|
||||
broom brown brush bunch business but butler button cabinet call
|
||||
calligraphed camel can cancer canned car carcinoma carefully carry
|
||||
carrying carved case cast cat cedar chair chairs chase check china chuck
|
||||
chunk cigarette clean climate climb clock close closely closet clothes
|
||||
club cocktail coffee cold colt company compare confront console
|
||||
conspiracy consume continue convertible coroner corpse couch counter
|
||||
crime crouch cuff cuffs cupboard curse customer dad damage damn danger
|
||||
daniel dark date davenport day dense describe desk destroy detective
|
||||
dial did dig dining dinner dirt dirty divan do doctor donate door
|
||||
doorbell double douse down dresser dressing drink drive driveway drop
|
||||
duffy dust east eat edition electric end enter entry euthanasia examine
|
||||
except explain explosion extinguish fasten father faucet feel feline
|
||||
fence fields fifteen fight file film find fingerprint fire fireplace
|
||||
five flip floor flower follow food foods foot footprints for forest four
|
||||
four-poster foyer fragment frame framed free freeman french fridge from
|
||||
front garage garden gate get give glass glasses go goodbye grandfather
|
||||
grass green grey ground gun gunpowder gunshot hammer hand hand-written
|
||||
handcuff handgun handwriting hatch have he head heater hello help her
|
||||
herb herbs here herself hi hidden hide him himself hint his hit hoe hold
|
||||
hood hose house how hui hurl hurt imbibe important in injure inquire
|
||||
insert inside inspect into inventory is it jack junction key keyhole
|
||||
keys kick kill killing kiss kitchen knock know lamp lantern large late
|
||||
lawn lead lean leave left letter lift light linder linen linens liquor
|
||||
listen living lock long look loot lot lounge love lovely lumpy make
|
||||
make-up man massive master match matchbook matches maybe me meal medical
|
||||
meditate mercy mg midnight minute mirror mister mixer molest money
|
||||
monica morgue mother move movie mr mrs mud muddy murder music myself
|
||||
mystery new newspapers nippers no north note of off offer office ok okeh
|
||||
okey old on one open orange oriental ornate other out outside over
|
||||
pacific pair pane panes paper papers pat pause payoff peal peek peruse
|
||||
pet phone phong phongs pick picture piece pile piles pistol place plant
|
||||
plants platform play please police poster potted powder press prints
|
||||
problem proceed program prop pta pull pullman punch pursue push put
|
||||
putty question quickly quietly quit radio raise rake ralph range rap
|
||||
read receipt receiver record red redwood refrigerator release remove
|
||||
reply report restart restaurant restore resume revision revive right
|
||||
ring rock rocks room rope roscoe round rub run sample save saw say
|
||||
scotch script scroll search secure sedan seen sergeant servant set sgt
|
||||
shade shard shaver she sheets shelf shelves shoe shoes shoot shooting
|
||||
shop shot show shower shrine shut side side-yard silver simple sink sit
|
||||
skim slap slowly smash smell smoke smooth snack sniff snub-nosed sofa
|
||||
south souvenir space spade spigot spool spools sport sporty stand stare
|
||||
startle stay steal stiles stomach stone stop storage stranger strike
|
||||
stub stuff suicide super superbrief surprise suspend swallow swinging
|
||||
table tables take talk tall taunt teacher telegram telephone tell ten
|
||||
terry test testament thank thanks the them then there they thick thicket
|
||||
thirty threat three throne through throw thru ticket tie till time to
|
||||
toaster today toilet tools toothpaste toss touch towel towels trace
|
||||
trade tub tug turn twenty two unattach uncuff under underneath unfasten
|
||||
unhook unlock unscript unspace untie until up use using vegetable velvet
|
||||
verbose version violet virginia visitor volume wait wake walk wall walls
|
||||
warrant was water way weather weed were west what what's whats when
|
||||
where whiskey whisky white who why wife will wind window wipe wire wires
|
||||
with woman wood wooden woods work workshop worm worms wound writer
|
||||
writing written wrong yellow yes you young your yourself
|
||||
|
|
@ -0,0 +1,16 @@
|
|||
.TIME
|
||||
.INSERT "WITNESSFREQ"
|
||||
.INSERT "WITNESSDAT" ; DATA IS IN THIS FILE
|
||||
.INSERT "MACROS"
|
||||
.INSERT "PLACES"
|
||||
.INSERT "PEOPLE"
|
||||
.INSERT "THINGS"
|
||||
.INSERT "SYNTAX"
|
||||
.INSERT "CLOCK"
|
||||
.INSERT "MAIN"
|
||||
.INSERT "PARSER"
|
||||
.INSERT "VERBS"
|
||||
.INSERT "EVENTS"
|
||||
.INSERT "WITNESSSTR"
|
||||
|
||||
.END
|
||||
|
|
@ -0,0 +1,37 @@
|
|||
|
||||
.INSERT "WITNESSDAT" ; DATA IS IN THIS FILE
|
||||
|
||||
|
||||
.INSERT "MACROS"
|
||||
|
||||
|
||||
.INSERT "SYNTAX"
|
||||
|
||||
|
||||
.INSERT "PLACES"
|
||||
|
||||
|
||||
.INSERT "PEOPLE"
|
||||
|
||||
|
||||
.INSERT "THINGS"
|
||||
|
||||
|
||||
.INSERT "CLOCK"
|
||||
|
||||
|
||||
.INSERT "MAIN"
|
||||
|
||||
|
||||
.INSERT "PARSER"
|
||||
|
||||
|
||||
.INSERT "VERBS"
|
||||
|
||||
|
||||
.INSERT "EVENTS"
|
||||
|
||||
|
||||
.INSERT "WITNESSSTR"
|
||||
|
||||
.END
|
||||
|
|
@ -0,0 +1,11 @@
|
|||
.INSERT "MACROS"
|
||||
.INSERT "SYNTAX"
|
||||
.INSERT "PLACES"
|
||||
.INSERT "PEOPLE"
|
||||
.INSERT "THINGS"
|
||||
.INSERT "CLOCK"
|
||||
.INSERT "MAIN"
|
||||
.INSERT "PARSER"
|
||||
.INSERT "VERBS"
|
||||
.INSERT "EVENTS"
|
||||
.END
|
||||
|
|
@ -0,0 +1,52 @@
|
|||
"COMPILE/LOAD FILE for WITNESS
|
||||
Copyright (C) 1983 Infocom, Inc. All rights reserved."
|
||||
|
||||
<COND (<GASSIGNED? PREDGEN>
|
||||
<SETG ZSTR-ON <SETG ZSTR-OFF ,TIME>>
|
||||
<PRINC "Compiling">
|
||||
<ID 0>)
|
||||
(T <PRINC "Loading">)>
|
||||
|
||||
<PRINC " WITNESS: An INTERLOGIC Mystery
|
||||
">
|
||||
|
||||
ON!-INITIAL "for DEBUGR"
|
||||
OFF!-INITIAL
|
||||
ENABLE!-INITIAL
|
||||
DISABLE!-INITIAL
|
||||
|
||||
<COND (<GASSIGNED? PREDGEN>
|
||||
<BLOAT 90000 0 0 3500 0 0 0 0 0 512>)>
|
||||
|
||||
<SET REDEFINE T>
|
||||
|
||||
<CONSTANT SERIAL 0>
|
||||
|
||||
<OR <GASSIGNED? ZILCH>
|
||||
<SETG WBREAKS <STRING !\" !,WBREAKS>>>
|
||||
|
||||
<DEFINE IFILE (STR "OPTIONAL" (FLOAD? <>) "AUX" (TIM <TIME>))
|
||||
<INSERT-FILE .STR .FLOAD?>>
|
||||
|
||||
<DIRECTIONS NORTH SOUTH EAST WEST NE NW SE SW UP DOWN IN OUT>
|
||||
|
||||
<IFILE "MACROS" T>
|
||||
<IFILE "SYNTAX" T>
|
||||
|
||||
<IFILE "PLACES" T>
|
||||
<IFILE "PEOPLE" T>
|
||||
<IFILE "THINGS" T>
|
||||
|
||||
<ENDLOAD>
|
||||
<IFILE "CLOCK" T>
|
||||
<IFILE "MAIN" T>
|
||||
<IFILE "PARSER" T>
|
||||
<IFILE "VERBS" T>
|
||||
<IFILE "EVENTS" T>
|
||||
|
||||
<PROPDEF SIZE 5>
|
||||
<PROPDEF CAPACITY 0>
|
||||
|
||||
<GC-MON T>
|
||||
<COND (<GASSIGNED? PREDGEN>
|
||||
<GC 0 T 5>)>
|
||||
Binary file not shown.
File diff suppressed because it is too large
Load Diff
|
|
@ -0,0 +1,200 @@
|
|||
.FSTR FSTR?1,"the " ;1364 682
|
||||
.FSTR FSTR?2,", " ;628 628
|
||||
.FSTR FSTR?3,"You " ;582 194
|
||||
.FSTR FSTR?4,"and " ;530 265
|
||||
.FSTR FSTR?5,"you " ;470 235
|
||||
.FSTR FSTR?6,". " ;448 448
|
||||
.FSTR FSTR?7,"The " ;444 148
|
||||
.FSTR FSTR?8,"Linder " ;402 67
|
||||
.FSTR FSTR?9,"to " ;383 383
|
||||
.FSTR FSTR?10,"can't " ;330 66
|
||||
.FSTR FSTR?11,"that " ;303 101
|
||||
.FSTR FSTR?12,"of " ;249 249
|
||||
.FSTR FSTR?13,"with " ;249 83
|
||||
.FSTR FSTR?14,"have " ;231 77
|
||||
.FSTR FSTR?15,"don't " ;220 44
|
||||
.FSTR FSTR?16,"Linder's " ;216 24
|
||||
.FSTR FSTR?17,"Monica " ;210 35
|
||||
.FSTR FSTR?18,"There's " ;208 26
|
||||
.FSTR FSTR?19,"your " ;207 69
|
||||
.FSTR FSTR?20,"is " ;197 197
|
||||
.FSTR FSTR?21,"It's " ;190 38
|
||||
.FSTR FSTR?22,"in " ;176 176
|
||||
.FSTR FSTR?23,"I " ;171 171
|
||||
.FSTR FSTR?24,"Inspector" ;160 20
|
||||
.FSTR FSTR?25,"from " ;159 53
|
||||
.FSTR FSTR?26,"for " ;152 76
|
||||
.FSTR FSTR?27,"about " ;148 37
|
||||
.FSTR FSTR?28,"door " ;138 46
|
||||
.FSTR FSTR?29,"Stiles " ;138 23
|
||||
.FSTR FSTR?30,"looks " ;136 34
|
||||
.FSTR FSTR?31,"butler's " ;136 17
|
||||
.FSTR FSTR?32,"through " ;132 22
|
||||
.FSTR FSTR?33,"Phong " ;125 25
|
||||
.FSTR FSTR?34,"this " ;123 41
|
||||
.FSTR FSTR?35,"but " ;122 61
|
||||
.FSTR FSTR?36,"nothing " ;120 20
|
||||
.FSTR FSTR?37,"That's " ;119 17
|
||||
.FSTR FSTR?38,"just " ;117 39
|
||||
.FSTR FSTR?39,"are " ;116 58
|
||||
.FSTR FSTR?40,"would " ;116 29
|
||||
.FSTR FSTR?41,"This " ;116 29
|
||||
.FSTR FSTR?42,"Stiles" ;115 23
|
||||
.FSTR FSTR?43,"Duffy " ;115 23
|
||||
.FSTR FSTR?44,"his " ;114 57
|
||||
.FSTR FSTR?45,"already " ;114 19
|
||||
.FSTR FSTR?46,"like " ;105 35
|
||||
.FSTR FSTR?47,"think " ;104 26
|
||||
.FSTR FSTR?48,"That " ;104 26
|
||||
.FSTR FSTR?49,"could " ;100 25
|
||||
.FSTR FSTR?50,"I'm " ;100 25
|
||||
.FSTR FSTR?51,"her " ;98 49
|
||||
.FSTR FSTR?52,"You're " ;98 14
|
||||
.FSTR FSTR?53,"You'll " ;98 14
|
||||
.FSTR FSTR?54,"around " ;95 19
|
||||
.FSTR FSTR?55,"into " ;93 31
|
||||
.FSTR FSTR?56,"on " ;92 92
|
||||
.FSTR FSTR?57,"can " ;92 46
|
||||
.FSTR FSTR?58,"doesn't " ;91 13
|
||||
.FSTR FSTR?59,"here" ;90 45
|
||||
.FSTR FSTR?60,"window " ;90 18
|
||||
.FSTR FSTR?61,"I've " ;90 18
|
||||
.FSTR FSTR?62,"Monica's " ;90 10
|
||||
.FSTR FSTR?63,"see " ;88 44
|
||||
.FSTR FSTR?64,"Sergeant " ;88 11
|
||||
.FSTR FSTR?65,"find " ;87 29
|
||||
.FSTR FSTR?66,"office " ;85 17
|
||||
.FSTR FSTR?67,"was " ;84 42
|
||||
.FSTR FSTR?68,"probably " ;84 12
|
||||
.FSTR FSTR?69,"back " ;81 27
|
||||
.FSTR FSTR?70,"not " ;80 40
|
||||
.FSTR FSTR?71,"What " ;80 20
|
||||
.FSTR FSTR?72,"prints " ;80 16
|
||||
.FSTR FSTR?73,"He " ;78 39
|
||||
.FSTR FSTR?74,"seems " ;76 19
|
||||
.FSTR FSTR?75,"should " ;75 15
|
||||
.FSTR FSTR?76,"that" ;74 37
|
||||
.FSTR FSTR?77,"has " ;74 37
|
||||
.FSTR FSTR?78,"door" ;74 37
|
||||
.FSTR FSTR?79,"here " ;72 24
|
||||
.FSTR FSTR?80,"you're " ;72 12
|
||||
.FSTR FSTR?81,"There " ;70 14
|
||||
.FSTR FSTR?82,"Linder" ;70 14
|
||||
.FSTR FSTR?83,"evidence " ;70 10
|
||||
.FSTR FSTR?84,"some " ;69 23
|
||||
.FSTR FSTR?85,"room" ;68 34
|
||||
.FSTR FSTR?86,"driveway" ;66 11
|
||||
.FSTR FSTR?87,"appears " ;66 11
|
||||
.FSTR FSTR?88,"toward " ;65 13
|
||||
.FSTR FSTR?89,"really " ;65 13
|
||||
.FSTR FSTR?90,"front " ;64 16
|
||||
.FSTR FSTR?91,"must " ;63 21
|
||||
.FSTR FSTR?92,"want " ;60 20
|
||||
.FSTR FSTR?93,"room " ;60 20
|
||||
.FSTR FSTR?94,"house" ;60 20
|
||||
.FSTR FSTR?95,"there " ;60 15
|
||||
.FSTR FSTR?96,"never " ;60 15
|
||||
|
||||
|
||||
;word frequency table of 96 most common words
|
||||
|
||||
WORDS:: .TABLE
|
||||
FSTR?1
|
||||
FSTR?2
|
||||
FSTR?3
|
||||
FSTR?4
|
||||
FSTR?5
|
||||
FSTR?6
|
||||
FSTR?7
|
||||
FSTR?8
|
||||
FSTR?9
|
||||
FSTR?10
|
||||
FSTR?11
|
||||
FSTR?12
|
||||
FSTR?13
|
||||
FSTR?14
|
||||
FSTR?15
|
||||
FSTR?16
|
||||
FSTR?17
|
||||
FSTR?18
|
||||
FSTR?19
|
||||
FSTR?20
|
||||
FSTR?21
|
||||
FSTR?22
|
||||
FSTR?23
|
||||
FSTR?24
|
||||
FSTR?25
|
||||
FSTR?26
|
||||
FSTR?27
|
||||
FSTR?28
|
||||
FSTR?29
|
||||
FSTR?30
|
||||
FSTR?31
|
||||
FSTR?32
|
||||
FSTR?33
|
||||
FSTR?34
|
||||
FSTR?35
|
||||
FSTR?36
|
||||
FSTR?37
|
||||
FSTR?38
|
||||
FSTR?39
|
||||
FSTR?40
|
||||
FSTR?41
|
||||
FSTR?42
|
||||
FSTR?43
|
||||
FSTR?44
|
||||
FSTR?45
|
||||
FSTR?46
|
||||
FSTR?47
|
||||
FSTR?48
|
||||
FSTR?49
|
||||
FSTR?50
|
||||
FSTR?51
|
||||
FSTR?52
|
||||
FSTR?53
|
||||
FSTR?54
|
||||
FSTR?55
|
||||
FSTR?56
|
||||
FSTR?57
|
||||
FSTR?58
|
||||
FSTR?59
|
||||
FSTR?60
|
||||
FSTR?61
|
||||
FSTR?62
|
||||
FSTR?63
|
||||
FSTR?64
|
||||
FSTR?65
|
||||
FSTR?66
|
||||
FSTR?67
|
||||
FSTR?68
|
||||
FSTR?69
|
||||
FSTR?70
|
||||
FSTR?71
|
||||
FSTR?72
|
||||
FSTR?73
|
||||
FSTR?74
|
||||
FSTR?75
|
||||
FSTR?76
|
||||
FSTR?77
|
||||
FSTR?78
|
||||
FSTR?79
|
||||
FSTR?80
|
||||
FSTR?81
|
||||
FSTR?82
|
||||
FSTR?83
|
||||
FSTR?84
|
||||
FSTR?85
|
||||
FSTR?86
|
||||
FSTR?87
|
||||
FSTR?88
|
||||
FSTR?89
|
||||
FSTR?90
|
||||
FSTR?91
|
||||
FSTR?92
|
||||
FSTR?93
|
||||
FSTR?94
|
||||
FSTR?95
|
||||
FSTR?96
|
||||
.ENDT
|
||||
|
||||
.ENDI
|
||||
|
|
@ -0,0 +1,216 @@
|
|||
|
||||
|
||||
; STRINGS ARE DEFINED HERE
|
||||
|
||||
.GSTR STR?1,"north"
|
||||
.GSTR STR?2,"south"
|
||||
.GSTR STR?3,"east"
|
||||
.GSTR STR?4,"west"
|
||||
.GSTR STR?5,"northwest"
|
||||
.GSTR STR?6,"northeast"
|
||||
.GSTR STR?7,"southwest"
|
||||
.GSTR STR?8,"southeast"
|
||||
.GSTR STR?9,"downstairs"
|
||||
.GSTR STR?10,"upstairs"
|
||||
.GSTR STR?11,"in"
|
||||
.GSTR STR?12,"out"
|
||||
.GSTR STR?13,"gravel"
|
||||
.GSTR STR?14,"peastone"
|
||||
.GSTR STR?15,"concrete"
|
||||
.GSTR STR?16,"grass"
|
||||
.GSTR STR?17,"mud"
|
||||
.GSTR STR?18,"dirt"
|
||||
.GSTR STR?19,"You are in the front yard of the Linder property. Most of the space is occupied by a kitchen garden full of vegetables and herbs. A wooden fence surrounds the yard on the west and north sides. To the east is the house, with a French door and two windows. To the south is a gate that leads to the front porch."
|
||||
.GSTR STR?20,"A wooden fence blocks your way."
|
||||
.GSTR STR?21,"You can't go that way."
|
||||
.GSTR STR?22,"The front porch is in an alcove, sheltered from the weather by the walls and overhanging roof. A yellowish electric light hangs near the "
|
||||
.GSTR STR?23," front door to the east, giving you a dim view of the driveway to the south and the front yard behind a gate to the north."
|
||||
.GSTR STR?24,"The gate is "
|
||||
.GSTR STR?25,". A door bell glows at you, almost daring you to ring it."
|
||||
.GSTR STR?26,"The driveway, paved with peastone, runs from the entrance at the south end in a curve to a two-car garage at the east end. North of you is the front porch, the entrance to the house."
|
||||
.GSTR STR?27,"The driveway, paved with peastone, runs from the entrance at the south end in a curve to a two-car garage at the east end."
|
||||
.GSTR STR?28,"You are standing at the foot of the driveway, the entrance to the Linder property. The entire lot is screened from the street and the neighbors by a wooden fence, except on the east side, which fronts on dense bamboo woods. The house looks like a mixture of a California bungalow and East Asian influences. From here you can see the driveway leading north and, beyond that, the front door."
|
||||
.GSTR STR?29,"This is the entrance to the driveway from the street, which lies to the south. To the north is the driveway, and to the east is the side yard."
|
||||
.GSTR STR?30,"You can't leave the property yet. It would mean your job."
|
||||
.GSTR STR?31,"You can't enter the house from here."
|
||||
.GSTR STR?32,"You are on a path made of stepping stones, which leads from the back gate at the south to Linder's office at the north. In the east you can see a thick woods. To the west is the side yard."
|
||||
.GSTR STR?33,"You would probably get lost in the woods."
|
||||
.GSTR STR?34,"Bamboo, thick and tall, screens the entire lot on the east side."
|
||||
.GSTR STR?35,"You notice some fresh foot prints heading east."
|
||||
.GSTR STR?36,"Fresh foot prints head east."
|
||||
.GSTR STR?37,"You are on a neatly manicured lawn, east of Monica's bedroom. The lawn extends east to the edge of the woods. From here you can go to a rock garden in the north or the entrance to Linder's office in the south. There's a door into the house, and a window."
|
||||
.GSTR STR?38,"This is a rock garden in the Japanese style, east of Linder's bedroom. A few smooth round boulders lie partly buried in a bed of gravel, which is carefully raked to be reminiscent of flowing water. A sequence of smaller rocks forms a zig-zag path from the bedroom door to the south edge of the garden, where the lawn begins. There's a door into the house, and a couple of windows."
|
||||
.GSTR STR?39,"These are posters for many of Clark Gable's movies."
|
||||
.GSTR STR?40,"Good idea! But one important book isn't in the book case."
|
||||
.GSTR STR?41,"Alexander's Ragtime Band"
|
||||
.GSTR STR?42,"I'm an Old Cowhand"
|
||||
.GSTR STR?43,"Mexicali Rose"
|
||||
.GSTR STR?44,"Pennies from Heaven"
|
||||
.GSTR STR?45,"Sweet Leilani"
|
||||
.GSTR STR?46,"When I Grow Too Old to Dream"
|
||||
.GSTR STR?47,"This room has only a large cabinet with counter, sink and mirror. On the counter are a shaver, toothpaste, and so on. The tub and toilet must be in separate rooms. There are doors on all four walls: the one to the north looks like redwood, the one to the south like cedar, and the other two like ordinary doors."
|
||||
.GSTR STR?48,"This is a separate room, completely lined with tile, for bathing in the Japanese style. On one side is a shower head and drain, where you could wash away surface dirt. On the other side is a deep tub, to be filled with steaming water up to your neck. Potted plants give the room a tropical air. A window looks over the rock garden outside, and a door leads west."
|
||||
.GSTR STR?49,"This is a separate room for a toilet only."
|
||||
.GSTR STR?50,"s"
|
||||
.GSTR STR?51,"d"
|
||||
.GSTR STR?52,"A single door in the east wall is "
|
||||
.GSTR STR?53,", and at the west end of the room is a double door."
|
||||
.GSTR STR?54,"It's a Stromberg-Carlson triple-range console. The exit in the bottom is evidence of the Acoustical Labyrinth inside."
|
||||
.GSTR STR?55,"an Amos 'n' Andy serial"
|
||||
.GSTR STR?56,"a Lum & Abner serial"
|
||||
.GSTR STR?57,"the Paul Whiteman orchestra"
|
||||
.GSTR STR?58,"Nick Harris's ""Camera Clue Murder"""
|
||||
.GSTR STR?59,"the March of Progress"
|
||||
.GSTR STR?60,"Kay Kyser's orchestra"
|
||||
.GSTR STR?61,"the L.A. Times news program"
|
||||
.GSTR STR?62,"Ozzie Nelson's orchestra"
|
||||
.GSTR STR?63,"the Montoya Orchestra"
|
||||
.GSTR STR?64,"Phil Harris's orchestra"
|
||||
.GSTR STR?65,"the Duchin orchestra"
|
||||
.GSTR STR?66,"a balalaika orchestra"
|
||||
.GSTR STR?67,"""Rhapsody in Wax"""
|
||||
.GSTR STR?68,"a revival meeting with Oral Roberts"
|
||||
.GSTR STR?69,"the Philadelphia Orchestra, conducted by Leopold Stokowski"
|
||||
.GSTR STR?70,"Lowell Thomas, Radio Commentator"
|
||||
.GSTR STR?71,"a program of classical music"
|
||||
.GSTR STR?72,"a revival meeting with Aimee Semple McPherson"
|
||||
.GSTR STR?73,"Boake Carter, Philco News Commentator"
|
||||
.GSTR STR?74,"""Rise and Shine"""
|
||||
.GSTR STR?75,"""Between You, Me, and the Fence Post"""
|
||||
.GSTR STR?76,"A table and benches, built out of blond wood for six people, sit in the middle of the room. On the south wall is a swinging door that leads to the kitchen, and on the east wall a double door to the living room. Through a French door on the west wall you can see the front yard."
|
||||
.GSTR STR?77,"The Linder kitchen is full of electric appliances: range and hood, refrigerator, mixer, toaster, clock, and so on. Several white steel cabinets make for plenty of storage space. To the north is the dining room, to the east the hall."
|
||||
.GSTR STR?78,"This is the bedroom of the butler, Mr. Phong, and is very simply furnished. A single bed, flanked by bare wooden end tables, sits below a closed window on the west end of the room. The floor is hardwood, with no rug. The only exit is a door to the east, which is "
|
||||
.GSTR STR?79,"."
|
||||
.GSTR STR?80,"Another door, now "
|
||||
.GSTR STR?81,", must lead to a private bathroom."
|
||||
.GSTR STR?82,"This is Mr. Phong's bathroom, with the usual plumbing and not much else. The door at the south side of the room is "
|
||||
.GSTR STR?83,"This hallway seems to run the length of the house, from the garage at the south end to the living room at the north. There is enough warm yellow light flooding from the living room for you to see a few doors on each side of the hall."
|
||||
.GSTR STR?84,"Here in the entry is a small Shinto shrine, with a hanging scroll and an arrangement of flowers, as well as a coat closet and a platform for storing shoes. You can see a hallway to the east. The front door, on the west wall, is "
|
||||
.GSTR STR?85,"A lovely calligraphed scroll hangs on the wall."
|
||||
.GSTR STR?86,"This is a little-used storage closet containing odds and ends of no interest whatsoever. The exit is to the east."
|
||||
.GSTR STR?87,"This is the south end of a hallway that runs the length of the house. At the far end, to the north, you can see the living room; immediately to the south is a door. Other doors on both sides lead to other rooms."
|
||||
.GSTR STR?88,"The cabinet is filled with a lot of business papers."
|
||||
.GSTR STR?89,"This room is a well-equipped workshop. Besides the usual sort of tools, the place is full of mechanical and electrical parts and supplies: switches, relays, spools of colored wire, and so on. One wall holds the main electric board and a home-made junction box with more wires going in and out than you can shake a stick at. The only door is the one you came in."
|
||||
.GSTR STR?90,"Asian man"
|
||||
.GSTR STR?91,"Phong's straight black hair and folded eyelids make him obviously Asian, but no definite nationality. His open, almost gentle face holds a quick smile and eyes that seem to miss nothing. He carries his stout body lightly, but you can see great strength under his light shirt and dark trousers. You guess his age at about fifty, but who knows how many lifetimes of experience he carries?"
|
||||
.GSTR STR?92,"tidying up"
|
||||
.GSTR STR?93,"looking imperturbable"
|
||||
.GSTR STR?94,"washing dishes"
|
||||
.GSTR STR?95,"opening a can of worms"
|
||||
.GSTR STR?96,"smoking a cigarette"
|
||||
.GSTR STR?97,"making pickles"
|
||||
.GSTR STR?98,"tall man"
|
||||
.GSTR STR?99,"Linder stands at least six foot, with a powerful frame but quick actions, like a cat. His eyeglasses sit on top of his head, where thin strands of long black hair go here and there, mostly combed backward. His wide-set hazel eyes size you up quickly from within their pouches in his ruddy face. He wears a silk peach-colored Mandarin shirt and chocolate trousers, impeccably tailored and laundered, but sweat gleams on his high forehead, and he looks as though he hasn't slept much lately."
|
||||
.GSTR STR?100,"""I can't help you there."""
|
||||
.GSTR STR?101,"""That has nothing to do with why I asked you here."""
|
||||
.GSTR STR?102,"visitor"
|
||||
.GSTR STR?103,"The young man looks you straight in the eye but says nothing. He looks like a gigolo trying to imitate a university professor. His blond wavy hair almost sparkles, like Pacific surf at night, but his recent panic has left it dangling to one side. His hot blue eyes reveal his curiosity and uncertainty about you."
|
||||
.GSTR STR?104,"""I couldn't help you if I wanted to."""
|
||||
.GSTR STR?105,"""That has nothing to do with me."""
|
||||
.GSTR STR?106,"young woman"
|
||||
.GSTR STR?107,"She is a woman in her mid-twenties. Her grey eyes flash, emphasizing her dark waved hair and light but effective make-up. She wears a navy Rayon blouse, tan slacks, and tan pumps with Cuban heels. She acts as though you were a masher who just gave her a whistle."
|
||||
.GSTR STR?108," She seems to remember who you are, then clams up."
|
||||
.GSTR STR?109,"it to me "
|
||||
.GSTR STR?110,"me a medical report "
|
||||
.GSTR STR?111,"handcuff "
|
||||
.GSTR STR?112,"tie "
|
||||
.GSTR STR?113,"A cat is sleeping in the corner."
|
||||
.GSTR STR?114,"The cat is a brown tabby, more bulgy than sleek."
|
||||
.GSTR STR?115,"""You can do that yourself."""
|
||||
.GSTR STR?116,"""Do it yourself!"""
|
||||
.GSTR STR?117,"""Why not do it yourself?"""
|
||||
.GSTR STR?118,"here"
|
||||
.GSTR STR?119,"there"
|
||||
.GSTR STR?120,"A book is sitting on the bed-side table."
|
||||
.GSTR STR?121,"(You'll find the telegram in your game package.)"
|
||||
.GSTR STR?122,"(You'll find the match book in your game package.)"
|
||||
.GSTR STR?123,"A half-filled bottle of Teacher's ""Highland Cream"" Scotch Whisky is in the cabinet."
|
||||
.GSTR STR?124,"A nearly-empty bottle of ""Jack Daniels"" Bourbon Whisky is in the cabinet."
|
||||
.GSTR STR?125,"The note is written in a spidery hand on fine rag paper. It says:
|
||||
""Linder --
|
||||
Since Virginia died, I've lost too much sleep because of you and your harrassments. The time has come to put this matter to rest once and for all. I'll be seeing you sooner than you imagine.
|
||||
-- Stiles"""
|
||||
.GSTR STR?126,"A broom is standing in the corner."
|
||||
.GSTR STR?127,"After sifting through the medical officialese, you realize that the report says that Linder has an advanced stomach tumor, and that his death will come slowly and painfully."
|
||||
.GSTR STR?128,"door"
|
||||
.GSTR STR?129,"sash"
|
||||
.GSTR STR?130,"Lying on the ground is what appears to be a ticket stub."
|
||||
.GSTR STR?131,"Not Here"
|
||||
.GSTR STR?132,"Actor"
|
||||
.GSTR STR?133,"Room (M-BEG)"
|
||||
.GSTR STR?134,"Preaction"
|
||||
.GSTR STR?135,"PRSI"
|
||||
.GSTR STR?136,"Container"
|
||||
.GSTR STR?137,"PRSO"
|
||||
.GSTR STR?138,"Room (M-END)"
|
||||
.GSTR STR?139,"What should you, the detective, do now?"
|
||||
.GSTR STR?140,"What next?"
|
||||
.GSTR STR?141,"(I don't know the word """
|
||||
.GSTR STR?142,""".)"
|
||||
.GSTR STR?143,"(Sorry, but the word """
|
||||
.GSTR STR?144,""" is not in the vocabulary that you can use.)"
|
||||
.GSTR STR?145,"(You don't need to use the word """
|
||||
.GSTR STR?146,""" to solve this mystery.)"
|
||||
.GSTR STR?147,"(Sorry, but the program doesn't recognize the word """
|
||||
.GSTR STR?148,"a.m."
|
||||
.GSTR STR?149,"p.m."
|
||||
.GSTR STR?150,"an "
|
||||
.GSTR STR?151,"a "
|
||||
.GSTR STR?152,"on"
|
||||
.GSTR STR?153," doesn't help."
|
||||
.GSTR STR?154," has no effect."
|
||||
.GSTR STR?155," "
|
||||
.GSTR STR?156," "
|
||||
.GSTR STR?157," "
|
||||
.GSTR STR?158," "
|
||||
.GSTR STR?159," "
|
||||
.GSTR STR?160," doesn't appear interested"
|
||||
.GSTR STR?161," doesn't care"
|
||||
.GSTR STR?162," lets out a loud yawn"
|
||||
.GSTR STR?163," seems to be getting impatient"
|
||||
.GSTR STR?164,"That's ridiculous!"
|
||||
.GSTR STR?165,"That's wacky!"
|
||||
.GSTR STR?166,"Nuts!"
|
||||
.GSTR STR?167,"What a fruitcake!"
|
||||
.GSTR STR?168,"What a screwball!"
|
||||
.GSTR STR?169,"You're off your rocker!"
|
||||
.GSTR STR?170,"You're crazy in the head!"
|
||||
.GSTR STR?171,"You can't be serious!"
|
||||
.GSTR STR?172,"she"
|
||||
.GSTR STR?173,"he"
|
||||
.GSTR STR?174,"it"
|
||||
.GSTR STR?175,"attack"
|
||||
.GSTR STR?176,"You ought to be ashamed of yourself!"
|
||||
.GSTR STR?177,"Hey, save that talk for the locker room!"
|
||||
.GSTR STR?178,"Step outside and say that!"
|
||||
.GSTR STR?179,"And so's your grandmother!"
|
||||
.GSTR STR?180,"Trying to destroy"
|
||||
.GSTR STR?181,"him"
|
||||
.GSTR STR?182,"her"
|
||||
.GSTR STR?183,"Hello"
|
||||
.GSTR STR?184,"Good-bye"
|
||||
.GSTR STR?185,"Kicking"
|
||||
.GSTR STR?186,"kill"
|
||||
.GSTR STR?187,"Pushing"
|
||||
.GSTR STR?188,"Playing in this way with"
|
||||
.GSTR STR?189,"Trying to revive"
|
||||
.GSTR STR?190,"Fiddling with"
|
||||
.GSTR STR?191,"shoot"
|
||||
.GSTR STR?192,"part of the yard."
|
||||
.GSTR STR?193,"part of the hall."
|
||||
.GSTR STR?194,"room."
|
||||
.GSTR STR?195,"There's dark, cloudy sky above you."
|
||||
.GSTR STR?196,"The sky is clear now, with stars shining coldly."
|
||||
.GSTR STR?197,"The moon, just past full, lights up the whole yard."
|
||||
.GSTR STR?198,"The morning sunshine lights up the whole yard."
|
||||
.GSTR STR?199,"Stiles"
|
||||
.GSTR STR?200,"someone"
|
||||
.GSTR STR?201,"February 28"
|
||||
.GSTR STR?202,"on your fine detective work.
|
||||
"
|
||||
.GSTR STR?203,"on the fine teamwork between you and Sergeant Duffy.
|
||||
"
|
||||
.GSTR STR?204,"to you, but even more to Detective Duffy on his promotion.
|
||||
"
|
||||
|
||||
.ENDI
|
||||
|
|
@ -0,0 +1,239 @@
|
|||
@style(spacing 1)
|
||||
Somewhere near Los Angeles. A cold Friday evening in February 1938.
|
||||
In this climate, cold is anywhere below about fifty degrees. Storm
|
||||
clouds are swimming across the sky, their bottoms glowing faintly from
|
||||
the city lights in the distance. A search light pans slowly under the
|
||||
clouds, heralding another film premiere. The air seems expectant, waiting
|
||||
for the rain to begin, like a cat waiting for the ineffable moment
|
||||
to ambush.
|
||||
|
||||
The taxi has just dropped you off at the entrance to the Linders' driveway.
|
||||
The driver didn't seem to like venturing into this maze of twisty streets
|
||||
any more than you did. But the house windows are full of light, and
|
||||
radio music drifts toward you. Your favorite pistol, a snub-nosed Colt
|
||||
.32, is snug in its holster. You just picked up a match book off the
|
||||
curb. It might come in handy. Good thing you looked up the police file
|
||||
on Mrs. Linder's death. Her suicide note and the newspaper story told
|
||||
you all you know about the family. The long week is finished, except
|
||||
for this appointment. But why does an ominous feeling grip you?
|
||||
|
||||
The WITNESS: An INTERLOGIC Mystery@*
|
||||
Copyright (c) 1983 Infocom, Inc. All rights reserved.@*
|
||||
WITNESS and INTERLOGIC are trademarks of Infocom, Inc.@*
|
||||
Revision number 15 / Serial number 830621
|
||||
|
||||
You are now in the driveway entrance.@*
|
||||
You are standing at the foot of the driveway, the entrance to the Linder
|
||||
property. The entire lot is screened from the street and the neighbors
|
||||
by a wooden fence, except on the east side, which fronts on dense bamboo
|
||||
woods. The house looks like a mixture of a California bungalow and
|
||||
East Asian influences. From here you can see the driveway leading north
|
||||
and, beyond that, the front door.
|
||||
|
||||
What should you, the detective, do now?
|
||||
|
||||
NORTH
|
||||
|
||||
You are now on the driveway.@*
|
||||
The driveway, paved with peastone, runs from the entrance at the south
|
||||
end in a curve to a two-car garage at the east end. North of you is
|
||||
the front porch, the entrance to the house.
|
||||
|
||||
What next?
|
||||
|
||||
NORTH
|
||||
|
||||
You are now on the front porch.@*
|
||||
The front porch is in an alcove, sheltered from the weather by the
|
||||
walls and overhanging roof. A yellowish electric light hangs near the
|
||||
closed front door to the east, giving you a dim view of the driveway
|
||||
to the south and the front yard behind a gate to the north.
|
||||
The gate is closed. A door bell glows at you, almost daring you to
|
||||
ring it.
|
||||
|
||||
What next?
|
||||
|
||||
RING IT
|
||||
|
||||
Someone turns off the radio. You hear footsteps inside the house. Then
|
||||
the door swings open.
|
||||
"Good evening," says a smiling face, "I am Phong. Please come in."
|
||||
He leads you into the house and closes the door behind you.
|
||||
|
||||
You are now in the entry.@*
|
||||
Here in the entry is a small Shinto shrine, with a hanging scroll and
|
||||
an arrangement of flowers, as well as a coat closet and a platform
|
||||
for storing shoes. You can see a hallway to the east. The front door,
|
||||
on the west wall, is closed.
|
||||
Phong's straight black hair and folded eyelids make him obviously Asian,
|
||||
but no definite nationality. His open, almost gentle face holds a quick
|
||||
smile and eyes that seem to miss nothing. He carries his stout body
|
||||
lightly, but you can see great strength under his light shirt and dark
|
||||
trousers. You guess his age at about fifty, but who knows how many
|
||||
lifetimes of experience he carries?
|
||||
|
||||
What next?
|
||||
|
||||
READ SCROLL
|
||||
|
||||
The scroll is written with a fine brush. Freely translated, it reads:
|
||||
|
||||
@begin(verbatim)
|
||||
The WITNESS: An INTERLOGIC Mystery
|
||||
from Infocom, Inc.
|
||||
by Stu Galley
|
||||
based on an idea by
|
||||
Marc Blank and Dave Lebling
|
||||
Copyright (c) 1983 Infocom, Inc.
|
||||
All rights reserved.
|
||||
WITNESS and INTERLOGIC
|
||||
are trademarks of Infocom, Inc.
|
||||
@end(verbatim)
|
||||
|
||||
Phong says, "I believe the Linders are in the living room. Please follow
|
||||
me." He leads you into a hallway and turns left. This hallway seems
|
||||
to run the length of the house, from the garage at the south end to
|
||||
the living room at the north. There is enough warm yellow light flooding
|
||||
from the living room for you to see a few doors on each side of the
|
||||
hall. As you get near the living room, you hear voices talking, half-loud
|
||||
and fast.
|
||||
|
||||
You are now in the living room.@*
|
||||
A huge fieldstone fireplace on the south wall holds a blazing fire,
|
||||
filling the living room with warmth and light. Grouped in front of
|
||||
the fire are a glass-topped coffee table and a rattan davenport and
|
||||
club chair, with cushions covered in a print showing bamboo plants
|
||||
in the style of Japanese brush-painting. A lamp with a printed shade
|
||||
and a telephone sit on the table.
|
||||
On the north wall are a console radio and a liquor cabinet made of
|
||||
light-colored wood. A single door in the east wall is closed, and at
|
||||
the west end of the room is a double door.
|
||||
|
||||
"Excuse me, sir," says Phong, "but the detective has arrived."
|
||||
|
||||
Monica stops talking and looks at you sharply. She is a woman in her
|
||||
mid-twenties. Her grey eyes flash, emphasizing her dark waved hair
|
||||
and light but effective make-up. She wears a navy Rayon blouse, tan
|
||||
slacks, and tan pumps with Cuban heels. She acts as though you were
|
||||
a masher who just gave her a whistle.
|
||||
Linder stands at least six foot, with a powerful frame but quick actions,
|
||||
like a cat. His eyeglasses sit on top of his head, where thin strands
|
||||
of long black hair go here and there, mostly combed backward. His wide-set
|
||||
hazel eyes size you up quickly from within their pouches in his ruddy
|
||||
face. He wears a silk peach-colored Mandarin shirt and chocolate trousers,
|
||||
impeccably tailored and laundered, but sweat gleams on his high forehead,
|
||||
and he looks as though he hasn't slept much lately.
|
||||
|
||||
Linder turns to you and says, "Detective, am I glad to see you! This
|
||||
is my daughter, Monica, and of course you've met Phong already." He
|
||||
looks at a wrist watch with a gleaming silver bracelet. "I see you're
|
||||
right on time. I'll be with you as soon as I finish my drink."
|
||||
Mr. Phong heads off to the south.
|
||||
|
||||
(Mr. Linder is listening.)@*
|
||||
What next?
|
||||
|
||||
MONICA, TELL ME ABOUT VIRGINIA
|
||||
|
||||
Monica looks briefly toward Mr. Linder and then speaks in a whisper.
|
||||
"She was the most noble woman I've ever known. Did her best to be a
|
||||
'good wife' even though she was alone so much. No one understood her
|
||||
as I did, certainly not Father. Sometimes I feel I could just ..."
|
||||
She slams a clenched fist into her palm. She seems to remember who
|
||||
you are, then clams up.
|
||||
|
||||
(Monica is listening.)@*
|
||||
What next?
|
||||
|
||||
WAIT 60
|
||||
|
||||
Time passes...
|
||||
|
||||
Suddenly, a clap of thunder rolls across the hills outside.
|
||||
|
||||
Without warning, lightning flashes outside, and a few seconds later
|
||||
thunder rattles the house.
|
||||
|
||||
Rain begins to fall outside in a sprinkle.
|
||||
|
||||
Linder gulps down the rest of his drink. "Well, Detective," he says,
|
||||
"I'm anxious to get on with our business. Let's you and I go to my
|
||||
office so we can talk undisturbed." He takes you by the arm and leads
|
||||
you through the hallway. Just south of the entry, he opens a door to
|
||||
the east and leads you through it.
|
||||
|
||||
(office)@*
|
||||
This is obviously the office of Mr. Linder's company, Pacific Trade
|
||||
Associates. At the west end of the office, a massive desk of teak and
|
||||
mahogany faces toward the window. It has no drawers, but the top is
|
||||
covered with piles of letters, some newspapers, a telephone, and various
|
||||
souvenirs from the Far East.
|
||||
Behind it is a large ornately-carved chair, like a cruiser escorting
|
||||
a battle ship. A simple wooden chair, polished smooth by visitors,
|
||||
flanks the desk on the other side. On the north wall is a lounge, upholstered
|
||||
in green velvet and a bit lumpy, with a framed wood-block picture hanging
|
||||
over it. On the outside wall, next to a door and window, stands a grandfather
|
||||
clock, ticking relentlessly. A file cabinet stands in the corner.
|
||||
The door to the interior hallway is open.
|
||||
A cat is sleeping in the corner.
|
||||
Linder sits down in the carved chair.
|
||||
It's now 8:13 p.m.
|
||||
|
||||
SIT ON WOODEN CHAIR
|
||||
|
||||
You are now sitting on the wooden chair.@*
|
||||
Linder begins his story. "My late wife, may she rest in peace, got
|
||||
involved with a young man named Stiles. Naturally I tried to stop this
|
||||
affair, but without much success. Since my wife passed away, this Stiles
|
||||
fellow has gone off the deep end, I'm afraid, and blamed me for her
|
||||
death. I tried my best to ignore him, but he seems to have lost his
|
||||
senses. This morning I received this note and decided to ask your help."
|
||||
He hands the note to you.@*
|
||||
The rain outside is falling heavily now.
|
||||
|
||||
WAIT FOR MONICA
|
||||
|
||||
Time passes...
|
||||
|
||||
The rain outside begins to taper off.
|
||||
|
||||
The rain storm outside has passed now.
|
||||
|
||||
The clock chimes once to mark the half hour.
|
||||
|
||||
Monica bursts into the office, wearing a felt hat and wool coat, and
|
||||
struggling to get her driving gloves on. She glances icily in your
|
||||
direction and then back to her father. "I'm off to the pictures with
|
||||
Terry, Dad. Good-bye." She hugs him briefly but firmly, burying her
|
||||
head in his shoulder. He pushes her away and says, "You're leaving
|
||||
now?! I thought you'd be talking to the detective here. What about
|
||||
the threat on my life?" He has the hurt look of an orphan pup. She
|
||||
answers, "You don't need me here. I need to get away now and then.
|
||||
I'm not like Mother, you know." Tears well up in her eyes but she brushes
|
||||
them away before they drop. She turns to leave.@*
|
||||
Monica, for whom you are waiting, has arrived.@*
|
||||
It's now 8:36 p.m.
|
||||
|
||||
WAIT FOR PHONG
|
||||
|
||||
Time passes...
|
||||
|
||||
Monica heads off to the west.@*
|
||||
Do you want to keep waiting? (Answer YES or NO.) >YES
|
||||
|
||||
Outside somewhere, a car roars to life and speeds away.
|
||||
|
||||
The clock chimes 9 times to mark the hour.
|
||||
|
||||
You hear the door bell ring.
|
||||
|
||||
Linder looks toward the window and says, "I don't think Phong has answered
|
||||
the door bell yet." He reaches toward the butler's button and at the
|
||||
same instant shouts "Stiles!" You turn around and dimly see a figure
|
||||
outside. Suddenly there is a flash of light and an explosion, and the
|
||||
window falls into dozens of shiny shards. The cat bolts and disappears
|
||||
somewhere. The figure outside turns and runs before you can see the
|
||||
face. When you turn back around, you see Linder slumping down in his
|
||||
chair, with a bloody stain spreading across his silk shirt. He teeters
|
||||
on the edge of the seat, then falls onto the floor, quite dead.
|
||||
It's now 9:03 p.m.
|
||||
Loading…
Reference in New Issue