[Automatic transcript: User is MD]

Copyright (c) 1985 Infocom, Inc. All rights reserved.

Welcome to CHECKPOINT (TM) - interactive fiction from Infocom!

[Note to testers: this story has the command GO TO, and the concept of not
being able to see things behind your back. The unit of currency in this story
is the Frotzian slimpuk, whose symbol is "*".

Messages in square brackets [] will not be in the final release. 
Remember: you can shorten your words only to NINE (9) letters.
But you can use C for COMPARTMENT, V for VESTIBULE, and F for FORWARD.]

Do you want the viewpoint of the traveler or the spy? >t

Do you want the short variation or the long one? >S

Then let the story begin!

With your business deal behind you, you want only to get out of this bleak
corner of Eastern Europe. The frontier is now only a few hours away, and from
there it's not far to Vienna, and civilization....

The ride seems endless, and you're dozing off again. The wheels of the train
are ticking like a clock, ticking off the segments of track you're passing, and
the compartment is rocking you back and forth, back and forth, making your
eyelids slowly close.

Your slumber is cut short as a man staggers into your compartment, panting
strangely. From his demeanor, you guess that he has drunk too much. But before
you can dismiss him, you notice that he's grasping a bright red spot on his
shirt. He speaks quietly, but in a hurry.

"I've got only a moment, so listen carefully! Since you were reading the
International Herald over lunch, I assume you're an American. I am an agent of
our government, and I've been sent to deliver a document to our special agent
in Gola. An enemy agent spotted me on the train, and I only barely managed to
escape." He groans softly, examining his wound.

"The best I can do now is throw the enemy off the scent, but I need you, and
your country needs you, to carry out my assignment." You start to interrupt, a
thousand questions racing through your mind. "There's no time! Here! Take my
briefcase, but be careful with it! Our enemies are all around us! My contact in
Gola is an old woman, and I was to display a pen, then use the words 'red
handkerchief' ...." Then he stops and listens. Before you can say anything, he
checks the corridor and races out.

CHECKPOINT
Infocom interactive fiction - a story of intrigue
Copyright (c) 1985 by Infocom, Inc. All rights reserved.
CHECKPOINT is a trademark of Infocom, Inc.
Release 11 / Serial number 850402 / Traveler's viewpoint, short variation

(fourth compartment)
This is a once-luxurious first-class compartment on the Znuk-Wien Express. The
plush red upholstery on the two facing seats, shiny and worn in spots, and the
greasy lace on the headrests, give the car an air of faded elegance. A red
handle is hanging by a short length of cord from the ceiling, swinging in time
to the train's rocking motion. The corridor is outside, past a window with a
red curtain on it.
The train is racing along a barren stubble-plain.
You notice a worn spot on the floor.
Sitting on the train seat is a briefcase.


Okay, what do you want to do now?
>EXAMINE BRIEFCASE

The train lurches a bit.
It's an expensive-looking case, built like a tank.
You hear some kind of noise from the roof of the train.

What next?
>OPEN THE BRIEFCASE

The latch is closed.

What next?
>OPEN THE LATCH

The metal latch snaps open.
Something outside the window catches your eye. It looks like the stranger
falling off the roof of the train.

What next?
>LOOK OUT WINDOW

The train is speeding along a barren stubble-plain.

What next?
>OPEN THE BRIEFCASE

Opening it reveals a document, a miniature camera, a cassette of film, a
magnifying glass, and a scrap of newsprint.

What next?
>EXAMINE DOCUMENT

The train lurches a bit.
It's not a very handsome document, scrawled in a hurry by a hand that wouldn't
win any prizes under the best of conditions. But it seems to contain crucial
information -- times, places, a crude map, even code words -- about a plan to
kidnap some high-ranking official tomorrow. Were the plan to succeed, several
governments would be embarrassed, if not in mortal danger, and the balance of
power would become precarious.

What next?
>EXAMINE NEWSPRINT

There doesn't seem to be anything written on the scrap of newsprint.
Just outside an attractive woman appears from the middle.

What next?
>EXAMINE FILM

The train lurches a bit.
It looks like instant film, in a special miniature format.
The attractive woman, just outside, disappears to the rear.

(You won't see "What next?" any more.)

>EXAMINE FILM THROUGH MAGNIFYING GLASS

(taking the cassette of film first)
(taking the magnifying glass first)
With the aid of the magnifying glass you can just make out what's on the film.
The whole film is unexposed.

>EXAMINE NEWSPAPER THROUGH MAGNIFYING GLASS

(You can't see any newspaper here.)

>EXAMINE NEWSPRINT THROUGH MAGNIFYING GLASS

(taking the scrap of newsprint first)
It looks the same, only much larger.

>I

You're holding a scrap of newsprint, a magnifying glass, and a cassette of
film.
And there's something in your pocket.

>TAKE THING FROM POCKET

(Sorry, but this story doesn't recognize the word "thing".)

>LOOK IN POCKET

Your pocket contains your ticket, a timetable, a traveler's check, and your
passport.
And some money.

>COUNT MONEY

You are carrying *49.
Just outside a fat man appears from the rear end.

>PUT ALL IN BRIEFCASE

scrap of newsprint: Okay.
magnifying glass: Okay.
cassette of film: Okay.
your ticket: Okay.
timetable: There's not enough room.
traveler's check: Okay.
your passport: There's not enough room.
The fat man enters, looks around, and sits down.
Then he notices the briefcase and takes it.

>TAKE BRIEFCASE

(You stand up first.)
The fat man holds it more tightly and looks at you defiantly.
Just outside a young couple appear from the rear end.
The fat man, carrying it, opens the compartment door for a moment and leaves.

>FOLLOW FAT MAN

The train lurches a bit.

(rear middle)
[You're facing to the right side of the train.]
This is the rear middle of the corridor. The floor and walls are covered with
cream-colored linoleum, worn away in spots to reveal the original hardwood
finish. A long series of windows, still framed by wood, runs along the corridor
on the right-hand side of the train.
The conductor is off to the front.
The young couple are here, walking along. They head off to the front.
The fat man is here, holding the briefcase and walking along. He heads off to
the rear.

>FOLLOW FAT MAN


(rear end)
[You're facing to the rear.]
This is the rear end of the corridor. On the left side of the train, behind a
windowed door, lies the fifth compartment.
The fat man is here, still holding the briefcase and walking along. He opens
the swinging door for a moment and heads off to the rear.

>FOLLOW FAT MAN

(You can't see any fat man here.)

>OPEN DOOR

(Which door do you mean, the compartment door or the swinging door?)

>SWINGING

The swinging door swings noisily open.

>REAR

(rear vestibule)
This is a small vestibule at the rear end of the car. There's a short flight of
metal steps on the left side of the train leading down off the train, and a
narrow metal ladder leading up to the roof. A small door leads to a restroom,
and a big window is open to the outside. A red handle is hanging by a short
length of cord from the ceiling, swinging in time to the train's rocking
motion. The train is racing along a barren stubble-plain.
The clatter of the wheels on the track is almost deafening.
The swinging door automatically swings shut.
The fat man, carrying the briefcase, off to the rear, opens the swinging door
for a moment and disappears to the rear.

>OPEN DOOR

(Which door do you mean, the restroom door or the swinging door?)

>SWINGING

The swinging door swings noisily open.
The conductor stops here to punch tickets.

>REAR

[Debugging info: you are entering car #3.]
(forward vestibule)
This is a small vestibule at the forward end of the car. It's just like the
rear vestibule, but with no steps or ladder.

>REAR

(You open the swinging door and close it again.)
The relative quiet here is welcome. The smell of food is unmistakable.
(forward end)
This is the forward end of the corridor. On the left side of the train lies the
first booth.
The fat man, carrying the briefcase, is off to the rear, heading away from you.

>REAR

The train lurches a bit.

(forward middle)
This is the forward middle of the corridor. On the left side of the train lies
the second booth.
The fat man is off to the rear, heading away from you.

>REAR

(middle)
This is the middle of the corridor. On the left side of the train lies the
third booth.
The attractive woman is in the third booth.
The fat man, off to the rear, opens the swinging door for a moment and
disappears to the rear.

>REAR


(rear middle)
This is the rear middle of the corridor. On the left side of the train lies the
pantry.
A waiter is in the pantry.

>REA

(I don't know the word "rea".)

>REAR


(rear end)
This is the rear end of the corridor. On the left side of the train lies the
galley.
A cook is in the galley.

>REAR

(You open the swinging door and close it again.)
(rear vestibule)
A cigarette machine stands in one corner, waiting to be either used or
discarded -- it's hard to say which.

>REAR

[Debugging info: you are entering car #4.]
(forward vestibule)

>REAR

(You open the swinging door and close it again.)
The relative quiet here is welcome. 
(forward end)
This is the forward end of the corridor. On the left side of the train, behind
a windowed door, lies the first compartment.
There's an attractive man here, gazing out the window.
The fat man, carrying the briefcase, is off to the rear, heading away from you.

>REAR


(forward middle)
This is the forward middle of the corridor. On the left side of the train,
behind a windowed door, lies the second compartment.
The fat man is off to the rear, heading away from you.

>REAR

(middle)
This is the middle of the corridor. On the left side of the train, behind a
windowed door, lies the third compartment.
The fat man, off to the rear, opens the swinging door for a moment and
disappears to the rear.

>REAR


(rear middle)

>REAR


(rear end)

>REAR

(You open the swinging door and close it again.)
(rear vestibule)
A middle-aged couple are off to the rear.

>REAR

The train lurches a bit.
[Debugging info: you are entering car #5.]
(forward vestibule)
The middle-aged couple are here, looking at you with suspicion.

>REAR

(You open the swinging door and close it again.)
The relative quiet here is welcome. 
(forward end)
A thin man is off to the rear.
The fat man, carrying the briefcase, is off to the rear, heading away from you.

>REAR


(forward middle)
The thin man is off to the rear.
The fat man is off to the rear, heading away from you.
The train is now rocketing past a dark, violent river.

>REAR

(middle)
An old couple are in the third compartment.
The thin man is off to the rear.
You notice marks and scratches on the walls.
The fat man, off to the rear, opens the compartment door for a moment and
enters the fifth compartment.

>REAR


(rear middle)
The thin man is here, reading a newspaper.
Off to the rear the fat man, carrying the briefcase, appears.

>REAR


(rear end)
The fat man is here, holding the briefcase and walking along. He heads off to
the front.

>FRONT


(rear middle)
[You're facing to the front.]
The thin man is here, still reading a newspaper.
Off to the front the conductor appears from the forward vestibule.
The fat man is here, holding the briefcase and about to leave.
He heads off to the rear.

>REAR

The train lurches a bit.

(rear end)
[You're facing to the rear.]
The fat man is here, holding the briefcase and looking in your direction.

>HIT FAT MAN

The train lurches a bit.
He blocks your thrust and knocks you unconscious....

You shake your head and come to.

>L

(rear end)
(You're facing to the rear, but you look in all directions for a moment.)
This is the rear end of the corridor. The floor and walls are covered with
cream-colored linoleum, worn away in spots to reveal the original hardwood
finish. A long series of windows, still framed by wood, runs along the corridor
on the right-hand side of the train. On the left side of the train, behind a
windowed door, lies the fifth compartment.
The thin man is off to the front.


>ENTER FIFTH COMPARTMENT

(You stand up first.)
(fifth compartment)
[You're facing to the left side of the train.]
There's an old couple here, talking quietly.

>EXAMINE COUPLE

The train lurches a bit.
They are dressed for business, in shades of gray, with a strange odor. They
have a birthmark on one cheek like a wine stain.

>SEARCH COUPLE

The train lurches a bit.
They push you away and mutter, "Azit jon chofrp frobnoshbobnash lizjer?"

>HIT COUPLE

The train lurches a bit.
They slap you right back. Wow, is your face red!
The train is now rocketing along the edge of a rocky precipice.

>RESTART

Do you want to start over from the beginning? >Y

Copyright (c) 1985 Infocom, Inc. All rights reserved.

Welcome to CHECKPOINT (TM) - interactive fiction from Infocom!

[Note to testers: this story has the command GO TO, and the concept of not
being able to see things behind your back. The unit of currency in this story
is the Frotzian slimpuk, whose symbol is "*".

Messages in square brackets [] will not be in the final release. 
Remember: you can shorten your words only to NINE (9) letters.
But you can use C for COMPARTMENT, V for VESTIBULE, and F for FORWARD.]

Do you want the viewpoint of the traveler or the spy? >T

Do you want the short variation or the long one? >S

Then let the story begin!

With your business deal behind you, you want only to get out of this bleak
corner of Eastern Europe. The frontier is now only a few hours away, and from
there it's not far to Vienna, and civilization....

The ride seems endless, and you're dozing off again. The wheels of the train
are ticking like a clock, ticking off the segments of track you're passing, and
the compartment is rocking you back and forth, back and forth, making your
eyelids slowly close.

Your slumber is cut short as a man staggers into your compartment, panting
strangely. From his demeanor, you guess that he has drunk too much. But before
you can dismiss him, you notice that he's grasping a bright red spot on his
shirt. He speaks quietly, but in a hurry.

"I've got only a moment, so listen carefully! Since you were reading the
International Herald over lunch, I assume you're an American. I am an agent of
our government, and I've been sent to deliver a document to our special agent
in Gola. An enemy agent spotted me on the train, and I only barely managed to
escape." He groans softly, examining his wound.

"The best I can do now is throw the enemy off the scent, but I need you, and
your country needs you, to carry out my assignment." You start to interrupt, a
thousand questions racing through your mind. "There's no time! Here! Take my
briefcase, but be careful with it! Our enemies are all around us! My contact in
Gola is an old woman, and I was to display a pen, then use the words 'red
handkerchief' ...." Then he stops and listens. Before you can say anything, he
checks the corridor and races out.

CHECKPOINT
Infocom interactive fiction - a story of intrigue
Copyright (c) 1985 by Infocom, Inc. All rights reserved.
CHECKPOINT is a trademark of Infocom, Inc.
Release 11 / Serial number 850402 / Traveler's viewpoint, short variation

(second compartment)
This is a once-luxurious first-class compartment on the Znuk-Wien Express. The
plush red upholstery on the two facing seats, shiny and worn in spots, and the
greasy lace on the headrests, give the car an air of faded elegance. A red
handle is hanging by a short length of cord from the ceiling, swinging in time
to the train's rocking motion. The corridor is outside, past a window with a
red curtain on it.
The train is speeding along a barren stubble-plain.
Sitting on the train seat is a briefcase.


Okay, what do you want to do now?
>TAKE BRIEFCASE

The train lurches a bit.
The train's lurching puts you off balance, and you miss it.
You hear some kind of noise from the roof of the train.

What next?
>G

The train lurches a bit.
The train's lurching puts you off balance, and you miss it.

What next?
>G

You are now holding it.
Something outside the window catches your eye. It looks like the stranger
falling off the roof of the train.

What next?
>OUT

The train lurches a bit.
(You stand up first.)
(You open the compartment door and close it again.)

(forward middle)
[You're facing to the right side of the train.]
This is the forward middle of the corridor. The floor and walls are covered
with cream-colored linoleum, worn away in spots to reveal the original hardwood
finish. A long series of windows, still framed by wood, runs along the corridor
on the right-hand side of the train.
An old woman is off to the rear.

What next?
>REAR

(middle)
[You're facing to the rear.]
This is the middle of the corridor. On the left side of the train, behind a
windowed door, lies the third compartment.
The old woman is here, gazing out the window.

What next?
>EXAMINE WOMAN

She is dressed for an outing, in shades of purple, with a cane. She has a wart
that's hard to avoid looking at.

What next?
>REAR

The train lurches a bit.

(rear middle)
This is the rear middle of the corridor. On the left side of the train, behind
a windowed door, lies the fourth compartment.
A boy is in the fourth compartment.

What next?
>LOOK AT BOY

He is dressed for business, in shades of brown, with an umbrella. 

(You won't see "What next?" any more.)

>REAR


(rear end)
This is the rear end of the corridor. On the left side of the train, behind a
windowed door, lies the fifth compartment.

>REAR

(You open the swinging door and close it again.)
(rear vestibule)
This is a small vestibule at the rear end of the car. There's a short flight of
metal steps on the left side of the train leading down off the train, and a
narrow metal ladder leading up to the roof. A small door leads to a restroom,
and a big window is open to the outside. A red handle is hanging by a short
length of cord from the ceiling, swinging in time to the train's rocking
motion. The train is speeding along a barren stubble-plain.
The clatter of the wheels on the track is almost deafening.
There's a middle-aged couple here, looking at you with suspicion.
Off to the rear a fat man appears from the forward end.

>U

The rungs of the ladder are cold, the wind fierce, and the train bucks like a
wild animal, but somehow you manage to make it to the roof. Your sense of
satisfaction, however, is short-lived when you notice that the train is rapidly
approaching a tunnel.
(roof)
You are on the roof of the train. The wind blows your hair, and the rocking,
lurching train threatens to buck you right off. It occurs to you that this
might not be the safest place to be right now.

>D

(rear vestibule)
The fat man is here, walking along. The middle-aged couple are here, still
looking at you with suspicion.
He pauses a minute.
An attractive man opens the swinging door for a moment and walks past you from
the front.

>OPEN DOOR

(Which door do you mean, the restroom door or the swinging door?)

>RESTROOM

Too bad, but it is locked.
The attractive man heads off to the rear.
The train is now hurtling through a dark tunnel.

>EXAMINE COUPLE

They are dressed for an outing, in shades of blue, with a beret. Their teeth
and fingers are well-stained with nicotine.
The attractive man, off to the rear, opens the swinging door for a moment and
disappears to the rear.

>PULL RED HANDLE

The air fills with the high-pitched whine of metal on metal, and you are thrown
violently forward as the train comes to an emergency stop.

>FORWARD

(You open the swinging door and close it again.)

(rear end)
[You're facing to the front.]
The conductor, the girl and the old woman are off to the front.
The fat man pauses a minute.

>FORWARD


(rear middle)
The boy is in the fourth compartment.
The conductor, the girl and the old woman are off to the front.
The fat man pauses a minute.

>WAIT

(I assume you mean: wait 10 minutes.)
Time passes...
A whistle sounds, and the train briefly shudders and starts moving again.
The conductor punches the girl's ticket.
The girl is off to the front, heading away from you.
Do you want to keep waiting? >N

The time is now 13.41.

>F

(middle)
The conductor is here, making his rounds. The old woman is here, still gazing
out the window.
He makes a gesture, asking for your ticket.
The girl is off to the front, heading away from you.
The fat man pauses a minute.

>GIVE TICKET TO CONDUCTOR

The conductor punches your ticket and then gives it back to you.
He punches the fat man's ticket.
The girl, off to the front, opens the swinging door for a moment and disappears
to the front.

>F


(forward middle)
The fat man pauses a minute.

>F


(forward end)
This is the forward end of the corridor. On the left side of the train, behind
a windowed door, lies the first compartment.
The fat man pauses a minute.

>F

(You open the swinging door and close it again.)
(forward vestibule)
This is a small vestibule at the forward end of the car. It's just like the
rear vestibule, but with no steps or ladder.
The fat man pauses a minute.

>F

[Debugging info: you are entering car #1.]
(rear vestibule)
The fat man walks past you from the rear.

>F

(You open the swinging door and close it again.)
The relative quiet here is welcome. 
(rear end)
An old couple are in the fifth compartment.
The girl is off to the front, heading away from you.

>EXAMINE COUPLE

They are dressed for business, in shades of gray, with a strange odor. 
The girl is off to the front, heading away from you.
The fat man pauses a minute.

>F


(rear middle)
The girl, off to the front, opens the compartment door for a moment and enters
the first compartment.
The fat man pauses a minute.

>F

(middle)
A thin woman is in the third compartment.
The fat man pauses a minute.

>F

The train lurches a bit.

(forward middle)
An old man is in the second compartment.
The fat man pauses a minute.

>F

The train lurches a bit.

(forward end)
The girl is in the first compartment.
The fat man pauses a minute.

>ENTER FIRST 

(I couldn't find enough nouns in that sentence!)

>ENTER

The train lurches a bit.
(You open the compartment door and close it again.)
(first compartment)
[You're facing to the left side of the train.]
The girl is here, smoking a cigarette.
The fat man enters and sits down.

>EXAMINE GIRL

She is dressed for a long trip, in shades of red, with a brown-paper package.
Her glittering black eyes turn away whenever you try to look into them.

>TAKE PACKAGE

(You don't need to use the word "package" to finish this story.)

>EXIT

(You open the compartment door and close it again.)

(forward end)
[You're facing to the right side of the train.]
The fat man pauses a minute.

>;SHOULDN'T IT MENTION THAT THE FAT MAN GOT UP AND FOLLOWED ME?

GO TO THIRD CAR

(You can't see any third car here!)

>GO TO LADDER

(Please be more specific.)

>QUIT

(If you want to continue from this point at another time, you must "SAVE"
first.)
Do you want to stop playing now? >Y

