Resident data ends at 4aa8, program starts at 4aa8, file ends at 1d854

Starting analysis pass at address 4aa6

End of analysis pass, low address = 4aa8, high address = 19c44


[Start of text]

S001: "A NEW DAY"
S002: "
Copyright (C) 1997 by Jonathan Fry
"
S003: "970818"
S004: "6/6"
S005: "a"
S006: "---"
S007: "the"
S008: "The "
S009: "the "
S010: "a "
S011: "The "
S012: "the "
S013: "an "
S014: "The "
S015: "the "
S016: "some "
S017: "The "
S018: "the "
S019: "some "
S020: "N = next subject"
S021: "P = previous"
S022: "  Q = resume game"
S023: "Q = previous menu"
S024: "RETURN = read subject"
S025: "Score: "
S026: "Moves: "
S027: "Time: "
S028: "You can't go that way."
S029: "your former self"
S030: "yourself"
S031: "Darkness"
S032: "those things"
S033: "that"
S034: " or "
S035: "nothing"
S036: " is"
S037: " are"
S038: "is "
S039: "are "
S040: " and "
S041: "whom "
S042: "which "
S043: "Iron rusts from disuse, stagnant water loses its"
S044: "purity, and in cold weather becomes frozen: even"
S045: "so does inaction sap the vigours of the mind.   "
S046: "                                                "
S047: "                             Leonardo da Vinci  "
S048: "No one conquers who doesn't fight."
S049: "                                  "
S050: "                    Gabriel Biel  "
S051: "I don't mind dying, but it's leaving my man. "
S052: "Who will look after him?  What will happen to"
S053: "the poor thing?                              "
S054: "                                             "
S055: "               Mrs. Auguste Rodin, last words"
S056: "Yes, it has been a pleasant world to me."
S057: "                                        "
S058: "        William Henry Harvey, last words"
S059: "Ah! my friend, at last I am about to leave"
S060: "this world, where the heart must be broken"
S061: "or be brass.                              "
S062: "                                          "
S063: "         Roch Nicolas Chamfort, last words"
S064: "The end had come, but it was not yet in sight."
S065: "                                              "
S066: "                    John Kenneth Galbraith    "
S067: "The scene changes but the aspirations"
S068: "of men of good will persist.         "
S069: "                                     "
S070: "                      Vannevar Bush  "
S071: "Include me out.         "
S072: "                        "
S073: "          Samuel Goldwyn"
S074: "
"
S075: "     A  N E W  D A Y    "
S076: "

"
S077: "In the garden more grows than the garden shows."
S078: "              "
S079: "                               Anonymous       "
S080: "blah blah blah fill in this room desc sometime"
S081: "The ghostlike edges of this body bear no marks or indentations."
S082: "A faint outline floats in front of you, motionless."
S083: "To refuse graciously is half to grant a favor."
S084: "             "
S085: "                            Anonymous         "
S086: "A fresh paper lies at your feet."
S087: "Increase your knowledge and you increase your griefs."
S088: "               "
S089: "                                   Anonymous         "
S090: "A wooden bench provides respite for the weary traveller."
S091: "Nothing more than two stone blocks with wooden bars connecting them. 
The words "DEMOS ATHAINON" are burned into the wood, in the Greek alphabet
(which you learned soon upon moving to Athens)."
S092: "One of the planks seems to be loose in its socket."
S093: "the"
S094: "keys"
S095: "It would seem hard to believe that this rust-covered and beaten key
would work on any lock anymore.  Of slightly more interest is the hardened
piece of gum in which the larger end of the key is embedded."
S096: "Confused tourists and bumper-to-bumper traffic are two common sights in
Athens; in Syntagma Square they are even more common.  Visitors are generally
directed here upon arrival to the city, resulting in poor first impressions. 
Fast-food joints and souvenir shops compose three sides of the Square and the
imposing Parliament building the fourth."
S097: "You wander among the tourist shops, but find nothing new.  Not
surprising, really, as all of the stores seem to be supplied by one Greek gift
company.  After a few months in this town, you've seen more Evil Eye necklaces
and plastic Acropoleis than you'd care to count."
S098: "Tacky "Athens 2004" t-shirts and obscenely decorated Ancient Greek
Pottery [tm] fill the windows of these stores.  One thing you've learned in
your short time living in this city is to avoid this junk, for both the sake of
your wallet and your dignity."
S099: "Sadly, most major American chains have branches here in Syntagma."
S100: "This yellow and white behemoth rises to the east."
S101: "This congested array of mopeds, dented cars and tiny trucks cruises by a
good clip.  How can so many vehicles travel so closely together so fast with
any degree of safety?  They can't, as attested to by the handful of accidents
you have witnessed in the last few months."
S102: "blah blah blah fill in this room desc sometime"
S103: "Athen's trash containers share several characteristics: firstly, they
are painted an alarming shade of bright orange; secondly, they are usually
attached to telephone poles; thirdly, they have "DEMOS ATHAINON" written in
Greek letters on the front side; finally, and perhaps most importantly, they
are filled with substances more vile than anything in the pages of H. P.
Lovecraft.  This container is no exception and you are unable to see anything
lower than the top layer of trash."
S104: "The label on the side, written in modern Greek, is incomprehensible to
you.  The cap is missing, but, judging from the stains on the side of the can,
the color is dark brown.  The can feels empty, though there still might be a
little bit of paint left."
S105: "This sizable chunk of bread shows its antiquity through the layer of
repulsive green and white mold that cakes one half of it and through its
extraordinarily crusty shell on the other side."
S106: "The considerable mass of the yellow and white Parliament building towers
over these stone steps, casting a lengthy shadow and providing some relief from
today's sweltering heat.  Two wooden booths, houses to the ceremonial evzones
who guard this spot, have been erected in front of the building."
S107: "The western and northwestern steps lead down to the center of the city. 
Otherwise, you'll have to enter Parliament."
S108: "These wide stone steps lead up to the Parliament Building."
S109: "This yellow and white behemoth rises to the east."
S110: "Whitewashed and proper, these tiny booths are not even large enough to
sit down inside."
S111: "evzones"
S112: "Polished wood and ornate carvings may make good pomp, but these things
would be useless out in battle."
S113: "This green canvas backpack proudly displays the letters "U S A" across
its front."
S114: "That was just a metaphor.  There isn't actually anything beneath his
feet."
S115: "This camera looks like something out of "Lost In Space", with dozens of
buttons and lights and other parts that you wouldn't want to invest the time to
figure out how to operate.  You think you might be able to take a picture, but
the quality of the shot is indeterminable.  Another point of interest is the
enormous flash attached to to the base, which looks impossible to remove from
the camera itself."
S116: "Black camera rolls, straps, and tons of pictures fill this bag to about
half of its capacity.  The initials "U. D." are imprinted near the handle in
very official, proper letters.  The handbag lies near her feet."
S117: "Two stone pillars set into a solid brick wall denote the entrance to the
National Gardens and the exit to Syntagma Square, like a nexus between two
worlds: one, the frantic pace of city life; the other, the relaxing malaise of
plants and animals.  Endless traffic buzzes to the northwest, while the eastern
park is completely quiet."
S118: "The only directions of note are the east and northwest."
S119: "Diogenes, observing that the city of Myndus was small,"
S120: "but had large gates, exclaimed "Ye men of Myndus!  If "
S121: "you don't shut the gates, your city will get out!"    "
S122: "               "
S123: "                             Diogenes Laertes, ii. 36."
S124: "Solid gray bricks form this wall, which extends far in both directions. 
The stones seem too smooth to consider climbing and it would be impractical to
walk around it."
S125: "This feline seems intently interested in the world around her. 
Playfully, her eyes dart from side to side--she does not seem nervous at all,
just ready to jump at any chance for amusement.  The streets of Athens teem
with an overabundance of such creatures and the government has been unwilling
or unable to control their numbers."
S126: "These gardens are a needed respite from the bustling speed of the rest
of the city.  Palm trees sway in the wind as birds chirp their unknowable
songs.  Off in the distance car horns and shouting pedestrians may be heard,
but luckily they are almost completely muted by the serenity of this park."
S127: "You wander on dirt paths through the gardens for a time and eventually
find yourself back where you started."
S128: "You're reminded of your childhood in California.  Fortunately you did
not live in Los Angeles, so not much else about this city reminds you of those
times."
S129: "Nothing more than two stone blocks with wooden bars connecting them. 
The words "DEMOS ATHAINON" are burned into the wood, in the Greek alphabet."
S130: "One of the planks seems to be loose in its socket."
S131: "blah blah blah fill in this room desc sometime"
S132: "blah blah blah fill in this room desc sometime"
S133: "Polished and fierce-looking, with the letters "PI" and "RHO" on the
side."
S134: "The uncomfortable heat and thronging crowds would seem more appropriate
on an Athenian city bus than in this usually tranquil plaza.  Every one of the
thousands of faces here rises and falls and darts about in attempts to see into
the Panathenaic Stadium.  Apparently a large celebration of some importance is
underway, as "Athens 2004" flags fly everywhere."
S135: "The crowds are too densely packed in that direction."
S136: "One thing you've noticed in Greece is the lack of anything we might call
"personal space".  Public transportation tends to be filled to three times the
maximum capacity; locals will walk up and stand inches away from you; pushing
and shoving is as common among strangers as families.  Crowds like these still
make you feel slightly uncomfortable."
S137: "The ancient Olympic games were revived in their modern form in this
stadium in the year 1896.  In the tradition of the Ancients it was constructed
at the expense of a local benefactor.  This accounts for its high quality
marble seats and decoration.  It can be entered through the southern gateway."
S138: "These pieces of propaganda have been placed all over the city in order
to raise public approval over hosting the 2004 Olympics--Athenians are
generally still disgruntled about not receiving them in 1996."
S139: ""Big" and "alert" are two adjectives that come to mind when describing
this brute.  His uniform and disposition are nothing unusual for someone with a
relatively simple task, that is, to stand in front of the doorway."
S140: "You can kill the body, but you cannot kill the soul."
S141: "                                                    "
S142: "                          Ulrich Zwingli, last words"
S143: "blah blah blah fill in this room desc sometime"
S144: "A simple affair consisting of six steel sides and an iron lock.  Its
oddest characteristic is the ticking sound it makes."
S145: "Metal lockers lfT the walls of *KHis `e.  Alldsfda are decojr-+ated with
skul(-and-crossbonfes and incHompreh $enSSAnsible worlds isdfsn whast looks
li]%ke Italian ansdd T-[rkish;  DirtFQ&Qy whitdse light bulbs H6
cast aS sdflickering l=3ight on the rust covered lockers.  One might call this
room HFeerie, but th:5sat's only the beg///K&inning."
S146: "The east and west doorways are the only apparent exits."
S147: "A concrete wall prevents movement in that direction."
S148: "223: Mistaken name for object 'Door'
224: No such control port: WOPR

End of file."
S149: "Thesd vile s&3h534ereidn inspires !nco--trollable1 shudders *!xxg and it
is vefsry hardds to co$
rate on 236the visual as21ects of th(+--ds  Liquid, garba(*
ge, graQWffiti, defdfecation... it's all thPHDE&e same to you, with!22 your
mind on the bulrning __nsations in your nose.  This room sdf}|creams two words:
"ge4_wt out!""
S150: "A concrete wall prevents movement in that direction."
S151: "Desd oldk jgma{sff5chinery4 is4145 set against the walls of this
chamber, which are made of32 ka redd()21! dirt.  Loose wires han241g
ever(&%G&$GFywh ere, running out of thekg cgeilinerg and into various places in
$#d wLll.  Everyt45hing lofsfsaoks quite jury-grigfdged and un
predictable.  In the 4distance, the sound241 of low sddsftalking may be
fsa"'S!."
S152: "A concrete wall prevents movement in that direction."
S153: "A concrete wall prevents movement in that direction."
S154: "This level plain extends endlessly in almost all directions, but the
objects of interest, namely Winston and the column, are nearby."
S155: "Draw the curtain: the farce is ended."
S156: "                                     "
S157: "        Francois Rabelais, last words"
S158: "Haul up the flag, you mourners,   "
S159: "Not half-mast but all the way;    "
S160: "The funeral is done and disbanded;"
S161: "The devil's had the final say.    "
S162: "                                  "
S163: "                    Karl Shapiro  "
S164: "The glass shield extends as far as you can make out in all directions,
except where it stops before the hands of the giant.  The surface looks
completely smooth, but distorts the images beyond slightly."
S165: "An eighteen-wheeled truck would rest easily on one fingernail."
S166: "the"
S167: "the"
S168: "Thousands?  Millions?  Billions?  You haven't the time to count them. 
Every piece seems connected to a hundred other pieces, forming an ordered, but
incomprehensible network.  The column does not appear to be a native element of
this area, and bears no relation to the panels, wires, or lights."
S169: "Thousands?  Millions?  Billions?  You haven't the time to count them. 
Every piece seems connected to a hundred other pieces, forming an ordered, but
incomprehensible network.  The column does not appear to be a native element of
this area, and bears no relation to the panels, wires, or lights."
S170: "Thousands?  Millions?  Billions?  You haven't the time to count them. 
Every piece seems connected to a hundred other pieces, forming an ordered, but
incomprehensible network.  The column does not appear to be a native element of
this area, and bears no relation to the panels, wires, or lights."
S171: "Strike, if it be for the good of Rome."
S172: "                                      "
S173: "             Emperor Galba, last words"
S174: "This wood and steel rifle is styled like something from the early
1800's.  Still proud of their victory over the Ottoman Turks, the Greeks often
present similar firearms on days of celebration."
S175: "This chaotic mesh of wires, screens, blinking lights, silvery metal
sheets and other electronic pieces soars upwards, delicately touching the glass
ceiling.  What inexpert hands could have built this tower?  Surely it was not
the graceful artist that constructed this even, patterned world."
S176: "Solid gray bricks form this wall, which extends far in both directions. 
The stones seem too smooth to consider climbing and it would be impractical to
walk around it."
S177: "The size of a truck's tire, but even blacker, leading to unknown regions
in the machine's core.  The air that escapes this well is cool and dry."
S178: "This shiny panel is about the size of a shoebox and sturdy.  It is
closed."
S179: "wires"
S180: "wires"
S181: "green"
S182: "blue"
S183: "brown"
S184: "red"
S185: "the"
S186: "                for Kim-Loi,                   "
S187: "        my Beatrice and my Penelope,           "
S188: "    who has shown me worlds more wondrous      "
S189: "and beautiful than my mind had ever explored..."
S190: "(1/2)  Not much--it hasn't been written."
S191: "(1/2)  For the moment, listen to him."
S192: "(1/6)  Naturally."
S193: "(2/6)  Have you tried sitting on it?"
S194: "(3/6)  What could be wrong with the plank?"
S195: "(4/6)  There's something stuck in its slot."
S196: "(5/6)  Thus, manipulate the plank in such a way as to release the item."
S197: "(1/2)  QUIT on that turn to reject it."
S198: "(1/3)  Read the responses to SOUTHEAST carefully."
S199: "(2/3)  You cannot WALK southeast."
S200: "(1/2)  SEARCH it for clues."
S201: "(1/3)  She doesn't seem excited about going."
S202: "(2/3)  Make her go anyways, if you really want."
S203: "(1/9)  [ Do not read until you have gone southeast from Syntagma Square.
]"
S204: "(2/9)  You'll need to distract them.  Watch the guards for a few turns."
S205: "(3/9)  Notice something one of them does?"
S206: "(4/9)  He's suspicious of the tourist's handbag.  Why?"
S207: "(5/9)  This is Parliament--the center of government in the Greek
republic..."
S208: "(6/9)  ...and a likely target for terrorism."
S209: "(7/9)  Make the guard even more suspicious of the handbag."
S210: "(8/9)  Put something moving in the handbag."
S211: "(1/2)  Notice the description of the bench."
S212: "(1/5)  The author did not finish the descriptions in all of the rooms."
S213: "(2/5)  But he did manage to get the basic actions needed to solve this
section coded."
S214: "(3/5)  And how would you distract ducks?"
S215: "(4/5)  With some food?"
S216: "(1/4)  [ Do not read until you have solved all of the previous puzzles.
]"
S217: "(2/4)  Have you played around with all of your items?"
S218: "(3/4)  One seems to be rather potent."
S219: "(1/3)  It won't open easily."
S220: "(2/3)  Use force."
S221: "(1/5)  EXAMINE it."
S222: "(2/5)  The description isn't very helpful."
S223: "(3/5)  FEEL SPHERE for more information."
S224: "(4/5)  Now experiment around with it."
S225: "(1/5)  Explore the rooms that connect to this one."
S226: "(2/5)  Is there a way to spy on him?"
S227: "(3/5)  Use the peephole."
S228: "(4/5)  But you'll have to close the door, of course."
S229: "(1/6)  You can't open it from there."
S230: "(2/6)  The keyboard to the north might help."
S231: "(3/6)  You'll need to type in a password..."
S232: "(4/6)  ...that the man at the console might know."
S233: "(5/6)  [ See the hints pertaining to him. ]"
S234: "(1/2)  You only have fifty turns..."
S235: "(1/3)  No, he certainly doesn't."
S236: "(2/3)  Perhaps you should stop being friendly to him?"
S237: "(1/7)  You'll have to deal with him before you can do anything about
Winston."
S238: "(2/7)  There are three ways to incapacitate him."
S239: "(3/7)  The easier method is to use force."
S240: "(4/7)  Namely, a nasty item from earlier in the game."
S241: "(5/7)  The bomb."
S242: "(6/7)  THROW BOMB AT EVZONE."
S243: "(1/3) [ Don't read until you've disposed of the evzone. ]"
S244: "(2/3)  It's you, apparently."
S245: "(1/2)  You can't."
S246: "(1/3)  There are two ways to remove the panel."
S247: "(2/3)  The more obvious solution, perhaps, involves an earlier item."
S248: "(1/5)  It's not only possible, but necessary."
S249: "(2/5)  Try pulling on it."
S250: "(3/5)  You'll need some sort of tool..."
S251: "(4/5)  ...like the knife!"
S252: "(1/8)  [ Don't read until you've disposed of the evzone. ]"
S253: "(2/8)  You'll have to prevent the current from going up that yellow wire
on the column."
S254: "(3/8)  You cannot reach it from here."
S255: "(4/8)  Seen any other similiar wires nearby?"
S256: "(5/8)  There's one in the slot next to you."
S257: "(6/8)  Removing it, then, might redirect the power."
S258: "(7/8)  [ Wait for Winston to finish his work. ]"
S259: "(1/8)  [ Read "How do I prevent my death?" first. ]"
S260: "(2/8)  You'll need to redirect the current towards him."
S261: "(3/8)  Try one of the wires in the panel niche."
S262: "(4/8)  Which one?"
S263: "(5/8)  There's a loose green wire near Winston's feet."
S264: "(6/8)  Having trouble getting it to stay in place?"
S265: "(7/8)  Put two metallic objects in the sockets, in order to hold up the
wire."
S266: "Then I hated all my labor in which I had toiled  "
S267: "under the sun, because I must leave it to the    "
S268: "man who will come after me.                      "
S269: "                                                 "
S270: "                                                 "
S271: "And who knows if he will be a wise man or a fool?"
S272: "                                                 "
S273: "                               Ecclesiastes 2:19 "
S274: "read"
S275: "send message"
S276: "apply 'ofclass' for"
S277: "recreate"
S278: "destroy"
S279: "copy"
S280: "copy"
S281: "<unknown attribute>"
S282: "name"
S283: "create"
S284: "recreate"
S285: "destroy"
S286: "remaining"
S287: "copy"
S288: "call"
S289: "print"
S290: "print_to_array"
S291: "animate"
S292: "absent"
S293: "clothing"
S294: "concealed"
S295: "container"
S296: "door"
S297: "edible"
S298: "enterable"
S299: "general"
S300: "light"
S301: "lockable"
S302: "locked"
S303: "moved"
S304: "on"
S305: "open"
S306: "openable"
S307: "proper"
S308: "scenery"
S309: "scored"
S310: "static"
S311: "supporter"
S312: "switchable"
S313: "talkable"
S314: "transparent"
S315: "visited"
S316: "workflag"
S317: "worn"
S318: "male"
S319: "female"
S320: "neuter"
S321: "pluralname"
S322: "before"
S323: "after"
S324: "life"
S325: "n_to"
S326: "s_to"
S327: "e_to"
S328: "w_to"
S329: "ne_to"
S330: "se_to"
S331: "nw_to"
S332: "sw_to"
S333: "u_to"
S334: "d_to"
S335: "in_to"
S336: "out_to"
S337: "door_to"
S338: "with_key"
S339: "door_dir"
S340: "invent"
S341: "plural"
S342: "add_to_scope"
S343: "list_together"
S344: "react_before"
S345: "react_after"
S346: "grammar"
S347: "orders"
S348: "initial"
S349: "when_open"
S350: "when_closed"
S351: "when_on"
S352: "when_off"
S353: "description"
S354: "describe"
S355: "article"
S356: "cant_go"
S357: "found_in"
S358: "time_left"
S359: "number"
S360: "time_out"
S361: "daemon"
S362: "each_turn"
S363: "capacity"
S364: "short_name"
S365: "short_name_indef"
S366: "parse_name"
S367: "articles"
S368: "inside_description"
S369: "play"
S370: "Pronouns"
S371: "Quit"
S372: "Restart"
S373: "Restore"
S374: "Save"
S375: "Verify"
S376: "ScriptOn"
S377: "ScriptOff"
S378: "NotifyOn"
S379: "NotifyOff"
S380: "Places"
S381: "Objects"
S382: "Score"
S383: "FullScore"
S384: "Inv"
S385: "Take"
S386: "Drop"
S387: "Remove"
S388: "PutOn"
S389: "Insert"
S390: "EmptyT"
S391: "Give"
S392: "Show"
S393: "Enter"
S394: "GetOff"
S395: "Exit"
S396: "VagueGo"
S397: "Go"
S398: "LMode1"
S399: "LMode2"
S400: "LMode3"
S401: "Look"
S402: "Examine"
S403: "LookUnder"
S404: "Search"
S405: "Unlock"
S406: "Lock"
S407: "SwitchOn"
S408: "SwitchOff"
S409: "Open"
S410: "Close"
S411: "Disrobe"
S412: "Wear"
S413: "Eat"
S414: "Yes"
S415: "No"
S416: "Burn"
S417: "Pray"
S418: "Wake"
S419: "WakeOther"
S420: "Kiss"
S421: "Think"
S422: "Smell"
S423: "Listen"
S424: "Taste"
S425: "Touch"
S426: "Dig"
S427: "Cut"
S428: "Jump"
S429: "JumpOver"
S430: "Tie"
S431: "Drink"
S432: "Fill"
S433: "Sorry"
S434: "Strong"
S435: "Mild"
S436: "Attack"
S437: "Swim"
S438: "Swing"
S439: "Blow"
S440: "Rub"
S441: "Set"
S442: "SetTo"
S443: "WaveHands"
S444: "Wave"
S445: "Pull"
S446: "Push"
S447: "Turn"
S448: "PushDir"
S449: "Squeeze"
S450: "ThrowAt"
S451: "Tell"
S452: "Answer"
S453: "Ask"
S454: "Buy"
S455: "Sing"
S456: "Climb"
S457: "Wait"
S458: "Sleep"
S459: "Consult"
S460: "parse_input"
S461: "AskFor"
S462: "GiveR"
S463: "ShowR"
S464: "begin_action"
S465: "end_turn_sequence"
S466: "is_wire"
S467: "is_key"
S468: "color"
S469: "Transfer"
S470: "Hello"
S471: "Help"
S472: "Shake"
S473: "Run"
S474: "Pet"
S475: "Pry"
S476: "emblazon"
S477: "select"
S478: "Version"
S479: "Empty"
S480: "InvTall"
S481: "InvWide"
S482: "GoIn"
S483: "Down"
S484: "Unix"
S485: "WidePhotograph"
S486: "Photograph"
S487: "Shoot"
S488: "Smile"
S489: "SmileAt"
S490: "Spray"
S491: "FakeSpray"
S492: "Type"
S493: "Up"
S494: "Xyzzy"
S495: "LookUp"
S496: "LookDown"
S497: "PickLockA"
S498: "PickLockB"
S499: "ThrowOver"

[End of text]

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