"sequitur" by Nigel Jayne [I made my source text available because I learned a lot of useful code from reading other writers' sources. Maybe you'll also find some useful bits and pieces throughout this text. Accordingly, this source text is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 3.0 United States License (http://creativecommons.org/licenses/by-nc-nd/3.0/). You can take chunks of the source, except text that is printed to the game screen, and incorporate them into your games. The source text is a little over 51 000 words with about another 3000 words as comments. Sequitur was originally made using Inform 6G60. It has been updated and can be compiled in 6L32. i can't guarantee my comments are accurate. They are based on my interpretations and preferences. Any Inform 6 code is not mine; I copied it from either the Writing with Inform 7 documentation or posts on the Interactive Fiction Forum (http://www.intfiction.org/forum/). Finally, I use a screen reader, so I don't always "see" wonky text formatting. Changelog for release 3: compiles in 6L32 (replaced image centering extension with compatible code (Section - Image Centering) and added text effects extension by Emily Short) added theme song "The Heckler" as a bonus track New Actions: REMEMBER reminds the player of the links that have been established INSERT a track RIGHT or LEFT of another track or position INSERT track to track IN position or track (allows the player to move a string of tracks at once and put them relative to another or starting at a particular spot in the Sequence (players can group and transfer tracks if (1) they aren't in the sequence but they have been linked together or (2) the tracks are in the sequence) simply typing a track and a slot will now insert the track into the slot revamped examining hints rules to include building from explained tracks, and changed some check to instead rules New phrases: decide whether (a number) slots is/are available starting at (a number) decide if (a thing) and (a thing) are intellectually connected decide if (a thing) is properly positioned beside (a thing) decide which list of numbers is the numbered track list for (a list of things) decide which number is the position number of (a track) among (list of things) decide which number is positions-plus decide if (a number) is within (a number) and (a number) decide which list of things is the connected links for (a list of things) starting at (a number) place the (a list of things) group into the sequence starting at (a number) using a track place the (a list of things) group into the sequence starting at (a number) including (a list of numbers) add (a list of things) to positions starting at (a number) move is a synonym of insert responds to verbosity commands fixed a few minor bugs ] The Story headline is "An Interactive Chain of Evidence". The Story genre is "Mystery". The story description is "The only person who can explain what happened in a long-forgotten house with four dead people inside is comatose and clinging to her life in hospital. Detective Stephen Cochone of the New Orleans Police Department needs to accurately reconstruct the chain of events by sequencing the video footage, sound recordings, and other vestiges of activity found at the site, leading him to a conclusion that could protect the lives of millions.". The story creation year is 2014. The Release number is 3. Use no deprecated features, serial comma, and American dialect. use DICT_WORD_SIZE of 20. [This allows the parser to read 20 characters, instead of just 9, when trying to understand the name of something.] Use maximum text length of at least 2000. Use max_static_data of 300000. Release along with source text, library card, interpreter, and cover art ("A quotation in white letters with gold trim is superimposed over the contours of an office etched in black. The quotation opens in the top left of the page with an ellipsis. The word 'Sequitur' follows in the center of the cover, and the quotation closes with another ellipsis in the bottom right."). Include Alternatives by Eric Eve. Include Extended Banner by Stephen Granade.[This version isn't completely compatible with I7 6L02, but we don't use the illegal string anyway, so it works.] Include Multiple Sounds by Massimo Stella. Include Undo Output Control by Erik Temple. [For version 3, we change the phrases "To decide which value ... " to "To decide which number ... " and replace the call for "L__M" with print statements.] Include Basic Screen Effects by Emily Short. Include Glulx Entry Points by Emily Short. Include Punctuation Removal by Emily Short. Include Glulx Text Effects by Emily Short. Include (-Replace PrintInferredCommand;[ PrintInferredCommand; ];-) before "Parser.i6t". [This removes parenthetical confirmations when the parser fills in a second noun or chooses an object (this happens before the "supplying a missing noun/second noun" activity and "Does the player mean."] Sound of cymbals is the file "cymbals.ogg". Sound of heckler is the file "heckler.ogg". Figure of gamecover is the file "cover.png" ("[cover design]"). [We need this say phrase because we want the text description printed in interpreters that don't support graphics. See the Displaying Cover action for how this is done.] To say cover design: say "A quotation in white letters with gold trim is superimposed over the contours of an office etched in black. The quotation opens in the top left of the page with an ellipsis. The word 'Sequitur' follows in the center of the cover, and the quotation closes with another ellipsis in the bottom right.". Volume -World Descriptors and Mechanics Book - Things, Values, Variables Chapter - General A thing is either examined or unexamined. A thing is usually unexamined. A thing can be marked for manipulation. A thing can be on-screen. Understand the printed name property as describing a thing. [We make these backdrops instead of actions so that the player can use the READ action on them. Still, it might be better just to incorporate "read" in the relevant action understanding lines instead of making backdrops.] Contents is a kind of backdrop. About author, manipulators, the help, the hints, and walkthrough are contents. About author is everywhere. Manipulators is everywhere. Help is everywhere. hints is everywhere. Walkthrough is everywhere. Understand "author", "about the author", and "writer" as about author. The description of about author is "Nigel Jayne, or more correctly the guy using that pseudonym, has a PhD in Pharmacology and Toxicology, earned after five years of getting pregnant guinea pigs drunk. Losing his eyesight shortly after graduation forced a change in his career plan, and he now occasionally writes scientific and medical literature. Nigel enjoyed graphical-text hybrids such as the [b]Space Quest[/b] and [b]King's Quest[/b] series more than the strictly text-based games in his youth, but he was totally absorbed into the worlds of Choose-Your-Own-Adventure books. [fiction title] is his first text adventure, and he has since written another, [b][i]A Fly on the Wall[/i][/b] [fixed letter spacing]http://www.nigeljayne.ca[variable letter spacing].". Understand "other commands", "guidance", "guide", "instruction", "manual", "sequitur manual", "command", "commands", and "command list" as the help. Understand "about the authors", "acknowledgements", "authors", "credits", "credit", and "writers" as manipulators. Understand "hint" as hints. Understand "opinion", "an opinion", "her opinion", "Jenny's opinion", "Jennifer's opinion", "solution", "solutions", "timeline", "Jenny's walkthrough", "Jennifer's walkthrough", and "walkthru" as walkthrough. A dextrus is a kind of value. Left and right are dextruses. Understand "backward", "backwards", and "back" as left. Understand "forward", "forwards", and "ahead" as right. Duration is a kind of value. 3:59 specifies a duration. Status is a kind of value. Primary objective and secondary objective are statuses. A status can be sequenced. A status can be solved. Replacer is a kind of value. trak and groove are replacers. Understand "track" as trak. Understand "slot" and "position" as groove. [Replacers are used in "after reading a command" rules to remove unnecessary uses of "slot" or "track" in the player's commands.] A team is a kind of value. Anaheim Ducks, Boston Bruins, Buffalo Sabres, Pittsburgh Penguins, San Jose Sharks, Florida Panthers, Denver Nuggets, Minnesota Timberwolves, New Orleans Hornets, and Phoenix Suns are teams. A team can be hockey or basketball. A team is usually hockey. Denver Nuggets, Minnesota Timberwolves, New Orleans Hornets, and Phoenix Suns are basketball. A team is either home or away. A team is usually home. A team has some text called just-team. The just-team of Anaheim Ducks is "Ducks". The just-team of Florida Panthers is "Panthers". The just-team of Boston Bruins is "Bruins". The just-team of Buffalo Sabres is "Sabres". The just-team of Pittsburgh Penguins is "Penguins". The just-team of San Jose Sharks is "Sharks". The just-team of Minnesota Timberwolves is "Timberwolves". The just-team of New Orleans Hornets is "Hornets". The just-team of Denver Nuggets is "Nuggets". The just-team of Phoenix Suns is "Suns". A team has a number called netted. The netted of a team is usually 0. [Stalling actions are those that don't activate the Sequitur program.] Attacking is stalling. Consulting is stalling. Eating is stalling. Kissing is stalling. Listening is stalling. Saying yes is stalling. Saying no is stalling. Thinking is stalling. Waiting is stalling. Removal point is initially zero. [Used to determine which tracks should be removed from the Sequence.] Ticker tracker is initially 0. [Used to time when Cochone needs to check the sports scores.] temporary playlist and temporary favorites list and temporary position list are lists of things that vary. Continuous play is initially false. [Indicates when the player plays multiple tracks.] Already speaking is initially false. Unquoting is initially false. Capitalization is initially false. Section - The Songs A candidate song is a kind of thing that is proper-named. Some candidate songs are defined by the Table of Songs. Understand the short-name property as describing a candidate song. Understand the number-name property as describing a candidate song when the location contains a candidate song. A candidate song can be favored. Burton, Jacques, Powell, and Filter are favored. All candidate songs are in the Workstation. Table of Songs Candidate Song Printed Name Short-name (text) Number-name (a number) Courtney "Courtney Barnett" "Avant Gardener" 1 Yosi "Yosi Horikawa" "Wandering" 2 Jacques "Jacques Dutronc" "Il Est Cinq Heures Paris S'eveille" 3 Burton "The Animals" "House of the Rising Sun" 4 sfa "Super Furry Animals" "Venus and Serena" 5 Powell "Chris Powell" "Hot Dog" 6 filter "The Golden Filter" "Solid Gold" 7 Fang "Red Fang" "Wires" 8 Understand "Animals", "house", and "rising son" as Burton. The description of Burton is "'Do you even need to ask?' Cochone says. [pb]'No, I guess not. [i]The Animals,[/i] right? Okay, I'll make sure we have a lot of that. But I'm picking [i]The Golden Filter[/i] to bring us into this decade with some great synth sound.' [pb]'A [']synth['] is a kind of guitar, right?'". Understand "Barnett" as Courtney. The description of Courtney is "Cochone shrugs. 'Okay. I'll take the first one. [']Avant Gardener.['] [pb]Jenny considers Cochone then tightens her lips. 'Hmm. Probably not the best choice given your ... condition. You won't appreciate Courtney if you don't listen to her, and I think you need to focus your mind on the case.' [pb]'Right.' [i]You wanted the music,[/i] Cochone thinks.". Understand "french", "french song", "french music", "il", and "Dutronc" as Jacques. The description of Jacques is "'How about the French one?' Cochone says. 'I don't hear much of that.' [pb]'Tres bien, Monsieur,' Jenny says. 'Un petit peu. We'll add Jacques. And how about some novelty, too? [']Hot Dog.['] Her smile widens. [pb]'Hot. Dog.'". Understand "Chris Powell" as Powell. The description of Powell is "Cochone raises an eyebrow. '[']Hot Dog?['] No question. I'll take that.' [pb]Jenny giggles. 'Okay, we'll go with a little bit of that, but we do need to get serious sometime. We'll add Jacques, too. For some French.' [pb]'Très bien.'". Understand "red" as Fang. The description of Fang is "Unable to concentrate and uninterested anyway, Cochone scans through the list and settles onto the last song. 'What about that last one, [i]Red Fang[/i]? Everyone likes vampires.' [pb]'[']Wires?['] Well ... If Happy Jack bothers you, then hard rock is probably not a good choice.' [pb]'Why don't you choose.'". Understand "Super", "furry", "Super Furry", "Venus and Serena", "Serena", and "Venus" as sfa. The description of SFA is "'I have two daughters,' Cochone says. 'How about [']Venus and Serena?[']' [pb]Jenny scrunches her face. 'Not sure that's the right father-daughter song for you.' [pb]'Right. You choose.'". Understand "the golden", "Golden", and "golden filter" as Filter. The description of Filter is "'How can we go wrong with a song called [']Solid Gold,[']' Cochone says. [pb]Jenny's smile widens. 'I never would have taken you for an electronica kind of guy.' [pb]'Huh. Me either.' [pb]'Don't worry, I'll make sure we get a good mix of both [i]The Golden Filter[/i] and something a little more your speed, like [i]The Animals[/i].' [pb]'Great. Sounds fun,' Cochone grumbles.". Understand "Horikawa" as Yosi. The description of Yosi is "'[']Wandering,['] Cochone says. 'I've heard that one. It's instrumental, right? I like the sound of that.' [pb]Jenny looks at Cochone. She purses her lips. 'Hmmm. I don't think I want to encourage your mind to start wandering today. It looks as if you'll need all your strength for the case. I'll pick the songs.' [pb]'Why ask me then?' Cochone mumbles.". A music genre is a kind of thing that is fixed in place. classic, dance, foreign, instrumental, novelty, hard rock, and tinnitis are music genres. Understand "buzzing", "buzz", "ringing", "ring", "ringing ears", and "ringing in my/Cochone's ears" as tinnitis. All music genres are in Workstation. Being-researched is a thing that varies. Current music is initially classic. Song cue is initially 0. Investigation is a scene. Investigation begins when Workstation does not contain a candidate song. Investigation ends when the Workstation does not contain the player. When Investigation begins: now the time of day is 11:30 am; [We never state this time during the game, but we do use it for timed events, and a time just before lunch seems like a more appropriate starting point than is 9:00 am for this situation.] Jenny inquires about the case at 11:34 am. Section - Prologue Rules After reading a command when the location contains a candidate song and the player's command matches "[a number]" and (the number understood is less than one or the number understood is greater than eight): say "Cochone refocuses his eyes on the screen, and the lines of text resolve into eight songs. [lb]"; reject the player's command. After reading a command when the player's command does not match "[a candidate song]" and location contains a candidate song: if the accessible text of the player's command matches the regular expression "^\d\s" begin; say "Cochone's vision blurs, and he can't be sure that he hasn't mismatched the numbers and songs they represent. He blinks and looks again. [pb]'C'mon, please?' Jenny says. [pb]"; try looking; reject the player's command; end if; if the player's command includes "pick/choose/select/click", cut the matched text; unless the player's command matches "[a number]" or player is queried or the player's command matches "x/examine [a person]" or the player's command matches "listen to [a number]" or the player's command matches "listen to [a candidate song]" or the player's command matches "cover/look/listen/wait/z/quit/restart/restore" begin; unless player is dismissive begin; if the accessible text of the player's command matches the regular expression "^y$|^yes$|^(say yes)$" begin; say "'Gotcha the first time,' Jenny says. "; otherwise; say "'We agreed that we can't start without music,' Jenny says. [pb][i]Well, maybe you can't,[/i] Cochone thinks. [pb]"; end if; now the player is dismissive; end unless; say "'Just pick one.' [pb]"; reject the player's command; end unless. Check examining a candidate song: now every candidate song is off-stage. Carry out examining sfa: if the player is dismissive, rule succeeds. After examining a candidate song when the noun is either Jacques or Powell: say "'I'm sure you'll also appreciate [i]The Animals,[/i] so we'll add lots of them. But we need newer stuff, too. An equal measure of solid gold music from [i]The Golden Filter[/i] is called for. [rpo]"; continue the action. After examining a candidate song when the noun is either Burton or Filter: say "'I think we should also add something a little different. There's a reason I included ['][Jacques]['] and ['][Powell].['] You'll like them, I'm sure.' [rpo]"; continue the action. After examining a not favored candidate song: say "Jenny turns the laptop back to face her. 'Let's see. I'm sure you like [i]The Animals,[/i] so we'll add lots of them. We also need something modern.' She considers. 'We'll take solid gold synth from [i]The Golden Filter[/i]. And a little French culture wouldn't hurt. Jacques Dutronc. And to help lighten the mood , we'll add [']Hot Dog.['] [rpo]"; continue the action. After examining a candidate song: say "She taps some keys on the laptop, and "; if player is not dismissive begin; say "'[short-name of noun][unless noun is Burton],[end unless]'[unless noun is Burton] presumably,[end unless]"; otherwise; say "music"; end if; say " begins to play. She nods at the computer behind Cochone. 'Let's get to work. Open the [fiction title] program.' [pb]Cochone clicks on the icon, and [fiction title] loads the footage from the crime scene: [pb]"; carry out the printing the banner text activity; try looking. Chapter - Characters and Rooms Workstation and Office are rooms. Stephen Cochone is a man in Workstation. Understand "detective", "cop", "Detective Steve/stephen/steven", "Steve/steven/stephen", "Steve/steven/stephen Cochone/cochon", "cochon/cochone", "Mr piggy/pigy/piggie/pigie", "piggy/pigy/piggie/pigie", and "pig" as Stephen Cochone. The printed name of Cochone is "Cochone". The player is Cochone. Cochone can be distracted. Cochone can be aware of different chains. Cochone can be vigilant of footage. Cochone can be remembering search. Cochone can be listening to the Who. Cochone is either considerate, reconsiderate, dismissive, or hesitant. Cochone is considerate. Cochone can be awaiting information. Cochone can be scoreboard watching. Cochone can be queried. Cochone can be discussing wieners. Cochone is either waiting for lunch, thinking about lunch, having hot dogs, skipping lunch, or satiated. Cochone is thinking about lunch. Jennifer Lincks is a woman in Workstation. Understand "coworker", "Jenny Lincks", "friend", "lady gaga", "gaga", "partner", "programmer", "teacher", "teach", "Marie", "Curie", "Marie Curie", and "tutor" as Jennifer. The printed name of Jennifer is "Jenny". Jennifer can be explaining the manual. Jennifer can be having lunch. Nigel Jayne is a man. He is in Office. Nigel can be waiting for lunch request. Cochone wears the stain. Understand "coffee", "coffee stain", "coffee crotch", and "crotch" as the stain. The description of the stain is "[i]Instead of smearing that cat all over the road this morning,[/i] Cochone thinks, [i]I spill my coffee.[/i] [lb]". The description of Cochone is "Stephen Cochone scrambled out of bed this morning and rushed to the toilet to vomit. That was fortunate; he slept through the alarm, but he still had time for a quick shower and a splash of cologne. He was going to work with a young woman today, after all. If it wasn't for Jenny, he would have probably called in sick. His queasy stomach has settled, but his head pounds, and he has difficulty focusing his itchy eyes. [pb]Mornings like these were supposed to have ended when he had graduated from college and swore off the booze. That was the year his father, a vice cop, drove head-on into a truck, killing himself and his wife, Stephen's mother. They had just stumbled away from their wedding anniversary celebration at the bar where, twenty years previous, Stephen's father had stuffed dollar bills in his future wife's g-string. Perhaps alcohol abstinence has prevented some of the physical decline associated with age and detective work in a large city; Stephen looks generally the same as he did during his college years, despite a few creases around the eyes and gray hairs that appeared during and after the divorce, when his ex decided to take his daughters to New York with her.". The description of Workstation is "[first time][b]case AU1319602014[/b][only] [pb][b]Sequence:[/b] [sequence listing][pb][b]Tracks (CP = cell phone; SR = sound recorder; BR = video recorder):[/b] [lb] [track listing][pb][b]Common Commands:[/b] CUT [bracket]a track[close bracket] | OPEN [bracket]a slot[close bracket] | PLAY [bracket]a track[close bracket] or SEQUENCE or PLAYLIST | PUT [bracket]a track[close bracket] IN [bracket]a slot or playlist[close bracket] | PUT [bracket]a track[close bracket] AFTER or BEHIND [bracket]a slot or track[close bracket] | SWITCH [bracket]a track[close bracket] WITH [bracket]a track[close bracket] | HELP (for a full list of commands) | HINT (for Jenny's advice) | LOOK or L (to refresh the screen)[pb]Your playlist[if favorites list is {}] is empty. [otherwise]: [play listing][end if][one of][or][lb][stopping]". Jennifer wears the dogs and a bracelet. Understand "dog bracelet", "dogs bracelet", "dog jewelry", "silver dog/dogs", "silver bracelet" and "jewelry" as the bracelet. Understand "great dane", "dane", "great danes", "danes", "chas", "chaz", "chazz", "dog", "puppy", and "puppies" as dogs. Does the player mean doing something with the frankfurters: if eating, it is very likely; if examining and Cochone is having hot dogs, it is very likely; it is very unlikely. The description of Jennifer is "[if location contains a candidate song]Jenny cradles her laptop on her legs, a silver bracelet hanging from one wrist[otherwise]Cochone glances at Jenny. Her fingers dance over the laptop, her bracelet jiggling around one wrist[end if] [if Jennifer is having lunch]. Her lunch, a bagel, is sitting on the desk behind her[end if]. Her cane leans against the wall and next to the window, which looks out into the quiet hallway. [pb]Jenny is stuck in a wheelchair that is a bit too small for her lanky body. Cochone has pieced together parts of her story from gossip and hearsay. She hasn't always needed the wheels and cane. She had walked the beat when she joined the force, but her career path had veered off course after her drunken boyfriend found her in his house with another guy. His response was bone shattering. Jenny was smart enough to leave Mr. Fists and join the IT department, advancing it into the 21st century with innovation that would make NASA envious. [pb]Cochone thinks that Jenny doesn't look like a computer geek. She is slim, and she wears a stylish sleeveless shirt and skirt, which shows off most of her tanned legs. Her hair also exudes fashion and flash: long, copper, and curled at the bottom. And there's her rack, too. But she isn't pretty. Her facial features are pinched, and her lips are reddened to a shade that even vice cops would consider excessive." The Workstation contains Happy Jack, the case, the cane, the computer, the frankfurters, the footage, the internet, Kiku, Marco, the notebook, playlist, the radio, and the Sequence. Understand "graduation gift", "gift", "present", "graduation present", "Jack", "birthday bear", "birthday hat", "cymbal", "cymbals", "dancing bear" and "toy bear" as Happy Jack. The description of Happy Jack is "Happy Jack is a fat brown bear with a colorful pointed cap on his head. He threatens Cochone with a glassy stare and the two cymbals strapped to his paws.[first time] [i]Why couldn't he have a squeeze box?[/i] Cochone thinks. [i]A really quiet one.[/i][only]". Understand "case AU1319602014" and "AU1319602014" as the case. Understand "monitor", "program", "screen", "sequitur", "sequitur program/software", and "software" as the computer. Understand "eric", "erik", "mr fists", "husband", "boyfriend", "ex boyfriend", "ex-boyfriend", "chair", "wheelchair", and "wheels" as the cane. Understand "evidence", "recording", "recordings", and "track" as the footage. The footage can be intractable. The footage is intractable. Understand "facebook", "Google", "search engine", "web", "wikipedia", and "yahoo" as the internet. Does the player mean consulting the internet about text: it is very likely. Does the player mean doing something to the internet: if stalling, it is very likely; it is unlikely. Understand "casebook", "notepad", "notes", and "note" as the notebook. The notebook can be noted upon. The notebook has an external file called text file. The file of Player's Observations is called "notebook". The text file of the notebook is the file of Player's Observations. Playlist is a container. Understand "my", "Cochone's", "Stephen's", "Steve's", and "detective's" as "[sc]". Understand "[sc] playlist", "[sc] favorites/favourites", "favorites", "favourites", "[sc] music", and "music list" as playlist. The printed name of playlist is "your playlist". The playlist can be intractable. The playlist is intractable. Understand "ipod", "itunes", "laptop", "music" and "song" as radio. Understand "chains", "chain", "cd", "movie", "position", "positions", "sequences", "slots", and "slot" as the sequence. The Sequence can be intractable. The Sequence is intractable. The playlist, the sequence, and the footage are on-screen. The summary is a device in Workstation. Understand "short description", "short descriptions", "abstract", "abstracts", and "summaries" as the summary. A destination is a kind of thing. the church, the hospital, the house, the prison, the injured squirrel, and the water are destinations. All destinations are in Workstation. Understand "Saint Maria's/Maria", "St Maria's/Maria", "Saint Maria's/Maria church", and "st maria's/Maria church" as church. Understand "mont", "mont helene's/helene", "mont helene's/helene hospital", "mont hospital", "helene hospital", and "helene's hospital" as the hospital. Understand "house of the rising sun", "rising sun", "brothel", "whorehouse", "mansion", "lab", "kiku's house", and "laboratory" as house. Understand "jail", "Sangoro prison/jail", "correctional facility", and "sangoro" as prison. Understand "leaf", "leaves", "bird", "birdbath", "bath", "ash trees", "ash", "tree", and "bird bath" as water. Understand "squirrel", "squirrel with bum leg", "disabled/handicapped squirrel", and "hurt squirrel" as injured squirrel. Does the player mean discussing water with someone when Time Lapse is examined or Backyard is examined: it is very likely. There is the band and the cream cheese bagel. Frankfurters and bagel are fixed in place and edible. Bites remaining is initially eight. Hot dog length is initially eight. Understand "cola", "coke", "pop", "dogs", "dog", "mustard", "pickle", "pickles", "relish", "chien chaud", "frank", "franks", "frankfurter", "hot dog", "hot dogs", "sausages", "wiener", and "wieners" as frankfurters. Understand "chien chaud" as the frankfurters when the location does not contain the band. The description of frankfurters is "[if Cochone is satiated]Nothing left of the hot dogs but dirty napkins and mustard-soaked wrappers[otherwise if Cochone is having hot dogs]The fat wieners are slathered in mustard, with long pickle slices nestled in the relish. Cochone washes down each bite with a swig from the cola can[otherwise if Cochone is waiting for lunch][i]Nigel shouldn't be too long with those hot dogs,[/i] Cochone thinks[otherwise]Cochone hasn't eaten yet today, and two fat hot dogs sound good for lunch[end if]." Understand "artists", "Chien chaud", "chat froid", "chien", "chaud", "chat", and "froid" as the band. The printed name of the band is "Chien Chaud Chat Froid". The band can be researched. The description of the band is "Formed in 2009, Chien Chaud Chat Froid, [mdash] literally 'Dog Hot, Cat Cold' [mdash] has drawn from other bands like Dresden Dolls, LCD Soundsystem, Sleigh Bells, The Golden Filter, and Heart to produce an alternative dance sound all their own, with a nod to the blues-drenched soul of its New Orleans roots. Chien consists of three University of New Orleans graduates: Neo (vocals, guitar, percussion), Xeno (vocals, guitar), and Argo (keyboard, percussion). They released their first studio-produced album, [i]Iridium Kills,[/i] in 2012, which features the singles 'Lead Pipe' and a cover of Sweet's 'Love is Like Oxygen.' A second album, [i]White Phosphorous[/i] is scheduled for release in October. It features the single 'Nitro,' which is available from the band's website as a free download. The trio is currently producing a short movie to accompany their sophomore release. [pb]Chien Chaud Chat Froid live shows are raucous, flashy affairs with extravagant lighting and costumes ... ". Understand "bottled water", "bottle", "jalepeno", "peppers", "jalepeno pepper/peppers", "water", "water bottle", and "bottle of water" as bagel. The description of the bagel is "A layer of cream cheese spotted with jalepeno peppers covers each half of the bagel. The water must be used to put the fire out.". Understand "asian", "asian girl", "girl", and "japanese girl" as Kiku. Does the player mean researching with something about Kiku: it is very likely. Understand "Marko" as Marco. Understand "Marco Narbudada" and "Narbudada" as Marco when the item described is researched. Marco can be unassociated with prison. Marco can be researched. The description of Marco is "From Marco's mugshot, it appears as though his family probably mixed with a Caucasian somewhere in his past. He has an aquiline nose that matches his predatory, hawkish stare. He spent ten years in prison, between 1985 and 1995, for robbery. He is on the terrorist watchlist for his connections with the Tunisian terrorist group Ansar al-Sharia.". Does the player mean researching with something about Marco: it is very likely. Section - The Subjects A subject is a kind of person. Argo, Neo, Nickell, Salt, and Xeno are subjects. A subject is either researchable or unresearchable. A subject is usually unresearchable. A subject can be researched. All subjects are in Workstation. A subject has some text called pseudonym. The pseudonym of Argo is "Shrapnel". The pseudonym of Neo is "Blue". The pseudonym of Nickell is "Pink". The pseudonym of Salt is "Veggie". The pseudonym of Xeno is "Foxy". Neo and Xeno are female. A subject has some text called feature. The feature of Argo is "with a face so full of metal piercings that he could have kissed a live grenade". The feature of Nickell is "wearing a Pink Floyd shirt". The feature of Neo is "with short blue hair". The feature of Salt is "with a 'Meat is Murder' t-shirt". The feature of Xeno is "with short gold hair and pointed features". A subject is either unidentified, pseudonymized, or identified. A subject is unidentified. Rule for printing the name of a subject (called target): if target is unidentified begin; say "[if capitalization is true]A[otherwise]a[end if][if target is Xeno]n[end if] "; if target is female begin; say "[if target is Xeno]attractive [end if]woman"; otherwise; say "man"; end if; say " [feature of target]"; if capitalization is true, now capitalization is false; now target is pseudonymized; otherwise; say "[if the target is identified][printed name of target][otherwise][pseudonym of target][end if]"; end if. Understand "shrapnel", "Sydney/Sidney", "patineau", and "sidney/sydney patineau" as Argo. The description of Argo is "With a keyboard at one hand and mouse at the other, Argo (Sidney Patineau) produces the funky electronic vibes of Chien Chaud Chat Froid and designs album artwork. He is also co-owner, with his brother, of the Metallic Ink tattoo and piercing shop in downtown New Orleans. Born November 1 1991 in New Orleans, he studied music and visual arts at university where he met Neo ... . In an accompanying photo, a blond-haired guy stares defiantly at the camera. He isn't punctured with the metal jewelry like he is in the video footage and, without it, He could pass for a high schooler.". Understand "blue", "Penelope/Penny/Penney", "gibson", and "Penelope/penny/penney gibson" as Neo. The description of Neo is "Neo (Penelope Gibson) grew up with a guitar in her arms and a microphone at her mouth. Born January 22 1991 in New Orleans and daughter of a Protestant minister father and librarian mother, she sang in her church choir before majoring in music at the University of New Orleans. While there, she met Sidney Patineau, and the two began performing on campus and at local bars under the name Chien Chaud Chat Froid. Neo is an active member of PETA ... . Cochone skips ahead to a photo of a girl with spikey, dark blue hair. Her wide eyes, accentuated with eyeliner, are cobalt blue. Her bulbous nose complements the quirky look which, Cochone admits to himself, works well for her.". Understand "foxy", "Veronica Cartwright", "veronica", and "cartwright" as Xeno. The description of Xeno is "Xeno (Veronica Cartwright), born June 11 1990, finished top of her class in high school before leaving her Baton Rouge home for New Orleans. At UNO, she majored in science and volunteered for the campus radio station, hosting a popular weekend show. She joined the band Chien Chaud Chat Froid after founding members Argo and Neo (at the time known as Sid and Penny) heard her performing in a club with her older sister, lead vocalist for the electropop group Fish Go Glub. She writes most of Chien's music ... . Cochone is drawn to an image of a woman with short gold hair and small features, her red lips parted in a smile and revealing bone-white teeth.". Understand "pink", "Jakob/Jacob" and "Jacob/Jakob Nickell" as Nickell. The description of Nickell is "Along with his wife, Sandra, Jakob Nickell (born May 11 1981) runs the [i]Spydersound[/i] music studio in New Orleans. Both having degrees in audio production, They have produced albums for local jazz and blues musicians, and Sandra has recorded two of her own. More recently, they have expanded into radio and television, with some of their work being broadcast nationally. [i]Spydersound[/i] is a state-of-the-art music studio with over five years of experience ... . Cochone glances at Nickell's photo. Nickell is a tall skinny guy with lots of black hair and big ears. [i]Or maybe I'm imagining the Dumbo-look,[/i] Cochone thinks.". Understand "veggie", "veggy", "Dylan" and "dylan salt" as Salt. The description of Salt is "Dylan Salt, born December 3 1982 in New York, studied film in college and has gone on to direct and produce music videos for bands such as Carbonites and The Bunch of Turkeys, including three songs from their gold-certified album [i]A Through Z.[/i] He has also directed commercials for Nike and many others. 'Francis Ford Coppola really got it right in the seventies,' he said in a recent interview. 'Not just [i]The Godfather,[/i] though. He really captured the paranoia of the decade in [i]The Conversation.[/i]' He also cites David Fincher as a major influence ... . A photo of Salt shows a brown-haired guy winking at the camera. His shirt reads 'Strangeways, Here We Come.'". Section - The Tracks A track is a kind of thing that is fixed in place and on-screen. A track is either A-side or B-side. A track is usually A-side. Substitution track is initially zero. [Substitution track is used to represent the track specified in the inserting tracks relatively action, which handles three nouns by storing the third in this variable.] A track has some text called label. The label of a track is usually "". Understand the label property as describing a track. Being-labelled is a track that varies. Being-summarized is a track that varies. A track has some text called short-description. The short-description of a track is usually "". A track has a replacer. The replacer of a track is always trak. Understand the replacer property as referring to a track. A track has a number called number-name. Understand the number-name property as describing a track. Some tracks in the Workstation are Defined by the Table of Album Tracks. Understand the source property as describing a track. Understand the duration property as describing a track. Track list is a list of tracks that varies. Primary chain is a list of tracks that varies. Secondary chain is a list of tracks that varies. Intellectual links is a list of tracks that varies. [These are tracks that the player has established as linked.] Favorites list is a list of tracks that varies. The favorites list is {}. A track can be explained. [These have been linked to the appropriate track but, because some tracks are continuous, simply being linked isn't always enough to be explained.] A track can be story-important. A track is usually story-important. [These are part of the long chain] A track can be continuous. [Continuous tracks are run through the "recalling a link" activity when a third relevant track has been placed in the Sequence. For other tracks, just linking two tracks is enough to tell the player that a link has been made. Part of the rationale for this is to discourage players from simply placing tracks mindlessly until notified that a link has been made.] Placeholder is a privately-named thing in Workstation. The printed name of pllaceholder is "empty". Rule for printing the name of a track (called target) while asking which do you mean: say "Track [number-name of target], [printed name of target]". Rule for printing the name of a track (called target): unless unquoting is true, say "'"; say appropriate name for target; if unquoting is true and stripping tag info is false, say " ([source of target]; [duration of target])"; unless unquoting is true, say "'". Does the player mean doing something with a track: if conversing, it is unlikely; if researching with something about, it is unlikely; it is likely. [The rule below is useful when the player refers to Track 1 and the I6 parser is running multiple actions (e.g., the player has typed "put 2, 5, 1 in playlist."] Does the player mean doing something with a numero uno thing: if stalling, it is very unlikely; it is very likely. [We need these because the DTPM rules need to be specific for second nouns.] Does the player mean exchanging something for a track: it is very likely. Does the player mean excising something from a track: it is very likely. Does the player mean excising something through a track: it is very likely. Does the player mean inserting something relatively left of a track: it is very likely. Does the player mean inserting something relatively right of a track: it is very likely. Does the player mean inserting something to a track: it is very likely. Does the player mean playing something through a track: it is very likely. Does the player mean reversing something through a track: it is very likely. [The order we list the tracks is important. They should be listed in sequence because the track list variable is randomized, and this way we can still make a list of tracks in order.] Table of Album Tracks Track Source (text) Duration Backyard "CP1" 04:25 Dead Animals "CP1" 03:12 Time Lapse "VR2" 120:00 Sound Test "SR" 00:21 Squirrel Trap "CP2" 06:11 Kitchen "VR1" 05:22 Diary "VR1" 00:30 Chrysanthemum "CP2" 04:01 Locked-door "CP1" 03:52 Google "CP3" 00:00 Basement "VR1" 07:33 Motorboat "SR" 120:00 Fight "CP2" 07:46 Escape "CP1" 08:02 Torching "CP2" 00:17 Backyard, Dead Animals, Time Lapse, Kitchen, Diary, Chrysanthemum, Fight, Escape, and Torching are continuous. The printed name of Locked-door is "Locked Door". Section - Positions Position is a kind of container that is fixed in place, transparent, and on-screen. A-slot, B, C, D, E, F, G, H, I, and J are positions. The printed name of A-slot is "A". [We need to use a-slot because the source won't accept "A" as a name of a thing.] Understand "a slot/position", "a", "1st", and "first" as a-slot. Understand "v slot/position", "2nd" and "second" as B. Understand "c slot/position", "3rd" and "third" as C. Understand "d slot/position", "4th" and "fourth" as D. Understand "e slot/position", "5th" and "fifth" as E. Understand "f slot/position", "6th" and "sixth" as F. Understand "g slot/position", "7th" and "seventh" as G. Understand "h slot/position", "8th" and "eighth" as H. Understand "i slot/position", "9th" and "ninth" as I. Understand "j slot/position", "10th" and "tenth" as J. Substitution slot is a thing that varies. [We set this to placeholder in some cases, so it can't always be a position. It is used for inserting relatively actions that need a third noun substitution.] A position has a replacer. The replacer of a position is always groove. Understand the replacer property as referring to a position. A position has a number called number-name. All positions are in Workstation. Position list is a list of things that varies. Chapter - Definitions and Relations Definition: a thing is involved if the current action involves it and it is not the player. Definition: a thing (called target) is numero uno if target is a track and the number-name of target is one. [We need this because the game doesn't recognize "1" as the first track when it is the noun in actions with two tokens.] Definition: a thing is positioned rather than unpositioned if it is in a position. Definition: a container is empty rather than full if it does not contain a track. Linkage relates one track to one track. The verb to link means the linkage relation. [A track links to another when one follows the other and they are next to each other in the Sequence, but they are still considered "linked" when they are removed.] Matchup relates one team to another. The verb to play means the matchup relation. Replication relates various tracks to each other. The verb to replicate means the replication relation. [Replicated tracks have common things within them, such as a person, chair, or table. We want to use different indicators of these when the player has seen them already in another track. For instance, seeing a chair in, say, track three will print "a chair," but seeing the same chair again in track fifteen will print "the chair."] Reincarnation relates various tracks to various subjects. The verb to record means the reincarnation relation. [We use this to relate a track to the people that are featured in it. Unlike the "revelation" relation, this one is used even if only a name is mentioned in the track.] Revelation relates various tracks to various subjects. The verb to reveal means the revelation relation. [A track reveals a subject when it describes a person and identifies him or her by name.] Book - phrases and Solitary Rules Chapter - Deciding [This is handy for converting snippets into text in reading a command rules.] To decide which text is the/-- accessible text of the/-- (converted - a snippet): let t be text; let t be converted; decide on converted. To decide what action name is the action-to-be: (- action_to_be -). To skip upcoming rulebook break: (- say__PC = say__PC | PARA_NORULEBOOKBREAKS; -). To really decide on nothing: (- return nothing; -). To decide which position is the last slot of the sequence: let holding be the list of positions; decide on entry (number of positions) in holding. To decide whether the (snatched - a snippet) is Cochone-related: if snatched matches "wait/z", yes; if the accessible text of snatched matches the regular expression "^consult|^listen|^(look up)|^research|^eat\b|^talk\b|tell\b|^ask\b", yes; if the accessible text of snatched matches the regular expression "(?i)^jenny|^jennifer|^kiss", yes; no. [Regular expressions can't be too long, so sometimes they need to be broken up.] To decide whether (target - a number) slots is/are available starting at (starter - a number): if target is greater than positions-plus minus starter, decide no; repeat with counter running from starter to starter plus (target minus one) begin; if entry counter in position list is not placeholder, decide no; end repeat; decide yes. To decide if the short chain has interrupting placeholders: let holding be position list; remove placeholder from holding, if present; if secondary chain is holding begin; repeat with counter running from one to the number of entries in secondary chain minus one begin; if entry counter in secondary chain is properly positioned beside entry (counter plus one) in secondary chain, next; decide yes; end repeat; end if; no. To decide if (starter - a thing) and (ender - a thing) are intellectually connected: now intellectual links is {}; if starter is a full position, now starter is a random track which is in the noun; if ender is a full position, now ender is a random track which is in the second noun; if (starter is story-important and ender is story-important) or (starter is not story-important and ender is not story-important) begin; let trackers be primary chain; if starter is not story-important, let trackers be secondary chain; let starter number be position number of starter among trackers; let ender number be position number of ender among trackers; if starter number is greater than ender number begin; let temp be starter number; now starter number is ender number; now ender number is temp; end if; repeat with selection running through trackers begin; if position number of selection among trackers is within starter number and ender number begin; if (intellectual links is {} and selection links an explained track) or (intellectual links is not {} and selection is explained), add selection to intellectual links; end if; end repeat; let difference be ender number minus starter number; if the number of entries in intellectual links is (difference plus one), decide yes; end if; decide no. To decide if (first track - a thing) is properly positioned beside (second track - a thing): if (first track is a positioned story-important track and second track is a positioned story-important track) or (first track is a positioned not story-important track and second track is a positioned not story-important track) begin; let originator be primary chain; if first track is not story-important, now originator is secondary chain; if (position number of first track among originator is position number of second track among originator minus one) and (the number-name of the holder of first track is number-name of holder of second track minus one), decide yes; end if; no. To decide if (candidate - a number) is within (minimum - a number) and (maximum - a number): if candidate is minimum or candidate is maximum, yes; if candidate is greater than minimum and candidate is less than maximum, yes; no. To decide which list of numbers is the numbered track list for (transformers - a list of things): let resultants be a list of numbers; repeat with selection running through transformers begin; unless selection is placeholder, add number-name of selection to resultants; end repeat; decide on resultants. To decide which number is the position number of (signal - a track) among (noise - list of things): let assignment be one; repeat with selection running through noise begin; if selection is signal,break; increment assignment; end repeat; decide on assignment. To decide which number is positions-plus: decide on number of positions plus one. To decide which list of things is the connected links for (targets - a list of things) starting at (starter - a number): let reminders be a list of things; if entry starter in targets links a track begin; repeat with counter running from starter to the number of entries in targets begin; let candidate be entry counter in targets; if counter is not the number of entries in targets and candidate links an explained track begin; add candidate to reminders; otherwise; unless reminders is {} begin; add candidate to reminders; break; end unless; end if; end repeat; end if; decide on reminders. To decide which number is the/-- nearest empty slot for the/-- (candidates - a list of things) starting at slot (anchor - a number): now removal point is zero; repeat with counter running from one to the number of entries in candidates begin; let target be anchor plus counter; if target is less than (number of entries in candidates plus one) and entry target in candidates is placeholder begin; now removal point is target; break; end if; now target is anchor minus counter; if target is greater than zero and entry target in candidates is placeholder begin; now removal point is target; break; end if; end repeat; decide on removal point. Chapter - Saying [We need to keep in mind that these substitutions don't produce line breaks when placed next to a period.] To say i -- beginning say_i -- running on: (- style underline; -). To say /i -- ending say_i -- running on: (- style roman; -). To say b -- beginning say_b -- running on: (- style bold; -). To say /b -- ending say_b -- running on: (- style roman; -). To say fiction title: say "[i][story title][/i]". To say mdash: say unicode 8212. To say lb: say line break. To say pb: say paragraph break. To say rpo: Say run paragraph on. To say appropriate name for (item - a thing): if the label of the item is "", say "[printed name of item]"; otherwise say "[label of item]". To say relay an empty (target - a thing): say "[if target is playlist]Your playlist[otherwise][The target][end if] [are] empty.". To say seq: unless already speaking is true begin; say "*** [i]Sequitur[/i] is working ... "; now already speaking is true; end unless. To say end seq: say "*** [lb]"; now already speaking is false. To say sequence listing: now unquoting is true; if every position is empty, say "The Sequence (slots A to J) is empty. "; if exactly one track is positioned, say "[random full position]: [number-name of a random positioned track]. [random positioned track] "; if exactly two tracks are positioned begin; let holding be the list of full positions; let target be entry one in holding; let second target be entry two in holding; now target is a random track which is in target; now second target is a random track which is in second target; say "Slot [holder of target] has Track [number-name of target], [target], and Slot [holder of second target] has Track [number-name of second target], [second target]. The remaining slots are empty. "; end if; if the number of full positions is greater than two begin; repeat with slot running through positions begin; say "[if slot is E or slot is I][lb][end if][slot]: "; say "[slotted in (slot)] "; end repeat; end if; now unquoting is true. To say slotted in (chosen - a position): let target be placeholder; if chosen is full, now target is a random track which is in chosen; say "[if chosen is full][number-name of target]. [target] [otherwise]empty[end if]". To say track listing: now unquoting is true; let holding be a list of objects; unless examining begin; repeat with selection running through track list begin; if selection is unpositioned, add selection to holding; end repeat; otherwise; now holding is track list; end unless; let counter be one; repeat with selection running through holding begin; say "[if counter is five or counter is 9 or counter is 13][lb][otherwise] [end if][number-name of selection]. [selection] "; increment counter; end repeat; now unquoting is false. To say play listing: repeat with selection running through favorites list begin; say "[number-name of selection]. [appropriate name for (selection)] "; end repeat. Interjection needed is initially false. [We can't use the "if interjection needed is true" state here (i.e., we need to specify this before calling the phrase), because once this phrase is called a line break is produced.] To say interjection: say "[one of]'So the guy shows me his ID,' some guy says from outside the office. 'And it was true. His name really was Baba O'Riley.' His partner laughs[or][one of]A couple of cops walk down the hall, chatting[or]A door bangs closed[or]Some men laugh from down the hall[or]A woman answers a phone[or]Phones ring from outside Jenny's office[purely at random][stopping]."; now interjection needed is false. [Interjections are useful when we aren't sure if a paragraph should continuen on or not, but Inform will insert a paragraph break all the time. The interjection introduces an unrelated action - usually something happening outside the office - justifies this break. The truth state is used to prevent two interjections from being printed consecutively.] To say correct article for (target - a thing): say "[if (target replicates a track and one track which replicates target is examined) or target is examined]the[otherwise]a[end if] ". To say cap-it: now capitalization is true. Section - Action Phrases To build a/-- list for (starter - a number) to (ender - a number) from (target - a list of things): let temp be zero; if starter is greater than ender begin; now temp is starter; now starter is ender; now ender is temp; end if; repeat with counter running from starter to ender begin; unless entry counter in target is placeholder, add entry counter in target to temporary playlist; end repeat; unless temp is zero, reverse temporary playlist. To fill (starter - a number) to (ender - a number) with blanks: repeat with counter running from starter to ender begin; now entry counter in position list is placeholder; end repeat. To recount (target - a list of objects): now unquoting is true; say seq; repeat with selection running through target begin; say "[number-name of selection]: [appropriate name for selection] "; end repeat; say "[pb][end seq] [lb]"; now unquoting is false. To switch (first item - a thing) for (second item - a thing): let temp be the first item; now the noun is the second item; now the second noun is temp. [We can't use the "the list of ... " phrase, because we want to place the comma inside the quotation marks when printing the name of the track.] To watch for (tracker - a list of things): let counter be one; let ander be the number of entries in tracker minus one; repeat with selection running through tracker begin; say " '[appropriate name for (selection)][unless counter is the number of entries in tracker],'[end unless]"; if counter is ander, say " and"; increment counter; end repeat; say ".'[roman type] [lb]". Section - Image Centering Replacement Table of User Styles (continued) style name Justification special-style-1 center-justified To display (chosen figure - a figure-name) centered: say "[first custom style]"; say " "; display chosen figure inline; say " [lb]"; say "[roman type]"; To display (chosen figure - a figure-name) inline: (- DrawInline({chosen figure}); -) Include (- [ DrawInline N; glk_image_draw(gg_mainwin, ResourceIDsOfFigures-->N, imagealign_InlineUp, 0); ]; -) Chapter - Solitary Rules This is the play the music rule: repeat with selection running through temporary playlist begin; let target be selection; if selection is a position, now target is a random track which is in selection; try examining target; unless the number of entries in temporary playlist is one or entry (number of entries in temporary playlist) in temporary playlist is selection begin; say "Press a key to continue."; wait for any key; end unless; end repeat; now temporary playlist is {}. This is the put tracks in positions rule: truncate position list to ten entries; [This is a safety net; hopefully it will never happen.] if the number of entries in position list is less than ten begin; [This is a safety net; hopefully it will never happen.] let target be the number of entries in position list plus one; extend position list to ten entries; fill target to ten with blanks; end if; let placement be the list of positions; repeat with selection running through position list begin; unless selection is placeholder, now entry one in placement contains the selection; remove entry one from placement; end repeat; repeat with selection running through positioned tracks begin; unless selection is listed in position list, move selection to location; end repeat. This is the crediting rule: say "[fiction title] is a product of Tin Foil Jenny Technology. Nigel Jayne supervised the production team, and Jennifer Lincks developed the software, with help from Inform 7 extensions written by Eric Eve, Stephen Granade, Massimo Stella, Erik Temple, and Emily Short. Chris Elkjar designed and created the cover art. The song 'The Heckler' is by While Whales Sleep ([fixed letter spacing]http://whilewhalessleep.bandcamp.com/releases[variable letter spacing]) and used with permission. Sound effects were by soundbytez and downloaded from Freesound.org ([fixed letter spacing]http://www.freesound.org/people/soundbytez/[variable letter spacing]). Stephen Cochone, Gráinne Ryan, Caelyn Sandel, Sean M. Shore, Lucian Smith, and Carolyn VanEseltine conducted beta testing. Tin Foil Jenny thanks everyone for their critiques and suggestions. Your comments and transcripts are welcome, too. Send them to Nigel, nigelsjayne@gmail.com. The latest versions of all of Nigel's interactive fiction, along with source codes, are available at [fixed letter spacing]http://www.nigeljayne.ca[variable letter spacing][unless the story has ended finally]. For more about Nigel Jayne, type AUTHOR[end unless]. The program was implemented using Inform 7 ([fixed letter spacing]http://inform7.com/[variable letter spacing]), created by Graham Nelson with help from Emily Short and many others[if the story has ended finally]. [pb][description of about author] [pb][otherwise]. [end if] [pb][fiction title] was entered in the 2014 ShuffleComp, a competition for interactive fiction in which entrants were given a list of eight songs and asked to create a game inspired by at least one of them. It begins with Tin Foil Jenny, who was the pseudonymous author of the original game, offering the protagonist an opportunity to choose a song from the eight I received in my playlist.". Book - Activities and Rulebooks Chapter - Activities from Standard Rules Rule for printing the banner text: if location does not contain a candidate song begin; unless Office contains player, say "[seq][lb]"; say "[b][story title][/b] Version [release number] by Tin Foil Jenny Technology with the assistance of Nigel Jayne. [lb][story headline]. Copyright [unicode 169] [story creation year] by [story author]. LICENSE shows copyright information. [lb]All rights reserved. Serial number [story serial number] / Inform 7 build [I7 version number][lb]COVER shows the cover art, with text description, by Chris Elkjar."; end if. After deciding the scope of the player during Investigation: place Nigel in scope; say rpo. Before reading a command when turn count is 45, now Jennifer is not having lunch. Before reading a command when player is not queried during Investigation: if (bites remaining is hot dog length) and ((the turn count is less than 35 and turn count is greater than ten and a random chance of 1 in 12 succeeds) or (the turn count is greater than 35 and the turn count is less than 60 and a random chance of 1 in 8 succeeds) or (the turn count is greater than 60 and a random chance of 1 in 5 succeeds)) begin; say "[if interjection needed is true][interjection] [lb][end if]Cochone [one of]blinks his itchy eyes[or]sniffs, then rubs his eyes[or]coughs[or]wipes his damp forehead[or]sighs and breathes deeply. He seems a bit out of breath[or]hears ringing in his ears[or]shifts in his seat to relieve his aching legs[or]stretches his sore fingers[purely at random]"; say "[if Cochone is remembering search]. He [otherwise]. [lb]"; otherwise; if Cochone is remembering search, say "Cochone "; end if; if Cochone is remembering search begin; say "leans back. "; repeat with counter running from one to the number of rows in the Table of Memories begin; choose row counter in the Table of Memories; if there is a Memory Trigger entry and Memory Trigger entry is positioned begin; say "[memory entry] [lb]"; blank out the Memory Trigger entry; end if; end repeat; now Cochone is not remembering search; end if; now interjection needed is false. Before reading a command when already speaking is true, now already speaking is false. Table of Memories Memory Trigger Memory Basement "He remembers searching the basement, shifting some debris, and being choked by a puff of acrid smoke." Dead Animals "He remembers watching techs bagging the carcasses from the trees beside the house. [i]There was that residue around the vent beside the window.[/i] He also recalls gliding a finger through the glittering contamination on the pipe and choking on the acrid odor." Lunch request counter is initially zero. First after reading a command when the player is queried: if the accessible text of the player's command matches the regular expression "^n$|^answer no$", change the text of the player's command to "no"; if the player's command matches "anser yes", change the text of the player's command to "yes"; unless the player's command matches "listen/y/yes/no" or the accessible text of the player's command matches the regular expression "^(say yes)$|^(say no)$", case insensitively begin; if the location contains a candidate song begin; if player is considerate begin; say "Cochone rubs his eyes and sighs. [pb]Jenny jumps in before he can proceed. 'This is going to happen, Columbo, whether you want to participate or not. So, are you going to pick a song?'"; now player is hesitant; reject the player's command; end if; if the player is hesitant begin; say "'Oh, come on,' Jenny says. 'It's not like I am going to ask you to choose Eminem or Pitbull or anything like that.'"; now player is reconsiderate; reject the player's command; end if; if the player is reconsiderate begin; now the player is dismissive; change the text of the player's command to "no"; end if; otherwise; if lunch request counter is less than two begin; if the player's command includes "tell nigel/jayne/boss yes/no" begin; if the player's command includes "yes", change the text of the player's command to "yes"; if the player's command includes "no", change the text of the player's command to "no"; otherwise; say "'[one of]Let's keep it simple, Steve,' Nigel says. '[']Yes['] or [']no.[']'[or]Wrong answer. Try again.'[stopping] [lb]"; increment lunch request counter; reject the player's command; end if; otherwise; say "Nigel screws up his face. 'You okay?' [pb]'Yeah,' Cochone says. He considers his churlish stomach. [pb]'So ... the verdict?' [pb]"; change the text of the player's command to "no"; end if; end if; end unless. [This is necessary because "move" in grammar lines for insert doesn't work correctly in this source.] First after reading a command when the accessible text of the player's command matches the regular expression "^move\s" during Investigation: let t be text; let t be the accessible text of the player's command; replace the regular expression "^move" in t with "put"; change the text of the player's command to t. First after reading a command: remove stray punctuation. [This rule is actually listed first because Inform runs through rules that are listed first in reverse order as they are mentioned in the source text. When the compiler reaches a "First ... " rule, it ranks it first in the rulebook. When it encounters another, it then places the new "First ... " rule first in the rulebook, bumping the previous to second. This process repeats for every "First ... " rule as the compiler runs through the text.] After reading a command when the accessible text of the player's command matches the regular expression "\ball$|\ball\b" during Investigation: unless the player's command includes "click/pick/choose/select/play/p" or the player's command includes "click on" or the accessible text of the player's command matches the regular expression "^cut\b|^excise\b|^remove\b" begin; say "Cochone decides to try to focus his thoughts onto just one thing."; reject the player's command; end unless. After reading a command when the accessible text of the player's command matches the regular expression "^(add|put|insert|place)\s*" and the accessible text of the player's command matches the regular expression "between\s*" and the accessible text of the player's command matches the regular expression "and\s*" during Investigation: say "[seq] You can simply type the slot you want to put the track into, but you do need to specify the slot ('put three in c,' for example; 'between ... ' doesn't tell me exactly where to put the track). [pb] [seq]"; reject the player's command. [We use this to store a track or position into a variable and truncate the action when the action uses three nouns, e.g., inserting a track through a track into a slot.] Inserting group left is initially false. Inserting group right is initially false. [Matching the player's command with a string of text won't work with two tokens, e.g., "a track to the left of a track."] After reading a command when the accessible text of the player's command matches the regular expression "^(add|put|insert|place)\s*\s" and (the player's command includes " and " or the player's command includes "[a track] through/to/with " or the player's command includes "[a position] through/to/with " or the player's command includes "[a number] through/to/with ") during Investigation: ["and" signals the end of an action when combined with a token, e.g., "if the player's command includes " and" skips ahead to a parser error.] if the player's command includes "to/with/through [a track]" or the player's command includes "to/with/through [a number]" or the player's command includes "to/with/through [a position]" begin; let manipulated be the accessible text of the player's command; now substitution track is zero; now substitution slot is placeholder; if the player's command includes "[a number] in/to/-- the/-- after/ahead/forward/front/right after/of/--" or the player's command includes "[a thing] in/to/-- the/-- after/ahead/forward/front/right after/of/--", now inserting group right is true; if the player's command includes "[a number] in/to/-- the/-- behind/before/left of/--" or the player's command includes "[a thing] in/to/-- the/-- behind/before/left of/--", now inserting group left is true; if inserting group right is true or inserting group left is true or manipulated matches the regular expression "\s(in\s|into\s|on\s|onto\s)*" begin; replace the regular expression "^(add|insert|place|put)" in manipulated with "group"; if manipulated matches the regular expression "\s(1|one)$", now substitution track is 1; if manipulated matches the regular expression "\s(2|two)$", now substitution track is 2; if manipulated matches the regular expression "\s(3|three)$", now substitution track is 3; if manipulated matches the regular expression "\s(4|four)$", now substitution track is 4; if manipulated matches the regular expression "\s(5|five)$", now substitution track is 5; if manipulated matches the regular expression "\s(6|six)$", now substitution track is six; if manipulated matches the regular expression "\s(7|seven)$", now substitution track is 7; if manipulated matches the regular expression "\s(8|eight)$", now substitution track is 8; if manipulated matches the regular expression "\s(9|nine)$", now substitution track is 9; if manipulated matches the regular expression "\s(10|ten)$", now substitution track is 10; if manipulated matches the regular expression "\s(11|eleven)$", now substitution track is 11; if manipulated matches the regular expression "\s(12|twelve)$", now substitution track is 12; if manipulated matches the regular expression "\s(13|thirteen)$", now substitution track is 13; if manipulated matches the regular expression "\s(14|fourteen)$", now substitution track is 14; if manipulated matches the regular expression "\s(15|fifteen)$", now substitution track is 15; unless substitution track is 0 begin; replace word number (number of words in manipulated) in manipulated with ""; replace the regular expression "\s$" in manipulated with ""; otherwise; if manipulated matches the regular expression "\s\w$" begin; let t be a text; now t is "[character number (number of characters in manipulated) in manipulated in upper case]"; replace the regular expression "\s\w$" in manipulated with ""; repeat with substitutor running through positions begin; if the printed name of substitutor is t, now substitution slot is substitutor; end repeat; otherwise; say "[seq]You'll need to specify a slot letter to place them next to. [end seq] [lb]"; now inserting group left is false; now inserting group right is false; reject the player's command; end if; end unless; if substitution slot is a position or (substitution track is less than 16 or substitution track is greater than zero) begin; replace the regular expression "\s(after|(to the right of)|(to right of)|(right of)|(right after))\s*" in manipulated with ""; replace the regular expression "\s((in front of)|(ahead of)|(forward of))\s*" in manipulated with ""; replace the regular expression "\s(before|(to the left of)|(to left of)|(left of)|left|behind)\s*" in manipulated with ""; replace the regular expression "\s(in|into|on|onto)$" in manipulated with ""; replace the regular expression "\sand\s" in manipulated with " to "; change the text of the player's command to manipulated; otherwise; say "[seq] You'll need to use either a slot letter or track number with that command, e.g., 'put 1 to 3 after c.' [pb] [end seq]"; reject the player's command; end if; end if; end if. After reading a command when the player's command matches "random" during Investigation: change the text of the player's command to "play sequence randomly". After reading a command when the accessible text of the player's command matches the regular expression "slot\s\d$|position\s\d$" during Investigation: say "[seq] Slots are lettered A through J. [pb][end seq]"; reject the player's command. After reading a command during Investigation (this is the substitutions rule): if the accessible text of the player's command matches the regular expression "\bcp$|\bsr$|\bvr$|\bcp1$|\bcp2$|\bvr1$", case insensitively begin; say "[seq]Please be more specific about which of the tracks you want. [pb][end seq]"; reject the player's command; end if; let replaced be the accessible text of the player's command; [these will allow the player to type the specific slot by itself without trying the going action.] replace the regular expression "(?i)^d$" in replaced with "fourth"; replace the regular expression "(?i)^e$" in replaced with "fifth"; change the text of the player's command to "[replaced]"; replace the regular expression "(?i)\ba$" in replaced with "first"; change the text of the player's command to "[replaced]"; [We search for "and" when the action is exchanging, and replace it with "with.". we need to replace the conjunction because the parser assumes we want the switching action when "and" is used, and we therefore get a parser error.] let replaced be the accessible text of the player's command; if replaced matches the regular expression "^exchange\b|^switch\b|^reverse\b", case insensitively begin; replace the regular expression "\band\b" in replaced with " with "; change the text of the player's command to "[replaced]"; end if; let replaced be the accessible text of player's command; if replaced matches the regular expression "(?i)^jenny,.*squirrel$|^Jennifer,.*squirrel$" begin; replace the regular expression "squirrel" in replaced with "injured squirrel"; change the text of the player's command to replaced; end if; if the player's command includes "tracks", replace the matched text with "footage". [Tracks as a synonym for footage leads into disambiguation problems and failure.] [The parser recognizes "one a" as a command to examine a track in A slot instead of shorthand for inserting. This rule fixes that tendency.] After reading a command when the player's command matches "one/1 a": change the text of the player's command to "put one in a". The parser clarification internal rule response (B) is "[seq] Which do you mean, ". The parser clarification internal rule response (E) is "What do you want [if the noun is not the player][the noun] [end if]to [parser command so far]? [pb][end seq]". Before printing a parser error during Investigation: unless the player's command is Cochone-related, say "[seq]". First for printing a parser error when the player's command is Cochone-related: if the accessible text of the player's command matches the regular expression "^kiss", say "Cochone will only kiss women."; otherwise say "Cochone is momentarily confused and tries to think of something more appropriate.". Rule for printing a parser error when the latest parser error is the can't see whom to talk to error: say "Cochone doesn't see anyone of that name.". Rule for printing a parser error when the latest parser error is the only understood as far as error during Investigation: say "You don't need the second 'something' in that command.". Rule for printing a parser error when the latest parser error is the can't see any such thing error during Investigation: if the player's command includes "add/insert/place/put [something] with/and/through", say "You'll need to also specify a second track and where you want to put the tracks."; otherwise say "That isn't related to the [i]Sequitur[/i] program, or I haven't learned to recognize it.". Rule for printing a parser error when the latest parser error is the not a verb I recognise error during Investigation: if the player's command includes "[a number]" and the accessible text of the player's command matches the regular expression "^x\b|^examine\b|^play\b", say "There are only 15 tracks."; otherwise say "Type 'commands' to see a list of commands that I understand.". Rule for printing a parser error when the latest parser error is the can't use multiple objects error during Investigation: if the player's command includes "add/insert/place/put [something] with/through", say "You'll need to also specify a second track and where you want to put the tracks."; otherwise say "That command accepts only one noun.". Rule for printing a parser error when the latest parser error is can only use multiple objects error during Investigation: say "That command needs two nouns.". Rule for printing a parser error during Investigation: say "I'm sorry, but I didn't understand that.". Rule for printing a parser error when location contains a candidate song: say "Cochone sighs and decides to consider Jenny's proposal.". Rule for printing a parser error when Investigation has ended: say "Cochone rubs his eyes and tries to keep his mind from straying to far from the case.". After printing a parser error when already speaking is true: if the latest parser error is the I beg your pardon error, say "I haven't developed software that can read your mind, not yet anyway. So, please type something."; say "[lb][end seq]". [We need to put the I beg your pardon error here because, for some reason, it won't trigger as its own rule.] Before supplying a missing noun when Investigation is happening: unless stalling or the player's command matches the regular expression "(?i)^jenny|jennifer", say "[seq]". Before supplying a missing second noun during Investigation: unless stalling or the player's command matches the regular expression "(?i)^jenny|jennifer", say "[seq]". Rule for supplying a missing noun: unless already speaking is false or Investigation is not happening, say "Please supply a noun for that action. [lb]"; otherwise say "Cochone thinks about what he wants to do that to. [lb]". Rule for supplying a missing second noun: if (the player's command includes "look up" or the player's command includes "research") and the accessible text of the player's command matches the regular expression "^jenny|^jennifer", case insensitively begin; if noun is nothing begin; try talking about topic understood with Jennifer instead; otherwise; try researching with the internet about the noun instead; end if; end if; [The parser won't plug in a second noun when asking someone to try doing something.] unless already speaking is false or Investigation is not happening begin; say "Please supply a second noun for that action. [lb]"; otherwise; say "[i]How should I complete that?[/i] Cochone thinks. [lb]"; end unless. Before asking which do you mean during Investigation: unless the player's command is cochone-related,say "[seq]". After asking which do you mean during Investigation: unless the player's command is cochone-related, say "[end seq]". The parser clarification internal rule response (B) is "[unless the player's command is cochone-related]Which do you mean, [otherwise]Cochone wonders which one he wants, [end unless]". Rule for clarifying the parser's choice of something: stop. Rule for deciding whether all includes something (called target) while clicking: if target is a not on-screen thing, it does not; if target is a not intractable thing, it does not; if target is playlist, it does not; if two tracks are positioned begin; if target is footage, it does not; otherwise; if target is sequence, it does not; end if. Rule for constructing the status line when Investigation is happening or Investigation has ended: fill status bar with Table of Fancy Status; rule succeeds. Rule for constructing the status line: do nothing. Table of Fancy Status Left Central Right "" "[if Workstation contains player][fiction title][otherwise if the story has ended finally]Bonus Tracks[otherwise if Investigation has ended]Track 16[end if]" "" Chapter - New Activities Recalling the link for something is an activity on things. Recalling the link activity has a text called previous event. Recalling the link activity has a text called event. [This prints explanations as to why clips fit together.] First before recalling the link for a track (called target): now previous event is "'[appropriate name for a random track which links target]'"; now event is "'[appropriate name for target]'". Connections made is initially one. before recalling the link for a track (called target): let source be the list of tracks; let comparer be a list of things; let first continuous streak be {backyard, Dead Animals, Time Lapse}; if target is listed in first continuous streak, now comparer is first continuous streak; let second continuous streak be {Kitchen, Diary, Chrysanthemum}; if target is listed in second continuous streak, now comparer is second continuous streak; let third continuous streak be {Fight, Escape, Torching}; if target is listed in third continuous streak, now comparer is third continuous streak; if target is continuous and target is entry three in comparer and entry one in comparer links entry two in comparer and entry two in comparer links entry three in comparer begin; say "[italic type][if connections made is greater than one]And some of these others fit[otherwise]I think some of these fit together,[Roman type] [end if]Cochone realizes. [italic type]Tracks [if target is Chrysanthemum][number-name of Kitchen][otherwise if target is Time Lapse][number-name of Backyard][otherwise][number-name of Fight][end if] through [number-name of target]. "; increment connections made; now entry 1 in comparer is explained; now entry 2 in comparer is explained; now target is explained; otherwise; if target is not continuous or target is Fight begin; say "[if connections made is greater than two][i]And even some more,[/i] Cochone says[otherwise if connections made is two][i]There are more here,[/i] Cochone concludes[otherwise][i]I think I have a link,[/i] Cochone realizes[end if]. [italic type]Track [number-name of a random track which links target] and Track [number-name of target]. "; increment connections made; now target is explained; end if; end if. After recalling the link for something (called target) when target is neither Diary nor Dead Animals nor Escape:[We don't wantg this announcement when the middle track of a segment of three is linked for the beginning of the short and long segments and for the end of the long segment.] say Roman type; say "'[one of]I think I have a connection,' Cochone says. 'I like [or]Let's link [stopping]"; if target is either Chrysanthemum or Time Lapse or Torching begin; say "[if target is Chrysanthemum][number-name of Kitchen] to [number-name of Diary] to [number-name of Chrysanthemum][otherwise if target is Time Lapse][number-name of Backyard] to [number-name of Time Lapse] by way of [number-name of Dead Animals][otherwise][number-name of Fight] and [number-name of Escape] and [number-name of Torching][end if]"; otherwise; say "[number-name of a random track which links target] with [number-name of target]"; end if; say ". [one of]Can you remember that for me?' [pb]'Sure,' Jenny says and types on her keyboard. 'Okay, now all you need to do is type [']remember,['] and the links you've figured out will appear on your screen.' [pb]'Great.' [pb]'That's why I'm here.' [or]Okay?' [pb]'Gotcha,' Jenny says. [stopping] [lb]"; now interjection needed is true. Chapter - New Rulebooks Linker rules is an object-based rulebook. Linker rules have outcomes link established (success) and disjointed (failure - the default). [This decides if two consecutive tracks in the Sequence should be linked with the linkage relation.] Linker rule for something: link established. Book - Actions Chapter - New Understanding of Standard Grammar Understand "consult [something] for [text]", and "search [something] for [text]" as consulting it about. Understand "sit", "sit down", "lie down", "lay down", "get up", "stand", and "stand up" as a mistake ("Cochone is comfortable seated in Jenny's padded chair."). Understand "look up [text] with/using/on [something]", "research [text] with/using/on [something]", and "search for [text] with/using/on [something]" as consulting it about (with nouns reversed). Understand "[a candidate song]", "[a position]", "[contents]", and "[a track]" as examining. Understand nothing as going. Understand "add [something] at/to/in/into/on/onto/-- [something]", "add [a numero uno thing] at/to/in/into/on/onto/-- [something]", "insert [something] at/to/in/into/on/onto/-- [something]", "insert [a numero uno thing] at/to/in/into/on/onto/-- [something]", "place [something] at/to/in/into/on/onto/-- [something]", "place [a numero uno thing] at/to/in/into/on/onto/-- [something]", "put [something] at/to/-- [something]", "put [a numero uno thing] at/to/in/into/on/onto/-- [something]", "lay down [something] at/to/into/in/on/onto/-- [something]", "lay down [a numero uno thing] to/at/in/into/-- [something]", "splice [something] to/at/into/in/on/onto/-- [something]", "splice [a numero uno thing] at/to/in/into/on/onto/-- [something]", "add [something]", "insert [something]", "place [something]", "put [something]", "lay down [something]", and "splice [something]" as inserting it into. Understand "[a track] in/-- [a position]", "[an numero uno track] in/-- [a position]", and "[a full position] in/-- [a position]" as inserting it into. Understand "add [a numero uno thing]", "insert [a numero uno thing]", and "put [a numero uno thing]"as inserting it into. Understand "break open [something]", "split open [something]", "split [something]", and "separate [something]" as opening. Understand "put [a numero uno thing] on [something]" as putting it on. Understand "load" as restoring the game. Understand "re-load", "reload", "re-open", and "reopen" as restarting the game. Understand nothing as asking it about. Understand nothing as telling it about. Understand the commands "clear", "cover", "cut", "d", "e", "fight", "i", "move", "n", pick", "press", "push", "read", "remove", "s", "score", "shift", "slice", and "think" as something new. Chapter - Out of World Check preferring abbreviated room descriptions: say "Cochone already reads as little as he can." instead. Check preferring unabbreviated room descriptions: say "Cochone is already reading only as much as he needs." instead. Check preferring sometimes abbreviated room descriptions: say "Cochone reads only as much as he needs." instead. Displaying copyright is an action out of world. Understand "license", "licence", and "copyright" as displaying copyright. Report displaying copyright: say "[fiction title] is copyright [story creation year] by Nigel Jayne. This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License. You may copy and distribute [fiction title] in any format you choose, as long as it is not altered. You may not distribute this game for a fee which is greater than the cost of distribution. Distribution of this game constitutes acceptance of this license. Because this game is offered free of charge, there is no warranty, express or implied, attached to it." Displaying cover is an action out of world. Understand "display cover art", "display cover", "show cover art", "show cover", "cover art", and "cover" as displaying cover. Check displaying cover: unless glulx graphics is supported, say "This interpreter doesn't support graphics (Some interpreters that support both graphics and sound include Gargoyle, Windows Glulxe, and WinGit).". Carry out displaying cover when glulx graphics is supported: display figure of gamecover centered. Report displaying cover: say "[cover design] [lb]". Reloading is an action out of world, applying to one thing. Understand "load [something]", "re-load [something]", "reload [something]", "re-open [something]", "reopen [something]", "re-start [something]", and "restart [something]" as reloading. Check reloading something when the noun is neither the computer nor the case: say "[seq]You can only reload [fiction title]. [pb][end seq]" instead. Check reloading something: try restarting the game instead. Report undoing an action: say "Cochone blinks, and scratches his head. He realizes he never actually performed his last thought."; rule succeeds. The restart the game rule response (A) is "[unless the story has ended finally]Cochone sighs heavily. [pb]'You all right?' Jenny says. 'You don't look good. Do you just want to start today over? [pb]Cochone recalls arriving at Jenny's office. He found Jenny at her desk. [pb]'Good morning,' Jenny said. She looked down at Cochone's crotch and frowned. [pb]'Coffee,' Cochone said. [pb]'Oh, okay.' Jenny hefted herself up from the desk and grabbed her cane. She sidestepped to allow Cochone to sit. 'Take a seat.' [pb]Cochone dropped into the chair. [pb]'Someone looks a little tired this morning,' Jenny said. 'Let's put some jumpin['] beans in your shorts.' She tapped a toy bear that stood next to the computer. [pb]Cochone has been spat on by Mardi Gras revelers, shot at by gang members, and dragged through a bitter divorce. And the scalding coffee had removed any manhood he had retained after the divorce. But nothing quite compared to the clapping thing on the desk. [pb][i]Do I want to go through that again?[/i] Cochone asks himself.[otherwise]Do you really want to restart (Y or N)?[end unless]". The Restore the game rule response (B) is "Cochone shakes his head. [i]Here we go again,[/i] he thinks.". The save the game rule response (B) is "[i]I like where this is going,[/i] Cochone thinks. [i]I hope I don't screw this up.[/i] 'Remember this moment, Jenny.' [pb]'Okay ... ' Jenny says.". Chapter - New Actions [We don't use "the actor" in these new actions, because, for this game, we block just about every action on NPCs.] Clearing out is an action applying to one thing. Understand "clear [something]", "clear out [something]", "clear", and "clear out" as clearing out. Understand the commands "delete" and "erase" as "clear". Rule for supplying a missing noun while clearing out: now the noun is the notebook. Check clearing out something which is not the notebook: say "You can only erase the contents of the notebook." instead. Check clearing out the notebook when the notebook is not noted upon: say "There are no notes recorded." instead. Carry out clearing out something: now the notebook is not noted upon; write "" to the text file of the notebook. Report clearing out something: say "The contents of the notebook have been deleted.". Looking around is an action applying to nothing. Understand "l around" and "look at/around room/office/--" as looking around. Report looking around: say "Cochone glances back at Jenny. She is in her wheelchair and tapping at the laptop on her lap. A desk, smaller than the one Cochone sits at, is covered with IT paraphenalia[if Jennifer is having lunch], but Jenny has created a spot for her water bottle and bagel[end if]. Jenny's cane rests next to the window looking into the hall, which resonates with the sounds of chatter, phones, and doors. Cochone turns back to the computer on the desk before him. Hands clenching cymbals, Happy Jack stands next to the monitor[if Cochone is having hot dogs]. Cochone's hot dogs and a can of cola sit in a box next to the keyboard[end if].". Looking around is stalling. Remembering is an action applying to nothing. Understand "memory", "reminders", "reminder", "remember", "remind me/--", "remember links/chain/chains/sequence/sequences", "think", and "think about/- links/chain/chains/sequence/sequences" as remembering. [We need to make sure that we don't give away the correct relative positions of the tracks, so it may not be a good idea to use the "list of tracks."] Report remembering: if one track is explained begin; say "[seq] You've linked the following footage: "; repeat with selection running through the list of tracks begin; if selection links an explained track (called continuer) begin; say "[number-name of selection]-"; if continuer links an explained track, next; say "[number-name of continuer]. "; end if; end repeat; say lb; otherwise; say "Cochone blinks and thinks. He doesn't remember linking any of the footage yet."; end if. Remembering is stalling. Researching with it about is an action applying to two things. Understand "consult [something] about/for [something]", "search [something] for [something]", "look up [something]", "research [something]", and "search for [something]" as researching with it about. Understand "look up [something] with/using/on [something]", "research [something] with/using/on [something]", and "search for [something] with/using/on [something]" as researching with it about (with nouns reversed). researching with is stalling. Rule for supplying a missing second noun while researching with something about: now the second noun is the noun; now the noun is the internet. Does the player mean researching with the internet about something: it is very likely. Check researching with something about something when the second noun is not a subject and the second noun is not the band: if the second noun is the player, say "[one of]'There should be some interesting things about me on Google,' Cochone says. [pb]'What makes you think I didn't already creep you up?' Jenny says. [pb]'Creep me?' [pb]'Looked you up on Facebook.' [pb]'Whoever you found, it wasn't me.' [pb]'No. I figured that. He knew how to use Facebook.' [or]Cochone decides he has more important things to do right now. [stopping] [pb]" instead; if the second noun is a person, say "Cochone decides that the only people he should be researching right now are the victims." instead; say "Cochone is really only interested in the people in the tracks right now." instead. Check researching with something about a researched thing: say "'Can you bring up the info on [second noun] again?' Cochone says. [pb]'Here it is,' Jenny says.". Check researching with something about a not researched thing: say "'[one of]Can you look up [second noun] for me[or]Try googling [second noun] for me, will you[or]Can you check [second noun] on the internet[or]Can you search the web for [second noun][purely at random]?' Cochone says. [pb]"; unless the second noun is the band or the location contains the band or three subjects are identified begin; say "'I probably won't be able to find [second noun] without more information. Try to find out some more victims' names or the name of the band first.'" instead; otherwise; now being-researched is the second noun; now Cochone is awaiting information; say "'Sure,' Jenny says. 'Give me a minute. Keep working. I'll send it to you when I find something.'" instead; end unless. Report researching with something about something: say "[description of being-researched] [lb]". Researching with something about is stalling. Scoreboarding is initially false. Scoring is an action applying to nothing. Understand "check the/-- score/scoreboard/scores/games/nhl/nba", "check the/-- nhl/nba/hockey/basketball score/scores/scoreboard/results", "nhl scores/score/scoreboard/results/--", "hockey scores/score/scoreboard/results/--", "nba scores/score/scoreboard/results/--", "basketball scores/score/scoreboard/results/--", "scores" and "score" as scoring. Report scoring when the player is scoreboard watching: now Scoreboarding is true; let counter be one; say "[b]NHL[/b] "; tick scores for home hockey teams; say "[lb][b]NBA[/b] "; tick scores for home basketball teams; let loser be a random away hockey team; if the netted of loser is greater than the netted of a random team which plays loser, now loser is a random team which plays loser; let faves be the list of basketball teams; sort faves in random order; remove New Orleans Hornets from faves; remove a random team which plays New Orleans Hornets from faves; let chosen be entry one in faves; say "[pb][end seq] [lb][italic type][one of]C'mon Hornets, Chrissy wants to finish college.[or]I'm bleeding green here, [just-team of loser].[or]Don't let me down again, [just-team of chosen].[or]Why do I put myself through this?[or][rpo][stopping][roman type]". To tick scores for (target - a description of values): repeat with opposers running through target begin; say "[opposers] [netted of opposers] [a random team which plays opposers] [netted of a random team which plays opposers] "; end repeat. Seeking opinion from is an action applying to one thing. Understand "consult [something]" and "consult" as seeking opinion from. Rule for supplying a missing noun while seeking opinion from: now the noun is Jennifer. Seeking opinion from is stalling. Section - Sequitur Commands Clicking is an action applying to one thing. Understand "click on/-- [something]", "click on/-- [things]", "pick [something]", "pick [things]", "play [something]", "play [things]", "start [something]", "click", "start", and "play" as clicking. Understand the commands "choose", "press", and "select" as "click". Rule for supplying a missing noun while clicking: say "You have three choices: you can either play the Sequence, play your playlist, or play the tracks, which will play all the tracks that aren't in the Sequence.". Check clicking an on-screen not intractable thing: try examining the noun instead. Check clicking an intractable thing: if (the noun is the playlist and favorites list is {}) or (the noun is sequence and every track is unpositioned), say relay an empty noun instead. Check clicking something: now temporary playlist is {}. Report clicking playlist: say "Your playlist contains [number of entries in favorites list] track[if the number of entries in favorites list is greater than one]s[end if]: [pb]"; repeat with selection running through favorites list begin; add selection to temporary playlist; end repeat. Report clicking something: follow the play the music rule. Exchanging it for is an action applying to two things. Understand "exchange [something] for/with/and [something]", "exchange [a numero uno track] for/with [something]", "reverse [something] with/for/and [something]", "reverse [a numero uno track] for/with [something]", "switch around/-- [something] with/for/and [something] around/--", and "switch around/-- [a numero uno track] for/with/and [something] around/--" as exchanging it for. Understand "exchange [something]", and "switch around/-- [a position] around/--" as exchanging it for. Rule for supplying a missing second noun while exchanging something for: if the noun is a track or the noun is a position begin; if the noun is an empty position begin; say "Slot [noun] is empty, and you would need to specify two tracks to exchange."; otherwise; say "You'll need to pick a track or slot to exchange [if the noun is a track]Track [number-name of noun][otherwise]slot [noun]'s track[end if] with."; end if; otherwise; say "You need to specify two tracks to exchange."; end if. First check exchanging something for something when the noun is the second noun: say "You can't transpose one [if the noun is a track]track[otherwise]slot[end if] upon itself." instead. First check exchanging something for something when an intractable thing is involved or a not on-screen thing is involved: say "You can only exchange specific tracks or slots that contain tracks." instead. Check exchanging an unpositioned track for an unpositioned track: say "At least one of the tracks needs to be in a slot to exchange it with another." instead. Check exchanging something for something when a track is involved and ((the noun is a position and the noun contains the second noun) or (the second noun is a position and the second noun contains the noun)): say "Track [number-name of a random involved track] is already in Slot [random involved position]." instead. Check exchanging an empty position for an empty position: say "Neither Slot [noun] nor [second noun] contains a track." instead. Carry out exchanging something for something when two positioned tracks are involved or two full positions are involved or (a full position is involved and a positioned track is involved): if noun is a position, now noun is a random track which is in noun; if second noun is a position, now second noun is a random track which is in second noun; now entry (number-name of the holder of the second noun) in position list is noun; now entry (number-name of the holder of the noun) in position list is second noun; rule succeeds. Carry out exchanging something for something when an unpositioned track is involved: if second noun is an unpositioned track, switch the noun for the second noun; if the second noun is a positioned track, now the second noun is the holder of the second noun; now entry (number-name of second noun) in position list is noun; rule succeeds. Carry out exchanging something for something: unless the second noun is an empty position, switch the noun for the second noun; if the noun is a full position, now the noun is a random track which is in the noun; now entry (number-name of second noun) in position list is noun; now entry position number of noun among position list in position list is placeholder. Report exchanging something for something when two positioned tracks are involved or two full positions are involved or (a full position is involved and a positioned track is involved): say "Track [number-name of noun] has been switched to Slot [holder of second noun], and Track [number-name of second noun] is now in Slot [holder of noun]."; rule succeeds. Report exchanging something for something: say "Track [number-name of noun] has been placed in slot [second noun][if second noun is full], and Track [number-name of (a random track which is in the second noun)] has been removed from the Sequence[otherwise if the noun is positioned], and slot [holder of noun] is now empty[end if].". Excising it from is an action applying to two things. Understand "excise [something] from [something]", "take out [something] from [something]", "excise [something]", and "take out [something]" as excising it from. Understand the commands "cut", "empty", "slice", and "remove" as "excise". Rule for supplying a missing second noun while excising a not on-screen thing from: say "You can only remove tracks from slots.". Rule for supplying a missing second noun while excising something from: if the noun is playlist or (the noun is listed in favorites list and the noun is unpositioned), now the second noun is playlist; otherwise now the second noun is the Sequence. Check excising an intractable thing from an intractable thing when the noun is the second noun: if the noun is the playlist or the noun is the sequence , try excising all from the noun instead; say "You can only cut tracks from either the Sequence or your playlist." instead. Check excising something from something when playlist is involved and Sequence is involved: if (sequence is involved and position list is {}) or (playlist is involved and favorites list is {}), SAY "[if position list is {} and favorites list is {}]Both the Sequence and your playlist are[otherwise if favorites list is {}]Your playlist is[otherwise]The Sequence is[end if] empty." instead; repeat with selection running through favorites list begin; if selection is listed in position list, continue the action; end repeat; say "The Sequence and your playlist don't share any tracks." instead. Check excising something from the Footage: if noun is intractable, say "You can't remove a list like the Sequence or your playlist from the set of tracks." instead; otherwise say "You can't remove tracks from the footage, but you can put them in the Sequence or your playlist." instead. Check excising a not intractable thing from the Sequence: if the noun is an unpositioned track, say "Track [number-name of noun] isn't in a slot." instead; if noun is a positioned track, try excising the noun from the holder of the noun instead; if the noun is a full position, try excising a random track which is in the noun from the noun instead; if the noun is an empty position, say "Slot [noun] doesn't contain a track." instead. Check excising a not intractable thing from the playlist: if the noun is a position, say "Your playlist contains tracks, not positions." instead; unless the noun is listed in favorites list, say "Track [number-name of noun] isn't in your playlist." instead. Check excising an intractable thing from a not intractable thing: say "You can't remove a list of tracks, such as those found in [if noun is playlist][noun][otherwise][the noun][end if], from a track or position." instead. Check excising a track from a position: if the second noun does not contain the noun, say "Track [number-name of noun] isn't in Slot [second noun]." instead. Check excising a position from a track: say "Only the Sequence has slots." instead. Check excising a position from a position: unless the noun is the second noun, say "Slots are situated independently along the Sequence, and they can't contain the same tracks." instead; if the noun is full, now the noun is a random track which is in the noun; if the noun is empty, say "The slots are fixed into the Sequence." instead. Carry out excising playlist from sequence: repeat with selection running through favorites list begin; if selection is listed in position list begin; let holding be the number-name of the holder of selection; now entry holding in position list is placeholder; end if; end repeat; rule succeeds. Carry out excising Sequence from playlist: repeat with selection running through position list begin; if selection is listed in favorites list, remove selection from favorites list; end repeat; rule succeeds. Carry out excising something from something: if the second noun is playlist, remove the noun from favorites list; otherwise now entry (number-name of the second noun) in position list is placeholder. Report excising something from something: if playlist is involved and sequence is involved, say "All the tracks that the Sequence and your playlist shared have been removed from the [if second noun is sequence]former[otherwise]latter[end if]."; otherwise say "Track [number-name of noun] has been removed from [if the second noun is playlist]your playlist[otherwise]Slot [holder of noun][end if].". Excising all from is an action applying to one thing. Understand "clear all from/-- [something]", "excise all from/-- [something]", "remove all from/-- [something]", "clear all", "excise all", and "remove all" as excising all from. Rule for supplying a missing noun while excising all from: if one track is positioned or favorites list is {}, now the noun is the sequence; otherwise now the noun is the playlist. Check excising all from something when the noun is neither the sequence nor the playlist: say "You can only excise tracks from either the Sequence or your playlist." instead. Check excising all from playlist: if the favorites list is {}, say "Your playlist is already empty." instead. Check excising all from Sequence: if every track is unpositioned, say "The Sequence doesn't have any tracks." instead. Carry out excising all from something: if the noun is playlist, now favorites list is {}; otherwise fill 1 to number of positions with blanks. Report excising all from something: say "[The noun] [are] now empty.". Excising it through is an action applying to two things. Understand "cut [something] through/to [something]", "cut [a numero uno track] through/to [something]", "excise [something] to/through [something]", "excise [a numero uno track] to/through [something]", "take out [something] to/through [something]", and "take out [a numero uno thing] to/through [something]" as excising it through. First check excising something through something when the playlist is involved: say "You can only cut individual tracks from your playlist." instead. Check excising something through something when two tracks are involved and one involved track is unpositioned: if two unpositioned tracks are involved, say "Neither Track [number-name of noun] nor Track [number-name of second noun] is in the Sequence." instead; otherwise say "Track [number-name of a random involved unpositioned track] isn't in the Sequence." instead. Check excising footage through footage: say "Only individual tracks can be removed from the Sequence." instead. Check excising Sequence through footage: say "The Sequence contains the tracks, so you need to remove individual tracks from the Sequence instead." instead. Check excising something through something: if the noun is a track, now the noun is the holder of the noun; if the second noun is a track, now the second noun is the holder of the second noun; if the number-name of the second noun is less than the number-name of the noun, switch the noun for the second noun. Carry out excising something through something: repeat with counter running from number-name of the noun to number-name of second noun begin; now entry counter in position list is placeholder; end repeat. Report excising something through something: if the noun is the second noun, say "Slot [noun] is now empty."; otherwise say "Slots [noun] and [second noun] are now empty[unless number-name of noun is (number-name of second noun minus one)], as is the Sequence between the two[end unless] .". Understand "insert [something] next to/-- [something]" and "place [something] next to/-- [something]" and "put [something] next to/-- [something]" as a mistake ("[seq] You'll need to specify if you want to place tracks to the left or right of another, e.g., 'put one left of three.'"). Inserting it relatively left of is an action applying to two things. Understand "add [something] in/to/-- the/-- before/left/behind of/-- [something]", "insert [something] in/to/-- the/-- before/left/behind of/-- [something]", "place [something] in/to/-- the/-- before/left/behind of/-- [something]", and "put [something] in/to/-- the/-- before/left/behind of/-- [something]" as inserting it relatively left of. Understand "add [something] in/to/-- the/-- before/left/behind of/--", "insert [something] in/to/-- the/-- before/left/behind of/--", "place [something] in/to/-- the/-- before/left/behind of/--", and "put [something] in/to/-- the/-- before/left/behind of/--" as inserting it relatively left of. Rule for supplying a missing second noun while inserting something relatively left of: now the second noun is the noun. Check inserting an empty position relatively left of something: say "Slot [noun] doesn't contain a track." instead. Check inserting something relatively left of an unpositioned track: say "You can only put a track next to another track that is in the Sequence." instead. Check inserting a full position relatively left of something: now the noun is a random track which is in the noun. Check inserting something relatively left of something: if the second noun is A-slot, say "There are no slots left of the first one." instead; let receiver be a thing; if the second noun is a position, now receiver is the second noun; if the second noun is a track, now receiver is the holder of the second noun; if receiver is not A-slot and entry (number-name of receiver minus one) in position list is noun, say "Track [number-name of noun] is already in Slot [receiver]." instead. Carry out inserting something relatively left of a position:[In this case, we need to make sure that the second noun stays fixed.] if entry (number-name of second noun minus one) in position list is placeholder begin; now entry (number-name of second noun minus one) in position list is noun; rule succeeds; end if; add noun at entry number-name of second noun in position list; if the noun is positioned begin; if the number-name of the holder of the noun is greater than the number-name of second noun, now entry (number-name of holder of noun plus one) in position list is placeholder; if the number-name of the holder of the noun is less than the number-name of second noun, now entry (number-name of holder of noun) in position list is placeholder; end if; repeat with counter running from one to number-name of second noun begin; if entry counter in position list is placeholder, now removal point is counter; end repeat; unless removal point is zero begin; remove entry removal point from position list; otherwise; truncate position list to the last 10 entries; end unless. Carry out inserting something relatively left of a track:[In this case, the tracks can shift left or right, depending on where there is an empty space in the Sequence, or if there is one at all.] let proxy be the holder of second noun; if the noun is a positioned track, now entry (number-name of holder of noun) in position list is placeholder; if the number-name of proxy is one begin; add noun at entry one in position list; now removal point is the nearest empty slot for the position list starting at slot one; otherwise; if entry (number-name of proxy minus one) in position list is placeholder begin; now entry (number-name of proxy minus one) in position list is noun; rule succeeds; end if; add noun at entry (number-name of proxy) in position list; now removal point is the nearest empty slot for the position list starting at slot number-name of proxy minus one; end if; if removal point is zero begin; if proxy is A-slot, truncate position list to the first ten entries; if proxy is not A-slot, truncate position list to the last ten entries; otherwise; remove entry removal point from position list; end if. Report inserting something relatively left of something: say "Track [number-name of noun] has been placed directly behind [if second noun is a track]track [number-name of second noun][otherwise]slot [second noun][end if], "; unless one position is empty begin; say "pushing out the [if the second noun is a positioned track and the holder of second noun is A-slot]last[otherwise]first[end if] track in the Sequence"; otherwise; say "and the Sequence has shifted into the closest empty slot"; end unless; say ".". Inserting it relatively right of is an action applying to two things. Understand "add [something] in/to/-- the/-- ahead/front/after/right/forward of/-- [something]", "insert [something] in/to/-- the/-- ahead/front/after/right/forward of/-- [something]", "place [something] in/to/-- the/-- ahead/front/after/right/forward of/-- [something]", and "put [something] in/to/-- the/-- ahead/front/after/right/forward of/-- [something]" as inserting it relatively right of. Understand "add [something] in/to/-- the/-- ahead/front/after/right/forward of/--", "insert [something] in/to/-- the/-- ahead/front/after/right/forward of/--", "place [something] in/to/-- the/-- ahead/front/after/right/forward of/--", and "put [something] in/to/-- the/-- ahead/front/after/right/forward of/--" as inserting it relatively right of. Rule for supplying a missing second noun while inserting something relatively right of: now the second noun is the noun. Check inserting an empty position relatively right of something: say "Slot [noun] doesn't contain a track." instead. Check inserting something relatively right of a not positioned track: say "You can only put a track next to another track that is in the Sequence." instead. Check inserting a full position relatively right of something: now the noun is a random track which is in the noun. Check inserting something relatively right of something: if the second noun is the last slot of the sequence, say "There are no slots right of the last one." instead; let receiver be a thing; if the second noun is a position, now receiver is the second noun; if the second noun is a track, now receiver is the holder of the second noun; if receiver is not the last slot of the sequence and entry (number-name of receiver plus one) in position list is noun, say "Track [number-name of noun] is already in Slot [receiver]." instead. Carry out inserting something relatively right of a position:[In this case, we need to make sure that the second noun stays fixed.] if entry (number-name of second noun plus one) in position list is placeholder begin; now entry (number-name of second noun plus one) in position list is noun; rule succeeds; end if; add noun at entry (number-name of second noun plus 1) in position list; if the noun is positioned begin; if the number-name of the holder of the noun is greater than the number-name of second noun, now entry (number-name of holder of noun plus one) in position list is placeholder; if the number-name of the holder of the noun is less than the number-name of second noun, now entry (number-name of holder of noun) in position list is placeholder; end if; repeat with counter running from number-name of second noun to number of entries in position list begin; if entry counter in position list is placeholder begin; now removal point is counter; break; end if; end repeat; unless removal point is zero begin; remove entry removal point from position list; otherwise; truncate position list to the first 10 entries; end unless. Carry out inserting something relatively right of a track: [In this case, the tracks can shift left or right, depending on where there is an empty space in the Sequence, or if there is one at all.] let proxy be the holder of the second noun; if the noun is a positioned track, now entry (number-name of holder of noun) in position list is placeholder; if proxy is the last slot of the sequence begin; reverse position list; add noun at entry one in position list; reverse position list; now removal point is the nearest empty slot for the position list starting at slot number-name of proxy; otherwise; if entry (number-name of holder of second noun plus one) in position list is placeholder begin; now entry (number-name of holder of second noun plus one) in position list is noun; rule succeeds; end if; add noun at entry (number-name of proxy plus 1) in position list; now removal point is the nearest empty slot for the position list starting at slot number-name of proxy plus one; end if; if removal point is zero begin; if proxy is the last slot of the sequence, truncate position list to the last ten entries; if proxy is not the last slot of the sequence,truncate position list to the first ten entries; otherwise; remove entry removal point from position list; end if. Report inserting something relatively right of something: say "Track [number-name of noun] has been placed directly ahead of [if second noun is a track]track [number-name of second noun][otherwise]slot [second noun][end if], "; unless one position is empty begin; say "pushing out the [if the second noun is a positioned track and the holder of second noun is the last slot of the sequence]first[otherwise]last[end if] track in the Sequence"; otherwise; say "and the Sequence has shifted into the closest empty slot"; end unless; say ".". Inserting something relatively left of is inserting relatively. Inserting something relatively right of is inserting relatively. Inserting it to is an action applying to two things. Understand "group [something] through/to/with [something]" and "group [a numero uno thing] through/to/with [something]" as inserting it to. [We put all the rules governing this action in a "before inserting something to" rule because it won't trigger in the "last before" rule.] Playing it through is an action applying to two things. Understand "click on/-- [something] to/through [something]", "click on/-- [a numero uno track] to/through [something]", "examine [something] to/through [something]", "examine [a numero uno track] to/through [something]", "x [a numero uno thing] to/through [something]", "x [something] through/to [something]", "play [a numero uno thing] to/through [something]", and "play [something] through/to [something]" as playing it through. First check playing something through something when two on-screen not intractable things are involved: if (the noun is an unpositioned track and the second noun is a positioned track) or (the noun is an unpositioned track and the second noun is a positioned track), switch the noun for the second noun. First check playing something through something when an intractable thing is involved: say "You can only play an individual track through another track or an individual slot through another slot. You can also play them in reverse numerical or alphabetical order." instead. Check playing something through something when (the noun is the second noun) or (a full position is involved and a positioned track is involved and a random involved position contains an involved track): try examining the noun instead. Check playing something through something when an unpositioned track is involved: unless two tracks are involved and two involved tracks are unpositioned, say "To play through tracks, both need to be in the Sequence or outside of it. You can also play a slot through a track, but the track needs to be in a slot." instead. Check playing something through something: if two unpositioned tracks are involved begin; build a list for number-name of noun to number-name of second noun from track list; say "The unslotted tracks numbered between [number-name of noun] and [number-name of second noun][if the number-name of the second noun is less than the number-name of the noun] (in reverse)[end if]: [lb]"; repeat with selection running through temporary playlist begin; if selection is unpositioned, remove selection from temporary playlist; end repeat; otherwise; if the noun is a track, now the noun is the holder of the noun; if the second noun is a track, now the second noun is the holder of the second noun; if every track is unpositioned, say "The Sequence is empty." instead; build a list for number-name of noun to number-name of second noun from position list; if temporary playlist is {}, say "There aren't any tracks in the relevant portion of the Sequence." instead; say "The sequence between slots [noun] and [second noun][if the number-name of the second noun is less than the number-name of the noun] (in reverse)[end if]: [lb]"; end if. Carry out playing something through something: now Continuous play is true; follow the play the music rule. randomizing play for is an action applying to one thing. Understand "play [something] random/randomly", and "play random/randomly [something]" as randomizing play for. Rule for supplying a missing noun while randomizing play for: if two tracks are positioned begin; now the noun is the Sequence; otherwise; if the number of entries in favorites list is greater than one begin; now the noun is playlist; otherwise; now the noun is the footage; end if; end if. Check randomizing play for when the noun is a track or the noun is a position: say "You can only play the Sequence, the unslotted tracks, or your playlist randomly." instead. Check randomizing play for the Sequence when less than two positions are full: say "[if the number of full positions is zero]No tracks are in the Sequence[otherwise]There is only one track in the Sequence[end if]." instead. Check randomizing play for the playlist when the number of entries in favorites list is less than two: say "Your playlist [if the number of entries in favorites list is one]has only one track[otherwise]doesn't have any tracks listed in it[end if]." instead. Report randomizing play for something: if the noun is playlist, now temporary playlist is favorites list; if the noun is the footage, now temporary playlist is the list of unpositioned tracks; if the noun is the Sequence, now temporary playlist is the list of positioned tracks; say "Playing [if noun is footage]the unslotted tracks[otherwise][noun][end if] randomly: [pb]"; sort temporary playlist in random order; follow the play the music rule. Typing a new name is initially false. Renaming is an action applying to one thing. Understand "rename [something]", "change name/names", "change titles/title", and "rename" as renaming. Rule for supplying a missing noun while renaming: say "You'll also need to specify the track you want to rename.". Check renaming something which is not a track: say "You can only rename tracks." instead. Carry out renaming something: now the being-labelled is the noun; disable saving of undo state; now typing a new name is true. Report renaming something: say lb; now the command prompt is "Type the new name for track [number-name of the being-labelled] or UNDO to cancel: ". First after reading a command when typing a new name is true during Investigation: enable saving of undo state; now the label of the being-labelled is the accessible text of the player's command; say "[seq]Track [number-name of being-labelled] will be called [label of being-labelled]. [pb][end seq]"; now typing a new name is false; now the command prompt is "[mdash]"; reject the player's command. Renaming it as is an action applying to one thing and one topic. Understand "rename [something] as/-- [text]" and "change name/-- of/-- [something] to [text]" as renaming it as. Check renaming something as text when the noun is not a track: say "You can only rename tracks." instead. Report renaming something as text: now the label of the noun is the accessible text of the topic understood; say "Track [number-name of noun] will be called [label of noun].". Renaming is recording. Renaming something as is recording. Reversing is an action applying to one thing. Understand "reverse [something]", "switch around/-- [something] around/--", "turn around/-- [something] around/--", and "reverse" as reversing. Understand the command "flip" as "reverse". Rule for supplying a missing noun while reversing: if two tracks are positioned begin; now the noun is the Sequence; otherwise; if the number of entries in favorites list is greater than one begin; now the noun is playlist; otherwise; say "Neither your playlist nor the Sequence contains enough tracks to reverse."; end if; end if. Check reversing something when the noun is neither the sequence nor the playlist: say "You can only reverse the order of the tracks in your playlist or the Sequence." instead. Check reversing something: if (the noun is the sequence and the number of full positions is less than two) or (the noun is playlist and the number of entries in favorites list is less than two), say "There aren't enough tracks in [the noun] to reverse." instead. Carry out reversing playlist: reverse favorites list. Carry out reversing sequence: reverse position list; follow the put tracks in positions rule. Report reversing something: say "[The noun] has been reversed.". Reversing it through is an action applying to two things. Understand "reverse [something] to/through [something]", "reverse [a numero uno track] to/through [something]", "switch around/-- [something] to/through [something] around/--", "turn around/-- [something] to/through [something] around/--", "turn around/-- [a numero uno track] to/through [something] around/--", and "switch around/-- [a numero uno track] to/through [something] around/--" as reversing it through. Check reversing something through something when an intractable thing is involved or a not on-screen thing is involved: say "You can only reverse the tracks in the Sequence by name, or you can reverse slots (which will reverse the tracks that are in and between them)." instead. Check reversing something through something when the noun is the second noun: say "You can't reverse a single track." instead. Check reversing something through something when an unpositioned track (called target) is involved: say "Track [number-name of target] isn't in the Sequence. To reverse the tracks, both need to be in the Sequence or outside of it. " instead. check reversing something through something: if the noun is a track, now the noun is the holder of the noun; if the second noun is a track, now the second noun is the holder of the second noun; build a list for number-name of noun to number-name of second noun from position list; if temporary playlist is {}, say "There needs to be at least one track in the relevant portion of the Sequence otherwise reversing doesn't really do anything." instead; if the number-name of the second noun is less than the number-name of the noun, switch the noun for the second noun. Carry out reversing something through something: let holding be a list of objects; repeat with counter running from number-name of noun to number-name of second noun begin; add entry counter in position list to holding; end repeat; reverse holding; repeat with counter running from number-name of noun to number-name of second noun begin; now entry counter in position list is entry one in holding; remove entry one from holding; end repeat. Report reversing something through something: say "Tracks between and including those in slots [noun] and [second noun] have been reversed.". Shuffling is an action applying to one thing. Understand "randomize [something]", "shuffle [something]", "randomize", and "shuffle" as shuffling. Rule for supplying a missing noun while shuffling: if two tracks are positioned or the favorites list is {}, now the noun is the Sequence; otherwise now the noun is the playlist. Check shuffling something when the noun is neither the Sequence nor the playlist: say "You can sort only the Sequence or playlist randomly." instead. Check shuffling something: let temp be the list of positioned tracks; if the noun is playlist, now temp is favorites list; if the number of entries in temp is one, say "There is only one track in [the noun]." instead; if temp is {}, say "[relay an empty (noun)]" instead. Carry out shuffling playlist: sort favorites list in random order. Carry out shuffling Sequence: sort position list in random order. Carry out shuffling something: follow the put tracks in positions rule. Report shuffling something: say "[The noun] has been shuffled. [pb]"; try examining the noun. Understand "slide [something]", "slide [a numero uno thing]", and "slide [a number]" as a mistake ("[seq] You'll need to specify a direction to shift a track, and make sure it's a track or slot you're shifting. [pb][end seq]") when Investigation is happening. Understand "slide [a dextrus]" and "slide to the [a dextrus]" as a mistake ("Cochone shifts [if the dextrus understood is left]back[otherwise]forward[end if] in his seat."). Sliding it forward is an action applying to one thing and one number. Understand "slide [something] forward/right/-- [a number]", "slide [something] forward/right by/-- [a number]", "slide [a numero uno thing] forward/right/-- [a number]", "slide [a numero uno thing] forward/right by/-- [a number]", "slide [something] to the/-- right by/-- [a number]", and "slide [a numero uno thing] to the/-- right by/-- [a number]" as sliding it forward. Understand the commands "push" and "shift" as "slide". Sliding it backward is an action applying to one thing and one number. Understand "slide [something] backward/back/left/-- [a number]", "slide [something] backward/back/left by/-- [a number]", "slide [a numero uno thing] backward/back/left/-- [a number]", "slide [a numero uno thing] backward/back/left by/-- [a number]", "slide [something] to the/-- left by/-- [a number]" and "slide [a numero uno thing] to the/-- left by/-- [a number]" as sliding it backward. slot-skip is initially zero. Setting action variables for sliding something forward: now slot-skip is number understood. Setting action variables for sliding something backward: now slot-skip is number understood. Before sliding forward a number, try sliding the noun along right instead. Before sliding backward a number, try sliding the noun along left instead. Sliding it along is an action applying to one thing and one dextrus. Understand "slide [something] [a dextrus]", "slide [a numero uno thing] [a dextrus]", "slide [something] to the [dextrus]", and "slide [a numero uno thing] to the [a dextrus]" as sliding it along. Understand "slide [a dextrus] [something]" and "slide [a dextrus] [a numero uno thing]" as sliding it along (with nouns reversed). Setting action variables for sliding something along a dextrus: unless slot-skip is not one, now slot-skip is one. First check sliding an unpositioned track along a dextrus: say "Track [number-name of noun] can't be moved [dextrus understood], because it is not in the Sequence." instead. Check sliding something along a dextrus when the noun is not a track and the noun is not a position: say "Please specify a track to shift [dextrus understood]." instead. Check sliding something along a dextrus when every position is full: say "The Sequence is full, so you can't shift any tracks [dextrus understood]." instead. Check sliding something along a dextrus: now every thing is not marked for manipulation; if the noun is a track, now the noun is the holder of the noun; if dextrus understood is left and the noun is A-slot, say "You can't shift the track backward, because slot A is the first in the Sequence." instead; if dextrus understood is right and the noun is the last slot of the Sequence, say "You can't move the track forward, because slot [noun] is the last slot in the Sequence." instead; let transferee be noun; let target be an object; let ender be number-name of noun minus one; if dextrus understood is right, now ender is number of positions minus number-name of noun; repeat with counter running from one to ender begin; if dextrus understood is right, now target is entry (number-name of noun plus counter) in position list; if dextrus understood is left, now target is entry (number-name of noun minus counter) in position list; if target is placeholder, break; now transferee is holder of target; end repeat; now transferee is marked for manipulation; if noun is empty, now transferee is noun; if dextrus understood is left and slot-skip is greater than number-name of transferee minus one, say "There aren't enough slots to slide back [slot-skip]." instead; if dextrus understood is right and slot-skip is greater than number of positions minus number-name of transferee,say "There aren't enough empty slots to slide forward [slot-skip]." instead. Last check sliding an empty position along a dextrus: if the dextrus understood is left, reverse position list; let anchor be number-name of the noun; if dextrus understood is left, now anchor is positions-plus minus number-name of noun; let blank removal point be anchor; repeat with counter running from anchor to the number of positions begin; if entry counter in position list is a track, now blank removal point is number-name of holder of (entry counter in position list); if blank removal point is not anchor and entry counter in position list is placeholder, break; end repeat; if blank removal point is anchor, say "All of the slots [dextrus understood] of slot [noun] are empty, so there's no reason to shift [dextrus understood]." instead; if dextrus understood is left, now blank removal point is number of positions minus blank removal point; repeat with counter running from anchor plus one to anchor plus slot-skip begin; add placeholder at entry anchor in position list; remove entry (blank removal point plus one) from position list; end repeat; if dextrus understood is left begin; reverse position list; if slot-skip is greater than (number-name of noun) minus one, now slot-skip is number-name of noun minus one; say "Because slot [noun] didn't have a track, "; if (number-name of the noun minus slot-skip) is less than one begin; say "the Sequence up to slot [noun] was"; otherwise; say "[slot-skip] slot[unless slot-skip is one]s[end unless] behind it w[if slot-skip is one]as[otherwise]ere[end if]"; end if; say " emptied"; otherwise; if slot-skip is greater than (number-name of noun) plus one, now slot-skip is number of positions minus number-name of noun; say "Because slot [noun] didn't have a track, [slot-skip] empty slot[if slot-skip is not one]s were[otherwise] was[end if] created in front of it"; end if; say "." instead. Last check sliding something along a dextrus: let transferee be a random marked for manipulation position; if (dextrus understood is left and slot-skip slots are available starting at number-name of transferee minus slot-skip) or (dextrus understood is right and slot-skip slots are available starting at number-name of transferee plus one), continue the action; say "The [if slot-skip is one]next slot to [transferee] needs [otherwise][slot-skip] slots [dextrus understood] of slot [transferee] need [end if]to be empty to shift the tracks." instead. Carry out sliding something along a dextrus: if dextrus understood is left, reverse position list; let anchor be number-name of the noun; if dextrus understood is left, now anchor is positions-plus minus number-name of noun; unless noun is marked for manipulation begin; now anchor is the number-name of (a random marked for manipulation position); if dextrus understood is left, now anchor is positions-plus minus number-name of a random marked for manipulation position; end unless; repeat with counter running from one to slot-skip begin; remove entry (anchor plus one) from position list; if the noun is not marked for manipulation begin; increment anchor; if dextrus understood is right, add placeholder at entry (number-name of noun) in position list; if dextrus understood is left, add placeholder at entry (positions-plus minus number-name of noun) in position list; end if; end repeat; if noun is marked for manipulation begin; let blank insertion point be one; repeat with counter running from one to number of positions begin; if entry counter in position list is placeholder, now blank insertion point is counter; if entry counter in position list is in the noun, break; end repeat; repeat with x running from one to slot-skip begin; add placeholder at entry blank insertion point in position list; end repeat; end if; if dextrus understood is left, reverse position list. Definition: a position (called target) is emptied if entry (number-name of target) in position list is placeholder and target is full. Report sliding something along a dextrus: let holding be the list of positions; now noun is a random track which is in the noun; say "Track [number-name of noun] has been moved [dextrus understood] [slot-skip] slot[if slot-skip is not one]s[end if]"; if dextrus understood is left begin; if holder of noun is marked for manipulation begin; say " to slot [entry (number-name of holder of noun minus slot-skip)in holding]"; if holder of the noun is not the last slot of the sequence and entry (number-name of holder of noun plus one) in temporary position list is a track, say ", pulling back the attached track[if number-name of holder of noun is less than nine and entry (number-name of holder of noun plus two) in temporary position list is a track]s[end if] upstream of it"; otherwise; say ", pushing the consecutive tracks behind it downstream and leaving slot[if number of emptied positions is not one]s[end if] [list of emptied positions] empty upstream of it"; end if; otherwise; if holder of noun is marked for manipulation begin; say " to slot [entry (number-name of holder of noun plus slot-skip) in holding]"; if holder of the noun is not a-slot and entry (number-name of holder of noun minus one) in temporary position list is a track, say ", pulling ahead the attached track[if number-name of holder of noun is at least three and entry (number-name of holder of noun minus two) in temporary position list is a track]s[end if] behind it"; otherwise; say ", pushing the consecutive tracks ahead of it and leaving slot[if slot-skip is not one]s[end if] [list of emptied positions] empty behind it"; end if; end if; say ".". Typing a summary is initially false. Summarizing is an action applying to one thing. Understand "summarize [something]", "describe [something]", "summarize", and "describe" as summarizing. Rule for supplying a missing noun while summarizing: say "You'll also need to specify a track you want to summarize.". Check summarizing something which is not a track: say "You can only summarize events in a track." instead. Carry out summarizing something: disable saving of undo state; now being-summarized is the noun; now typing a summary is true. Report summarizing something: let message be "Your new description will be added to the old one "; if the short-description of the noun is "", now message is "Type a new description for Track [number-name of being-summarized]. Make it short; if it is too long, the whole description will not be saved "; now the command prompt is "[message](UNDO cancels this action): ". Summarizing is recording. First after reading a command when typing a summary is true: enable saving of undo state; now typing a summary is false; let holding be short-description of being-summarized; now the short-description of the being-summarized is "[holding][pb][the accessible text of the player's command]"; say "[lb]You've provided a new description of Track [number-name of being-summarized]. This description will be printed when you play the track with summaries switched on. [pb][end seq]"; now the command prompt is "[mdash]"; reject the player's command. Switching is an action applying to one thing. Understand "toggle [something]", "switch", and "toggle" as switching. Rule for supplying a missing noun while switching: now the noun is the summary. Understand "start [a device]" and "[a switched off device]" as switching on. Understand "stop [a device]" and "[a switched on device]" as switching off. Understand "switch on [a switched off thing]", "toggle [a switched off thing]", "turn on [a switched off thing]", and "turn [a switched off thing] on" as switching on. Understand "switch off [a switched on thing]", "switch [a switched on thing] off", "toggle [a switched on thing]", "turn off [a switched on thing]", and "turn [a switched on thing] off" as switching off. Switching on is toggling. Switching off is toggling. Section - Conversation Discussing it with is an action applying to two things. Understand "ask [something] to/about/for/-- [something]", "ask [something] to research/look up/-- [something]", "talk about [something] to/with [something]", "ask for/about/-- [something]", "talk about [something]", "say look up [something]", "speak [something]", "tell [something]", and "say [something]" as discussing it with. Understand "ask [a person] to/about/for/-- [something]", "ask [a person] to research/look up/-- [something]", and "talk to [a person] to/about [something]" as discussing it with (with nouns reversed). Check discussing the player with a person: say "Cochone decides not to bore [second noun] with details about himself." instead. Check discussing something with the player: say "Cochone ruminates on [the noun] instead, but he doesn't come to any conclusions." instead. Check discussing something with something: unless the noun is a Conversation Piece listed in the Table of Conversation, say "[if the noun is a person]'There's not much more to say, really,' [second noun] replies. 'At least not right now. We have work to do[otherwise]Cochone mentions [the noun] to Jenny, but she just grunts a reply and continues to stare at her laptop[end if]." instead. Report discussing something with something: choose row with a Conversation Piece of the noun in the Table of Conversation; say conversation entry; say lb; blank out the Conversation Piece entry. Table of Conversation Conversation Piece Conversation bracelet "[if Jennifer is unexamined]Cochone watches Jenny's hands dip and swing over her laptop keyboard. He considers the lumpy bracelet jangling around her wrist. [end if]'What's the story with the bracelet?' Cochone says. 'Are those dogs?' [pb]Jenny sighs. 'Yeah. The three pieces are the dogs I've had.' She lifts part of the bracelet. 'There's Burton, the Lab I had in high school.' She shifts her finger over to the middle charm. 'The small one is Hilton. He died of cancer when I joined the police.' She caresses the last and largest. 'Then there's Chas. He's my Great Dane.' [pb]'Must be hard walking that brute.' [pb]'Not really. Like the breed in general, he's lazy. And when he wants to go, I can just take him to a park and let him go. More boys I meet.' She smiles. 'The more I love my dog.'" dogs "'You're obviously a dog person' Cochone says. 'Your bracelet.' [pb]'Yes,' Jenny says. 'I've always had at least one all my life. My Chas is sick, too. Guess that makes you the second sick dog I've seen today.' Jenny raises her eyebrows expecting a retort. With none forthcoming, she continues, 'He's in pretty bad shape. I had to find a dogsitter for him. I bet he'll be fine.' [pb]Cochone returns Jenny's smile. 'Odds are good.'" cane "'Is there any chance you won't need that chair?' Cochone says. [pb]'Maybe. If I just keep working at it. Part of the problem is balance. You know what happened, right? My ex-boyfriend got really drunk and came back to my apartment and found me with his friend Chris. We were just talking. He was there to see Eric. But when he left, Eric threw me against the wall and down the stairs. And he didn't stop there.' Jenny looks down. 'Thing is, he had reason to be jealous. Chris and I were talking about how it would work between us. But it didn't.' [pb]'So where is your ex?' [pb]'He got out of prison a couple of years ago. And I won't be fooled again, by him or any other guy.' [pb]'Ten-to-one says you lose the chair in a year.' [pb]Jenny giggles." Jennifer "'So what else can I know about you?' Cochone says. [pb]'I don't smell a dinner,' Jenny says. 'And I'm not interested in what's on your menu.' She laughs." stain "'So will a regular wash get this coffee stain out?' Cochone says. [pb]'A good detergent should,' Jenny says. 'What happened, anyway?' [pb]'Coffee in my hand; cat in the street. Loose lid on the cup.' [pb]'You didn't hit him, did you?' [pb]'No. He didn't even flinch. Not like me.'" Happy Jack "'What's the story with the bear?' Cochone says. [pb]'Oh, he was a gift from my dad,' Jenny glances at the bear. 'He gave it to me after I graduated from the academy. He [mdash] HJ [mdash] gives me strength. You know, to [']bear' it.['] She gestures to her wheelchair. [pb]'Huh,' Cochone says. [pb]'Oh come on, that was pretty bad. Not even a groan?' [pb]'Ironside did all right. He was in a chair, too.' [pb]'Oh, yeah? What division?' [pb]Cochone shakes his head. 'Forget it.'" Nigel "'What do you think of the Lieutenant?' Cochone says. [pb]'Nigel?' Jenny says. 'He's great.' [pb]'He's not around, you know. You can be honest.' [pb]'He doesn't need to be here to know what we're talking about. I do IT, remember? Surveillance equipment too. Hidden cameras.' [pb]'You bugged this room for him?' [pb]Jenny laughs. 'Of course not. Not this office ... ' [lb]" Nigel "'I saw the Lieutenant kick a puppy once,' Cochone says. 'He leaves the toilet seat up, too. All the time. Drives his wife nuts.' [pb]'You're full of it,' Jenny says. 'I have nothing bad to say about him. He got me this job.'" Nigel "'You know, Nigel ... ' Cochone says. [pb]'I don't want to here it. We shouldn't talk about him behind his back.'" Informing about it to is an action applying to two things. Understand "tell [something] to/-- research/look/-- up/-- [something]" as informing about it to. Understand "tell [a person] about/to/-- research/look/-- up/-- [something]" and "tell to [a person] [something]"as informing about it to (with nouns reversed). Talking about it with is an action applying to a topic and one thing. Understand "ask [text] to [something]", "talk about [text] with/to [something]", "ask about/for [text]", "say [text] with/to [something]", "speak [text] with/to [something]", "tell [text] with/to [something]", "ask about [text]", "talk about [text]", "look up [text]", "say look up [text]", "speak [text]", "say [text]", "tell [text]", and "research [text]" as talking about it with. Understand "ask [something] to/about/for/-- [text]", "ask [a person] to research/look/-- up/-- [text]", "tell [a person] to/-- research/look/-- up/-- [text]", and "talk to [something] to/about [text]" as talking about it with (with nouns reversed). Check talking about text with the player: say "Cochone throws [topic understood] around in his head but nothing falls out." instead. Check talking about text with something: say "Cochone tries to talk to [second noun] about [topic understood], but she gives a dismissive shrug, smiles, and returns to her work." instead. [We include the following code, commented out, just in case we want to use it in future releases.] [Report talking about text with something: if the topic understood is a topic listed in the Table of Discussion begin; say "[conversation entry][pb]"; blank out the Topic entry; end if. Table of Discussion Topic Conversation] Discussing something with is stalling. Informing about something to is stalling. Talking about text with is stalling. Discussing something with is conversing. Informing about something to is conversing. Talking about text with is conversing. Rule for supplying a missing second noun while conversing: if Investigation is happening, now the second noun is Jennifer; otherwise now the second noun is Nigel. Talking to is an action applying to one thing. Understand "talk to/with [something]", "ask [a person]", "say to/with [something]", "speak to/with [something]", "converse", "speak", and "talk" as talking to. Rule for supplying a missing noun while talking to: now the noun is Jennifer. Check talking to something which is not a person: say "[if the second noun is plural-named]Those are[otherwise]That's[end if] unlikely to respond, and Cochone doesn't want to look silly in front of Jenny. At least not more than he already has." instead. Check talking to the player: say "Cochone decides to keep his thoughts to himself; Jenny probably doesn't want to hear them." instead. Talking to is conversing. Talking to is stalling. Section - Reading and Writing notes Writing some notes is initially false. Reading is an action applying to one thing. Understand "read [something]" and "read" as reading. Understand the command "peruse" as "read". Rule for supplying a missing noun while reading: now the noun is the notebook. Check reading the notebook when the notebook is not noted upon: say "[unless the notebook has been noted upon]You haven't made any notes this session[otherwise]You've deleted the notes in the notebook[end unless]." instead. Report reading the notebook: say "Notebook [pb] [text of the text file of the noun] [pb][end seq] [lb]The notebook closes.". Writing it in is an action applying to one topic and one thing. Understand "write [text] in/into/on/onto [something]" and "write [text]" as writing it in. Understand "write in/into/on/onto [something] [text]" as writing it in (with nouns reversed). Understand the commands "record" and "type" as "write". Rule for supplying a missing second noun while writing text in: now the second noun is the notebook. Check writing text in something which is not the notebook: say "Only the Notebook can take notes." instead. Carry out writing text in something: now the notebook is noted upon; append "[topic understood][lb]" to the text file of the second noun. Report writing text in something: say "The Notebook opens, records the note, and closes again.". Writing is an action applying to nothing. Understand "write" and "write note/notes/thoughts" as writing. Carry out writing: now the notebook is noted upon; disable saving of undo state; now writing some notes is true. Report writing: now the command prompt is "Write your note here:". First after reading a command when writing some notes is true during Investigation: enable saving of undo state; now writing some notes is false; append "[the accessible text of the player's command][lb]" to the text file of the notebook; now the command prompt is "[mdash]"; say "[lb]Recorded. [pb][end seq] [lb]The Notebook closes. [lb]"; reject the player's command. Writing about it in is an action applying to one visible thing and one thing. Understand "write [any thing] in/into/on/onto [something]" and "write [any thing]" as writing about it in. Understand "write in/into/on/onto [something] [any thing]" as writing about it in (with nouns reversed). Rule for supplying a missing second noun while writing about anything in: now the second noun is the notebook. Writing is recording. Writing text in is recording. Writing about something in is recording. Volume - The Mystery Book - The Footage Chapter - Not Story-Important Backyard is not story-important. Understand "backyard" and "yard" as Backyard. Understand "birdbath", "bird bath", "fountain", "statues", and "statue" as Backyard when the item described is examined. Backyard replicates Time Lapse. Backyard records Neo and Nickell. The description of Backyard is "[cap-it][Neo] swings back a door and steps out into bright sunlight. 'Let's go,' [if Neo was not pseudonymized and Neo is pseudonymized][Neo][otherwise]she[end if] says. [pb][cap-it][Nickell] follows her as she walks passed a van, [if Nickell was unidentified][Nickell]'s[otherwise]his[end if] footfalls crunching gravel. Birds respond with their own loud calls. The camera scans some ash trees as if searching for the source. It circles back round to catch [Neo] and [Nickell] disappearing around a corner of the house. With its operator breathing hard and its lens bobbing, the camera follows the pair. It settles on [correct article for item described]large clearing crowded by trees and bush. Two black squirrels drink from [correct article for item described]birdbath. [pb]Zoom in. A hind leg of one of the squirrels hangs limply over the side of the bowl. [pb]'Are you getting this, Xeno?' [Neo] says. [pb]Tails jittering, the squirrels leap from the bowl and scamper up a nearby tree. The camera swings around and pulls out. [pb][Neo] rushes over to [correct article for item described]large fountain[unless item described is examined] centered in the yard[end unless]. 'Whoa!' She steps back and stares at three sculpted figures. 'Is that his ... thing?' [pb][Nickell] saunters up next to her. 'Yep. And those are hers, and those are hers.' [pb]The camera tightens in on the [unless the item described is examined]three naked figures: a man standing in the middle of the basin with one girl kneeling at one side and another girl standing on the other, their hands caressing his body[otherwise]suggestive figures[end unless]. [pb]'Those girls look a bit young, don't you think?' [Neo] says. 'Kind of gross. It's not like a little boy peeing, that's for sure.' [pb][Nickell] continues to study the girls. He turns away and looks at the camera. 'Why don't you turn that off. Maybe we should look around a bit. Get an idea of what's here. We don't need everything. This is supposed to be like reality TV, remember? It doesn't need to be real.' [pb]The video goes black.". Dead Animals is not story-important. Understand "dead Animals" as Dead Animals. Understand "dead animals", "colored plants", "gold plants", "dead plants", and "dead trees" as Dead Animals when the item described is examined. Dead Animals records Neo and Nickell. The description of Dead Animals is "The camera tramples through bush. It finds a dead rabbit with white eyes. Zoom in. Maggots squirm in the eye sockets. 'Ugh,' [unless the item described is examined]a woman [otherwise]the camera operator [end unless]says[unless the item described is examined], obviously the camera operator[end unless]. [pb]The camera continues to roam, picking out a few dead blackbirds and a couple of squirrels. 'Wow,' the same high-pitched voice says, more to herself than anyone else. 'What happened here?' [pb]She focuses on a branch at eye level. Its leaves twinkle with gold flecks that catch the sun. The camera pans over wilting flowers of Spanish moss and monkey flower. [pb]'I gotta piss.' A woman's voice. [pb]The camera whirls around to the white clapboard side of the house where [Neo] is standing, a boarded-up window beside her slim legs. [Nickell] walks into frame and addresses [Neo], who frowns at him. 'Already? We just got here,' [unless the item described is examined][Nickell][otherwise]he[end unless] says. 'You'll have to go in there.' [Nickell] gestures toward the camera. 'This place doesn't have plumbing.' [pb][Neo] scowls. 'Okay, but turn that camera off. I don't want any chance there'll be some [']whoopsie['] footage of me taking a leak.'". Time Lapse is not story-important. Understand "time lapse" as Time Lapse. Understand "backyard time lapse", "scenery", "falling leaves", and "wind" as Time Lapse when the item described is examined. Linker rule for Time Lapse: if Backyard links Dead Animals and Squirrel Trap is examined, link established. Rule for recalling the link for Time Lapse: say "[event] must have been recorded after '[appropriate name for Backyard],' and [previous event] probably followed right after they left the house and went to the backyard. [event] seems to cover most of the late morning, but it doesn't appear as though the camera had been set up when the backyard footage was shot[if Locked-door is unexamined]. The [appropriate name for Locked-Door]' footage suggests that [Nickell] had started the '[appropriate name for Time Lapse]' footage after the girls went back inside the house[end if]. Then all of this must have happened in the morning, before the lunch break in '[appropriate name for Squirrel Trap].' ". The description of Time Lapse is "The backyard of the house from a high vantage point. The camera looks down over [correct article for item described]birdbath next to several overhanging ash trees and [correct article for item described]fountain with [if we have examined Backyard]its statue of two girls[otherwise]two sculptured figures at its center[end if]. The ornaments cast westward shadows. [pb]The footage is speeded up. The bushes rustle, and a fox chases a squirrel across the lawn. Wind jostles the leaves of those trees with branches sprouting into the open space of the yard. Occasionally some leaves break free and sail onto the grass or into the fountain and birdbath. [pb]The shadows in the yard eventually disappear as the footage continues to its end.". Sound Test is not story-important. Understand "sound test", "sound check", and "mic check" as Sound Test. Linker rule for Sound Test: if (Backyard is examined or Dead Animals is examined) or Squirrel Trap is examined, link established. Rule for recalling the link for Sound Test: say "They must have done [event] after [previous event] because [if Dead Animals is examined or Backyard is examined] [Neo] is referring to things she saw outside the house earlier in the day, and [previous event] began shooting before lunch[otherwise]they are about to have lunch, and [previous event] began recording before then[end if]. ". The description of Sound Test is "The audio recording plays. [pb]'Testing,' a man says. 'Testing. By the river. East of the house' [pb]'You know, I've been thinking,' a woman says. [pb]'Can you do that while we eat lunch? I'm hungry,' the man replies. [pb]'That birdbath that the squirrels were drinking from. It was full of water. It hasn't rained in weeks. And it was clean. The whole yard was like that. Clean. And what about that ring I found? I doubt it was Kiku's. And the generator?' [pb]The audio stops.". Squirrel Trap is not story-important. Understand "squirrel trap" and "trap" as squirrel trap. Squirrel Trap records Neo and Nickell. Rule for recalling the link for Squirrel Trap: say "In the [event] footage, [Nickell] refers to something he said minutes earlier in the [previous event] audio. ". The description of Squirrel trap is "The video starts with a close-up of [Neo]. [if Neo was not pseudonymized and Neo is pseudonymized][Neo][otherwise]She[end if] stares into the camera[unless the item described is examined], her eyes a paler shade than that of her hair[end unless]. She pulls the camera away from her face. 'Seems to work okay out here.' [pb]The camera turns to [Nickell], who is sitting propped up against a cypress with a video recorder next to him. He is snarfing down a submarine sandwich. Behind [if Nickell was not pseudonymized and Nickell is pseudonymized][Nickell][otherwise]him[end if], the sluggish Mississippi River caresses the posts of several dilapidated docks. [pb][unless the item described is examined]A furry head [otherwise]The black squirrel[end unless] peers out at the camera from a bush to the left of [Nickell]. The camera pans over to the animal, its fluffy tail twitching against its twiggy camouflage. [pb]'Quiet,' [Neo] says. 'I've got a great idea.' [pb][Nickell] says something that sounds like 'Two in ten minutes. That's good.' [pb]'Shut up and be quiet. This will be a cool shot if it works.' [pb]The camera jiggles across some trees and away from the [unless the item described is examined]animal[otherwise]squirrel[end unless]. [Neo]'s hand places a strawberry on the grass, then the camera descends to ground level and focuses on the fruit centered in screen. [pb]Minutes pass with the occasional twitter and call from some birds. Then, [correct article for item described]squirrel enters the frame. Nose twitching, it scurries awkwardly over to the strawberry. Its black fur is speckled with gold dust. The squirrel snatches up the bait and scampers off, dragging one hind leg through the grass. [pb]'It worked!' [Neo] shrieks. The camera is pulled from the ground. 'Gotcha my pretty. Salt will love this.' [pb]'Let's take a look,' [Nickell] says.". Kitchen is story-important. Understand "kitchen" as Kitchen. Understand "stairs", "staircase", and "foyer" as Kitchen when the item described is examined. Kitchen reveals Argo. Kitchen records Argo and Neo. Kitchen replicates Locked-Door and Fight. The description of Kitchen is "The camera frames [correct article for item described]spacious foyer and wide staircase, which ascends to a hall lined with doors. [unless the item described is examined]A man, t[otherwise]T[end unless]he camera operator[unless the item described is examined],[end unless] coughs. Floorboards creak as the camera turns left into a sitting room furnished with sofas and chairs, faded floral cushions attached to wood frames and armrests. [unless the item described is examined]An[otherwise]The[end unless] empty fireplace is set in the far wall. The muted sunlight, filtered by a yellowed shear over a large window, highlights dust. Everywhere. [pb]The camera operator coughs again and chokes. The deep throaty sound is heard; an attempt to clear a throat that is obviously male. Excited chatter and a loud bang draw him to the foyer where he finds a music keyboard and guitar. He continues into [correct article for item described]dining room with a long table surrounded by chairs, then he enters [correct article for item described]kitchen. He focuses on a refrigerator, which he pulls open. It's empty. The camera finds [correct article for item described]sink set into the cracked countertop. The camera operator turns the taps, producing only a squeaking sound. [pb]A chair scrapes the floor. 'What did you expect?' [unless the item described is examined]A man's voice[otherwise]Argo says[end unless]. 'This place is abandoned, right?' [pb]The camera swings around[unless the item described is examined]. [cap-it][Argo] is sitting at the table[otherwise] to him[end unless]. 'By the way, thanks for the help unloading,' [unless Argo is pseudonymized and Argo was not pseudonymized]he[otherwise][Argo][end unless] says. [pb]'I'm here to shoot, Argo. Music is your department. Isn't this place great? Just like I told you.' [pb]Argo shrugs. [pb]'C'mon. This is the one that puts Chien Chaud Chat Froid on the charts. Billboard.' He sings, 'Cover of the [i]Rolling Stone.[/i] [i]White Phosphorous[/i] is gonna explode. Forget gold, baby, platinum.' [pb]A door slams and floorboards creak. 'Hey.' [unless the item described is examined]Female voice. [cap-it][Neo] rushes over to Argo and flops onto his lap. Smiling, [Neo] wraps an arm around the guy's shoulders[otherwise][Neo] says before sauntering over to Argo and settling on his lap[end unless]. [pb]The video stops.". Diary is story-important. Understand "diary" and "journal" as Diary. Diary records Argo. The description of Diary is "The camera focuses on [unless the item described is examined or Argo is not unidentified]a man sitting on a bed with a Roland keyboard on his lap. His face is so shredded with metal that he could have kissed a live grenade[otherwise][Argo], who is sitting on the bed[end unless]. 'You don't find it weird that this bed is made?' [unless Argo is unidentified]Argo[otherwise]Shrapnel[end unless] says. He lays the keyboard onto the mattress. [pb]'Don't worry about it,' says the male camera operator. 'I checked this place out. Nobody seems to know much about it, but nobody owns it, man. There's nobody here. We're in-and-out in a few hours, anyway .' [pb]'Not if Neo takes Xeno and Nickell on a hike through the woods out there,' [if Argo is unidentified]Shrapnel[otherwise]Argo[end if] says. [pb]The video stops. [pb]Excerpts from scanned copies of two handwritten pages taken from the nightstand: [pb]October 23, 1968[lb]I am worried about Kiku. All girls get hurt, but she doesn't heal good. I try to help her by telling the men that she's sick and can't work. They don't listen. I am teaching her English. She also wants to learn to read [i]Makura No Soshi,[/i] which her mother read to her and she brought with her. [pb]May 4, 1969[lb]I begged to take Kiku to Mont Helene's so she can have her baby . They wouldn't let me. I tried to save her. Poor Kiku was too young maybe, too weak. Father Baptiste let me bury her at St. Maria. Thank God her baby survived. I took her to the hospital to make her safe. I just leave her there. I will leave this place. I will help Kiku's daughter find a home.". Chrysanthemum is story-important. Understand "yellow chrysanthemum", "yellow flower", "chrysanthemum", "flower", and "flowers" as Chrysanthemum. understand "girl", "asian girl", "asian woman", "japanese woman", "Japanese girl", and "Kiku" as Chrysanthemum when the item described is examined. . Chrysanthemum reveals Xeno. Chrysanthemum records Argo, Neo, and Xeno. Chrysanthemum replicates Escape. Linker rule for Chrysanthemum: if Kitchen links Diary and basement is examined, link established. Rule for recalling the link for Chrysanthemum: say "Since it looks like [Argo] and [Salt] were killed in the basement, Track [number-name of Kitchen] must have been recorded when the group arrived at the house. They found the diary in '[appropriate name for Diary],' and [Argo] wandered into the bedroom in '[appropriate name for Chrysanthemum].' He seemed to recognize the name of that Japanese writer. And the sun in the east confirms that this happened in the morning. ". The description of Chrysanthemum is "[unless the item described is examined]A girl with long black hair [otherwise]Kiku [end unless]stares out [correct article for item described]window, the sun in the east sky falling on [correct article for item described]potted yellow flower beside her. [pb][cap-it][Xeno] approaches [unless the item described is examined]the girl[otherwise]Kiku[end unless] and stops at the foot of [correct article for item described]bed. [Xeno] sits and leans toward [unless the item described is examined]the figure, who turns around. She is Asian, mid-to-late teens, and wearing a plain white shirt and a skirt[otherwise]Kiku, who turns around[end unless]. Her large eyes shift from [Xeno] to the camera, her expression unchanging and flat. [pb]'We're so sorry[unless the item described is examined].' The voice female, the camera operator[otherwise],' Neo says[end unless]. 'We thought this place was empty. I'm Neo, and she is Xeno.' [pb][unless the item described is examined]The girl[otherwise]Kiku[end unless] stares into the camera. [pb]'What's your name?' Xeno says. [pb][unless the item described is examined]The girl [otherwise]Kiku [end unless]turns to Xeno and hesitates. 'Kiku,' she says, quiet and accented. [pb]'Do you live here?' Xeno says. [pb]Kiku nods and looks down. [pb]'Are your parents here?' Xeno says. [pb]Silence. [pb]'Your mother?' Neo says. 'Your Father?' [pb]'Hey.' [unless the item described is examined]A man's voice[otherwise][Argo] interrupts[end unless]. [pb]Kiku's head snaps away from the camera to stare beyond it. Her eyes widen. She rushes past the camera, which swings around to catch her disappearing out the door. [pb]The video stutters and fades out, clicks on. [pb][cap-it][Argo] is standing beside the door. 'Who's she?' [if Argo is identified or Argo was not pseudonymized]he[otherwise][Argo][end if] says. [pb]'We don't know,' Xeno says. 'She didn't seem to speak English well.' [pb]The camera follows [Argo] over to several books on a shelf. '[i]Makura No Soshi?[/i] he says and pauses then studies the other books. 'Think she can read English? She has [i]Twilight[/i] and [i]The Hunger Games[/i] here.' [pb]The video stutters and stops.". Locked-Door is story-important. Understand "locked" and "door" as Locked-Door. Locked-Door reveals Argo, Neo, Nickell, and Salt. Locked-Door records Argo, Neo, Nickell, Salt, and Xeno. Rule for recalling the link for Locked-door: say "Since Kiku just ran out of the room in the [previous event] footage, its likely [event] follows immediately afterward. ". The description of locked-Door is "The camera is carried down a flight of stairs toward [Nickell]. [if Nickell is identified]He[otherwise][Nickell][end if] closes the front door. 'Nickell.' A woman's voice. 'Did you see a girl come down here?' [pb]The camera steadies on Nickell. He runs a hand through his thick black hair. 'No, but I was outside setting up. I could have missed her. Somebody lives here?' [pb]'We're not sure,' the woman says. [pb]The camera whirls away and enters [correct article for item described]dining room then [correct article for item described]kitchen. [if Salt is identified]Salt[otherwise]A tall thin guy[end if] twists the knob of a door in the far wall. [pb]'What's up, Salt?' another woman says. [pb][if Salt is identified]Salt[otherwise]The guy[end if] turns around[unless Salt is identified]. He wears dark jeans, a shirt that says 'Meat is Murder,' and a bemused expression[end if]. 'The door is locked. I bet this goes downstairs. I'd like to get down there.' He sits at [correct article for Kitchen]table[if Argo is unidentified], and [Argo] joins him. [Argo] looks unimpressed[otherwise], [Argo] joins him[end if]. [cap-it][Neo] walks into frame, tosses a ring onto the table, and continues to the door. [if Neo is pseudonymized]Blue[otherwise]She[end if] twists the knob. [pb]'Let me have your phone, Argo,' Salt says. He extends a hand to [if Argo is unidentified]the guy next to him[otherwise][Argo][end if]. 'Research.' [pb][Neo] looks into the camera. 'Are you thinking what I'm thinking, Xeno?' She gestures at the door behind her. 'Give me your phone for a sec.' [pb]'I don't have a [']key['] app on that thing, Neo,' a woman says as she hands over the camera. [pb]'I want to check something,' Neo says, then the video stops.". Google is story-important. Understand "google", "research", and "search engine" as Google. Rule for recalling the link for Google: say "In the [previous event] video, [Salt] wants to do an internet search. [event] must be it. ". The description of Google is "[b]Summary of Google Search Results[/b] [pb][b]1. Mont Helene's Hospital, New Orleans[/b] ... 30 years since a patient was treated within its walls, Mont Helen's hospital remains dormant, the City has no ... one of the oldest and smallest ... [b]2. Mont Helene's[/b] ... On Orleans, Mont Helene's School for the Deaf is among ... [pb][b]1. two-headed cobra ring | eBay[/b] ... Vintage mens ring made of metal with a two-headed cobra ready to strike ... [b]2. Sangoro Correctional Facility [mdash] New Orleans[/b] ... The prison has been closed for over a decade ... metal rings with two-headed cobras sticking from them like horns. They are used as weapons ... [b]3. Snake Rings in Prison[/b] ... metal rings of snakes, sometimes two headed ... cobras popular in the Louisiana penal facilities ...[pb][b]1. St. Maria's [mdash] New Orleans[/b] ... The church has one of the largest graveyards in the State ... numerous large, and often elaborate, mausoleums ... [b]2. Mass Schedule | St. Maria's Church[/b] ... Mass is held twice on Sunday mornings ... Archdiocese of New Orleans ... Father Baptiste will be speaking at ... [b]3. St. Maria's[/b] ... haunted tours ... the tombstones were found desecrated, and many have gone missing over the years ... the ghosts that wander ... ". Basement is story-important. Understand "basement" and "cellar" as Basement. Basement reveals Argo and Salt. Basement records Argo and Salt. Linker rule for Basement: if Locked-Door is examined, link established. Rule for recalling the link for Basement: say "Salt obviously wanted to get downstairs in '[appropriate name for Locked-door],' and it seems logical he persuaded some of the others to check it out in the [event] video, after he finished searching Google. ". Rule for recalling the link for Motorboat: say "The cawing of the crows when the group broke into the basement in the [previous event] video must have been the sound I heard at the beginning of the [event] audio. ". The description of Basement is "'I didn't sign up for breaking and entering,' [if Argo is unidentified]says [Argo][otherwise][Argo] says[end if]. [if Argo is identified]He[otherwise]Shrapnel[end if] rams a tripod leg between wood boards and the side of the house at his feet. Two boards separate from the clapboard with a loud crack. [pb]A murder of blackbirds caw and fly off. [pb]'I told you that nobody owns this place,' [if Salt is unidentified]says [Salt][otherwise][Salt] says[end if]. [if Salt is pseudonymized][Salt][otherwise]He[end if] slides a knife into his pants. 'Neo was right. These planks have rotted,' he says just before the image goes black. [pb]The footage starts again. [unless the item described is examined]An[otherwise]The[end unless] enclosed counter fronted by clear glass sits in the feeble light cast by the window beside it. A pipe snakes from the top of the fume hood and attaches to the wall. [pb]'Wow,' [unless the item described is examined]a man [otherwise][Salt] [end unless]says. The camera swings around and catches [unless the item described is examined][Salt][otherwise]him[end unless] standing over another counter, its length swallowed in the gloom of the basement. [Salt]'s flashlight beam glides along its black surface, picking out bottles, a digital weigh scale, flasks, and a sink. It comes to rest on [correct article for item described]humming refrigerator. [pb]'What's that smell?' [Salt] says. 'Sulfur?' [pb]'Maybe this was a mistake, Salt[unless the item described is examined].' A woman's voice, the camera operator[otherwise],' the female camera operator says[end unless]. 'Argo?' [pb] The camera finds Argo pointing his flashlight over boxes in a corner. [pb]The video goes black and when the footage starts again, Argo is starting up some stairs with Salt behind him. [if we have examined the item described]The figure wearing the gas mask[otherwise]A tall figure[end if] emerges from behind them[if we have not examined item described]. Its eyes are large and bulging[end if]. It throws a cloud of glittering powder into their faces. Both men collapse gasping and coughing onto the floor. The camera dips as its operator begins to sway. She hacks and sputters. [pb]Argo twitches, shakes. A seizure. The figure[if we have not examined item described], whose face is covered by a gas mask,[otherwise]draped in darkness[end if] bends down and places a bag over Salt's head. [pb]The camera turns to the stairs. The video fades and goes black.". Motorboat is story-important. Understand "powerboat", "motor boat", "fishing boat", "boat", and "power boat" as Motorboat. The description of Motorboat is "[b]Audio track[/b] [pb]Excerpts from highlighted sound bites. [pb]00:42:05 [mdash] Birds chatter and insects buzz. The cawing of distant blackbirds. Their cries crescendo and fade out. [pb]00:51:02 [mdash] Faint buzz of a boat motor. It eventually drowns all other sound. Footsteps stomp along the wood planks of a dock. The motor dies. [pb]'Combien?' [unless the item described is examined]A man's voice. French[otherwise]Frenchie One says[end unless]. [pb]'She wasn't sure[unless the item described is examined].' Another man, French accent[otherwise],' Frenchie Two says[end unless]. 'Three. Maybe even four or five.' [pb]'Merde[unless the item described is examined].' A third French man[otherwise]Frenchie Three says[end unless]. [pb]01:09:47 [mdash] Footsteps along the dock. Water sloshes against the boat as something is removed from it. Feet clomp away. [pb]01:41:15 [mdash] The faint sound of a vehicle engine. [pb]02:05:55 [mdash] Male and female voices are talking, but their voices are faint and indistinct. As they approach the river, the French male voice becomes clearer. 'We don't need to come back. It's probably not safe for you either.' [pb]A boat engine revs. [pb]'Let her go,' the man says. 'Go home to her family. Live happy. And rich. Your husband would be proud.' [pb]The boat drives away.". Fight is story-important. Understand "fight" and "beating" as Fight. Fight reveals Xeno. Fight records Neo and Xeno. Rule for recalling the link for Fight: say "The thugs were on their way to the house in the [previous event] audio, and it looks like they arrived in the [event] video. ". The description of fight is "A close-up of [Neo]. [if Neo is pseudonymized and Neo was not pseudonymized][Neo][otherwise]she[end if] scrunches her face, and the camera shakes. 'C'mon you stupid thing. Work.' Floorboards moan. [Neo] looks up. The phone is cast aside, but its eye peeks from a crook in [correct article for item described][if one track which replicates item described is examined]floral-patterned [end if]sofa. It captures [Xeno] gasping and coughing in [correct article for item described]hall. [Xeno] bends over, clutching her stomach. [pb][Neo] rushes to [Xeno] and helps her into the sunlit room. 'Xeno? What's wrong?' [pb]Xeno sputters, and her knees buckle. [pb][Neo] turns to face [correct article for item described]window and disappears from view. 'There's some men coming.' She reappears at Xeno's side. [pb]The footage stutters, scrambles, goes black. [pb]It restarts. [unless we have examined the item described]A woman [mdash] fortyish and tall [mdash] [otherwise]The tattooed woman [end unless]is standing over Xeno and [Neo], who huddle together on the floor, oblivious. The woman hauls [Neo] to her feet and pulls her toward the camera. [Neo] twists, but she can't free her arms. 'Who? Let me.' [Neo] continues to struggle. The woman shifts her stance, flashing [if we have examined item described]her[otherwise]a[end if] yellow flower tattoo[if we have examined the item described].[otherwise] on her arm[end if]. [pb]Xeno, having regained some control over her breathing, gets to her feet. She looks left then darts away to her right. [pb]Crackle. Black. [pb]The video returns. [Neo] shakes and cries next to the camera. A black man points a Glock pistol at her. Suddenly he is knocked away, the gun falling. [pb][cap-it][Nickell] [if Nickell is pseudonymized and Nickell was not pseudonymized]and [end if][unless the item described is examined]clutching an oar stands over the fallen figure[otherwise]holding an oar[end unless]. He goes fuzzy, and the image disappears. [pb]Thump. A woman screaming. [pb][unless the item described is examined]A gloved hand appears and punches at something on the floor, fist bloodier with every swing. Deep breaths. The gloved hand pushes off the cushion in front of the camera. One of the fingers of the glove is shredded[otherwise]Breathing deep, the black guy pounds [Nickell] with a bloody fist[end unless]. The man hefts himself to his feet. He turns, revealing the Glock. He fires two shots at the body on the floor. [pb][Neo], in hysterics, is thrown onto the sofa. Two shots. [pb]Visual and audio cut out.". Escape is story-important. Understand "escape" as Escape. Escape records Xeno. The description of escape is "Close-up of a door. [unless the item described is examined]Somebody [otherwise]The thug [end unless]bangs on it from the other side. [unless the item described is examined]A woman [otherwise][Xeno] [end unless]wheezes and gasps. [pb]The camera shakes. It swings around to [correct article for item described]window with [correct article for item described]potted flower on its sill. The camera drops to waist height. [unless the item described is examined]The camera operator [otherwise][Xeno] [end unless]slides the window up. [pb]The door bursts open. The camera shakes and whirls around. [unless the item described is examined]It captures a black man pointing a [otherwise]The thug points his [end unless]Glock pistol[if the item described is examined]at [Xeno][end if]. Unnoticed by the man, [if one track which replicates item described is examined]Kiku[otherwise]a Japanese girl in a white shirt and skirt[end if] is standing just inside the door. [pb]The gun clicks. 'Merde!' the guy says. [pb][if we have examined a random track which replicates the item described]Kiku[otherwise]The girl[end if] offers a slight smile, and she nods at [unless the item described is examined]the camera[otherwise][Xeno][end unless]. [pb][unless the item described is examined]The camera operator [otherwise][Xeno] [end unless]grunts and wheezes. She throws herself out the window. She crashes into some branches and tumbles to the ground. The video goes black, but [unless the item described is examined]the woman's [otherwise][Xeno]'s [end unless]panting can be heard. [pb]The side of the house appears with the man at the open window. He points his Glock down at [unless the item described is examined]the camera operator[otherwise][Xeno][end unless], but nothing happens. He slams the pistol against the window frame. [pb][unless the item described is examined]The woman [otherwise][Xeno] [end unless]rises, wheezing and coughing. After a few wobbly steps, she stumbles through the trees. She steadies herself with an arm against a trunk, then continues through the foliage.". Torching is story-important. Understand "burning", "burning basement", "fire", and "torching" as Torching. Linker rule for Torching: if Fight links Escape and Escape is examined, link established. Rule for recalling the link for Torching: say "The [event] probably happened after [previous event] and '[appropriate name for Fight].' There's a fight, and the thug busts up his hand. [Xeno] is chased upstairs by another guy. He comes back after the girl escapes, and everyone decides to flick the Bic. ". The description of torching is "The screen is black, but voices are audible. [pb]'We have enough now.' A man with a French accent. 'We can burn this place. Leave nothing. It is safest.' [pb]'No[unless the item described is examined].' A woman[otherwise],' the woman says[end unless]. 'My mother. She needs this house.' [pb]'We must burn the basement at least. Nobody can find your work. Marco will take their van. We'll take the boat.' [pb]Floorboards creak. Footsteps. The woman, 'You should see a doctor. That hand looks terrible.' [pb]'Non.' Another man's voice. French. 'I hate hospitals.' [pb]Footsteps pound down the stairs. [unless the item described is examined]A third man. French[otherwise]The third French guy speaks[end unless]. 'She ran away.' [pb]'We need to hurry then,' the first man says. 'We'll need to move out the stockpile this weekend.' [pb]The sound stops, and the video ends.". Book - Story Finale Chapter - Bonus Track Office is a room. The description of Office is "Nigel waits for Cochone to tell him [unless church is carried or prison is carried or house is carried or hospital is carried]where the chemical weapon is stored[otherwise]about his suspicions[end unless], and Jenny studies Cochone with concern.". After looking when Office contains player: say "The computer shows the tracks: [pb]"; now already speaking is true; if one track is positioned, try examining sequence; now stripping tag info is true; say "[track listing] [lb]"; now stripping tag info is false; now already speaking is false. A destination can be first-choice. A subject can be first-choice. Kiku can be first-choice. Marco can be first-choice. Does the player mean doing something to a track (called target) when Office contains player: if target is Google, it is very likely; it is very unlikely. Does the player mean discussing a track with someone when Office contains player: it is very unlikely. Does the player mean doing something to a destination when Office contains player: it is very likely. Understand "[a destination]", "go to [something]", "go [something]", and "visit [something]" as taking. Understand "say go/visit to/-- [a destination]", "say goto [a destination]", and "say [a destination]" as discussing it with. Understand "ask [a person] to visit/go to/-- [a destination]" and "ask [a person] to goto [a destination]" as discussing it with (with nouns reversed). Understand "tell [a person] to go/visit to/-- [a destination]" and "tell [a person] to goto [a destination]" as informing about it to (with nouns reversed). Before informing about when Investigation has ended: try discussing the noun with Nigel instead. Before discussing a destination with someone when the player carries a destination: if the player carries the noun begin; say "'All right, Steve,' Nigel says. 'We heard you the first time.'"; follow the roll the presses rule instead; otherwise; unless the player carries water or the noun is water, say "The [if the noun is church]church maybe[otherwise if the noun is the prison]prison Sangoro[otherwise if the noun is hospital] ... maybe hospital[otherwise if the noun is house]house, I'm sure[end if],' Cochone says weakly. [pb]'We can't be everywhere, Steve,' Nigel says. 'We're spread pretty thin. I'll see what I can do, but we'll be sure to visit [the random first-choice thing] since that seemed to be your instinct. But we may need to think about this more.'"; end if; unless the player carries water or the noun is water, follow the roll the presses rule instead. Before discussing church with someone when Investigation has ended, say "'I think we [if the player carries water]also [end if] need to check out St. Maria's. The church. That may be where they're storing the stuff.' [pb]Jenny looks skeptical. [pb]'Okay, we'll check it out,' Nigel says.". Before discussing hospital with someone when Investigation has ended, say "'The hospital[if the player carries water], too[end if],' Cochone says. 'They may be storing the stuff there.' [pb]Jenny looks doubtful. [pb]'Mont Helene's?' Nigel says. [pb] 'Yeah.' [pb]'Okay, we'll send some guys to check it out.'". Before discussing house with someone when Investigation has ended, say "'I think [if the player carries water]there's more at the house[otherwise]we need to check out that house again[end if],' Cochone says. 'We may be missing something.' [pb] Jenny shakes her head and ppurses her lips. [pb]'Okay, okay,' Nigel says. 'We will send some guys down there now and see what else we can find.'". Before discussing prison with someone when Investigation has ended, say "'Those rings,' Cochone says. 'They were made in Sangoro. The place is abandoned. It would be a good spot. A good spot to hide ... the chemical agent.' [pb]Jenny smiles and nods. [pb]'I think you're exactly right,' Nigel says. 'We're going to check it out immediately. Maybe with some surveillance we can catch these guys.'". Before discussing injured squirrel with someone when Investigation has ended for the first time, say "[ if secondary objective is not solved]'There is something about that squirrle with the bad leg, but I just can't figure out what it is,' Cochone says. [pb]'Just tell us what you do know, steve,' Nigel says[otherwise]'Something allowed that injured squirrel to survive,' Cochone says. 'We need to know what.' [pb]'What do you think it was?' Nigel says[end if]." instead. Before doing it more than once, say "'That squirrel ... ' Cochone says. [pb]'We know,' Nigel says. 'We need more to go on.'" instead. Before discussing water with someone when Investigation has ended: if secondary objective is not solved begin; say "[one of]'There's something ... there's something about that place ... I know it,' Cochone says. 'But I just can't ... It's in the water.' [pb]'What's in the water, Steve?' Nigel says. 'There's something in the river?' [pb]Cochone shakes his head. 'I just don't know.'[or]'Just focus on where you think they are storing the weapon,' Nigel says.[stopping]"; otherwise; say "'[if water is carried]You're going to check out that water, right?' Cochone says. [pb]'Yes, I got it,' Nigel says. 'Let's focus on that gold powder[otherwise]There's something in the water in that birdbath,' Cochone says. 'At the house. That squirrel was still alive. Even when it was covered in the powder. We need to get that water from the bath. Or those leaves that fell into it.' [pb]Jenny nods. 'That's probably what protected that squirrel.' [pb]'You could be right, Steve,' Nigel says. 'It's probably worth looking into. 'I'll send someone down there to get samples. We'll sort it out[end if].'"; end if. Instead of discussing something with someone when (the noun is either Kiku or Marco or the noun is a subject) and second noun is either Jennifer or Nigel and Investigation has ended: if the noun is first-choice begin; follow the roll the presses rule; otherwise; now the noun is first-choice; say "'"; if the noun is Kiku, say "Maybe we should be looking at Kiku,' Cochone says. 'Try to find out more about her.' [pb]'I'm not sure she's our greatest concern right now,' Nigel says. "; if the noun is Marco, say "We should find Marco,' Cochone says. [pb]'We're working on it, Steve,' Nigel says. 'It will take awhile. "; if the noun is a subject, say "[if noun is Xeno]Maybe we can find out more from the woman in the hospital[otherwise]Maybe [noun]'s family knows more[end if],' Cochone says. [pb]Nigel shakes his head. 'We need information now, Steve,' he says. "; say "[one of]'[if water is carried or every destination is not carried]I think we need to find the chemicals they were working on[otherwise]What about the outdoor footage[end if]. Got any ideas?'[or][rpo][stopping]"; end if. Instead of examining when the noun is either hints or help and Investigation has ended: if every destination is not carried or water is carried, say "'Jenny?' Cochone says. [pb]'[one of]I think the bad guys are keeping that powder somewhere,' Jenny says. 'You need to tell us where you think it is[or]Where is that powder?' Jenny says. 'We need to know[stopping] You can still play the tracks, if you want to check some of them.'"; otherwise say "'There's more, right Jenny?' Cochone says. [pb]'[one of]I think so,' Jenny says. 'I think there was something we should check out from that short sequence[or]Yes, Steve,' Jenny says. 'Maybe that squirrel ..[stopping].'". Instead of examining walkthrough when Investigation has ended for the first time: if every destination is not carried or water is carried, say "'Jenny, what do you think?' Cochone says. [pb]'I think the powder is either at the church, the prison, or the hospital,' Jenny says. 'It's your call.'"; otherwise say "'What am I missing, Jenny?' Cochone says. [pb]'Maybe we should get some of that water, too,' Jenny says. 'That one squirrel that drank it didn't get sick.'". Instead of doing it for more than one turn: if every destination is not carried or water is carried, say "'Church, prison, or hospital seem to be the choices,' Jenny says."; otherwise say "'The water, methinks,' Jenny says.". Instead of discussing something with someone when Investigation has ended: say "'I'm thinking,' Cochone mumbles. [pb]'You'll need to be clear, Steve,' Nigel says.". Instead of discussing Basement with someone when Investigation has ended, say "'Did we find anything in the basement?' Cochone says. [pb]'No we haven't,' Nigel says. 'You know that.' He glances at Jenny. She shrugs.". Instead of discussing Dead Animals with someone when Investigation has ended, say "'Did we find anything in the animal autopsies?' Cochone says. [pb]'We're working on it, Steve,' Nigel says.". Instead of discussing something with someone when noun is either Backyard or Time Lapse and Investigation has ended, try discussing water with Nigel. Instead of discussing Google with someone when Investigation has ended, say "'I think one of those places on the Google search has the weapons,' Cochone says. [pb]'Sounds right,' Nigel says. 'But which one?'". Instead of discussing an on-screen thing with someone when Investigation has ended, say "'We've been through that, Steve,' Nigel interrupts. 'I need to know what you think we should do.". Instead of talking about text with someone when Investigation has ended: say "'I ... I think ... ' Cochone mumbles. [pb]Nigel looks at Jenny. 'Concentrate, Steve,' he says. '[if every destination is not carried or water is carried]You were trying to think of where the chemicals are[otherwise]You said there's something more. About that squirrel[end if].'". Instead of talking to someone when Investigation has ended, say "'I'm thinking,' Cochone says. 'Give me a minute.' [pb]Nigel looks at Jenny, and she sighs.". Instead of discussing a destination with someone when Investigation has ended: now the player carries the noun; now the noun is first-choice; if secondary objective is solved and ((water is not carried and exactly one destination is carried) or (water is carried and exactly one destination is carried)) begin; say "Cochone coughs and adds, 'I think there might be more. [unless water is carried]There's something in that short sequence[otherwise]We still need to know where those chemicals are[end if].' [pb]Jenny raises an eyebrow. [pb]'[if water is not carried]Like what[otherwise]Okay, where do you think they are[end if]?' Nigel says."; otherwise; follow the roll the presses rule; end if. Instead of waiting when Investigation has ended, try discussing hints with Jennifer. This is the roll the presses rule: say "[if (two statuses are solved and two destinations are carried) or (exactly one status is solved and a destination is carried and water is not carried)]Cochone begins to cough[otherwise]Cochone tries to concentrate, but his head lolls[end if]. [pb]'Just relax, Steve,' Nigel says. He turns to Jenny. 'Has he been like this all afternoon?' [pb]'He seemed a little sick when he got here this morning,' Jenny says. 'But he wasn't this bad.' [pb]Cochone slumps. His head slams against the desk. Fade to black. [pb]Press a key to continue. [pb]"; wait for any key; if prison is carried begin; say "[i]New Orleans Advocate[/i] Nov. 25, 2014 [lb]"; say "[b]Police make more arrests in chemical weapons ring[/b][lb]New Orleans police have arrested three more men who are suspected of planning terrorist acts against the US. The suspects were arrested Tuesday, a week after police found a large cache of chemical weapons at the Sangoro Correctional Facility, which was shut down in 1997. The five men charged to-date have been tied to Ansar al-Sharia, a Tunisian terrorist group associated with Islam fundamentalists. 'The New Orleans Police Department has done an excellent job of identifying and containing the threat,' said Mayor Phil Gordon at a press conference yesterday. [pb]On Nov 15, police found three men and one woman dead in an empty house in the Belle Bayou, where they also uncovered evidence of a chemical weapons lab. ... '"; say pb; end if; say "[i]New England Journal of Medicine[/i] Jan. 25, 2015[lb][b]Hearing loss and paralysis associated with a novel airborne chemical agent[/b][lb]"; say "Abstract: Over a period of three days, 14 emergency response personnel, including police and firefighters, were admitted to hospital with nausea, vomiting, headache, motor inco-ordination, and syncope. They had been exposed to a synthetic compound while investigating an abandoned house in the Belle Bayou of New Orleans, Louisiana. All of the patients survived, but ten developed severe hearing loss and paralysis. Another woman, also found at the site, died two weeks after exposure. "; if prison is carried begin; say "The causative agent, AU879-98, is a novel combination of several elements, largely sulfur and phosphorous. Treatment of long-term morbidity has been unsuccessful[if water is carried], but preliminary research has shown that a complex alkaloid extracted from the ash tree may be effective when given shortly after exposure[end if]. [pb]"; end if; unless prison is carried begin; say "[i]New York Post[/i] Mar. 12, 2015[lb][b]Hundreds die in subway attacks[/b][lb]"; say "Hundreds of commuters were hurt or killed yesterday when canisters of AU879-98 were released in New York subways. This represents another in a series of similar attacks in major cities across the US. The Tunisian terrorist group Ansar al-Sharia says the attacks will continue ... The mysterious gold powder has not been identified ...[if water is carried]The FDA has allowed experimental use of a drug based on a chemical found in the ash tree. In animals, this drug has been shown to protect against the effects ...[end if] "; say pb; end unless; if glulx sound is supported begin; play sound of cymbals in foreground for 20 times; play sound of heckler in background; end if; end the story finally saying " ... and the fat lady sings. Cochone's investigation leads to one of four outcomes, dependent upon which chains he link together and what he tells Lieutenant Jayne. He only needs to sequence the ten-segment chain before Jenny offers to notify Nigel. Whether or not he solves the short chain, however, does influence the outcome. If you decide to play again, keep in mind that Jenny likes to be talked to, and the game recognizes some standard commands that don't apply to the 'Sequitur' program when used with objects in Jenny's office. These include examine and listen. [pb][fiction title] includes bonus tracks: BONUS SEQUENCE shows how all the footage fits together in one sequence; MUSICAL CUES describes the inspiration, and trivia, for [fiction title]; LINER NOTES offers insight into its development; RECOMMENDATIONS lists books, films, and other games with similar content and themes to those in [fiction title].". Table of Final Question Options (continued) final question wording only if victorious topic final response rule final response activity "read the CREDITS" true "[credits]" crediting rule -- "see the BONUS SEQUENCE" true "[whole story]" viewing rule -- "read the MUSICAL CUES" true "[inspiration]" inspire rule -- "read the LINER NOTES" true "[liner notes]" showing the development rule -- "read the RECOMMENDATIONS" true "[more stuff]" recommending rule -- Understand "about", "about the/-- authors/authors", "acknowledgements", "authors", "creator", "creators", "credits", "writer", and "writers" as "[credits]". Understand "bonus", "sequence", "bonus sequence", "whole", "whole story", "entire story", "entire", "whole sequence", "entire sequence", and "all footage" as "[whole]". Understand "[whole]", "read [whole]", "see [whole]", "watch [whole]", and "view [whole]" as "[whole story]". Understand "inspiration", "inspirations", "music cues", "music cue", "musical", "music", "musical cue", "musical cues", "trivia", and "cues" as "[mc]". Understand "[mc]" and "read the/-- [mc]" as "[inspiration]". Understand "liner", "liners", "liner note", "liner notes", and "development" as "[development]". Understand "[development]" and "read the/-- [development]" as "[liner notes]". Understand "reading", "playing", "watching", "viewing", and "recommendations" as "[reading list]". Understand "[reading list]", "read the/-- [reading list]", and "read the/-- further [reading list]" as "[more stuff]". This is the viewing rule: let holding be the list of tracks; say "Jenny wheels herself into her office and rolls up to the computer Cochone had been working on hours earlier. She begins to arrange all the footage: The members of Chien Chaud Chat Froid and the video producers arrive at the ostensibly abandoned house to shoot video for their latest album in the first track ('[printed name of entry 6 in holding]'). The gang then splits up; Neo, Nickell, and Xeno explore outside ('[printed name of entry 1 in holding]' and '[printed name of entry 2 in holding]') while Argo and Salt scout the rooms for somewhere to set up their equipment ('[printed name of entry 7 in holding]'). Neo and Xeno find Kiku ('[printed name of entry 8 in holding]') while Nickell places a camera outside to record the backyard ('[printed name of entry 3 in holding]'). Argo, Neo, and Xeno pass Nickell, who is entering the house, on their way to see Salt in the kitchen ('[printed name of entry 9 in holding]'). Salt investigates the ring and diary using the cell phone ('[printed name of entry 10 in holding]'). [i]Neo may have found that ring when she took that bathroom break in the bush,[/i] Jenny thinks. [pb]Jenny sighs and continues to sort the tracks. Neo and Nickell decide to eat outside, where the latter sets up his audio recorder ('[printed name of entry 4 in holding]'), and Neo discovers the injured squirrel has been exposed to the gold powder ('[printed name of entry 5 in holding]'). [i]Despite exposure, the squirrel, which had been drinking from the birdbath, seems healthy,[/i] Jenny thinks. [i][if secondary objective has been sequenced]You were right about that, Cochone.[otherwise]We missed that, didn't we Cochone?[end if][/i][pb]She returns her attention to the screen. Salt convinces Argo and Xeno to break into the basement through the boarded-up windows, and they are attacked by Kiku's daughter ('[printed name of entry 11 in holding]'). The startled blackbirds are caught by the audio recorder, which also picks up the arrival of the terrorists, Nickell retrieving the oar, and Kiku's daughter leaving in the boat with one of the terrorists ('[printed name of entry 7 in holding]'). [i]So the first conversation implies that Kiku's daughter had called to warn of the intruders, and the last conversation reveals that the terrorists knew the husband of Kiku's daughter,[/i] Jenny speculates. [i]And in the intervening footage, Neo has already returned to the house and tries to help Xeno. But the terrorists arrive in ('[printed name of entry 13 in holding]').[/i] One of the terrorists beats Nickell with his fist, his cobra ring tearing one of his gloved fingers. Xeno flees, but Neo and Nickell are killed. Xeno runs up to Kiku's room where Kiku helps her escape out the window ('[printed name of entry 14 in holding]'). The terrorists and Kiku's daughter decide that the chemical weapons she had been synthesizing will need to be moved and the laboratory set aflame ('[printed name of entry 15 in holding]').". This is the inspire rule: say "The songs I had to choose from for the 2014 ShuffleComp: [pb]"; repeat with selection running through candidate songs begin; say "[printed name of selection] '[short-name of selection]'[lb]"; end repeat; say "[pb]Of the songs on this playlist, 'House of the Rising Sun' and 'Solid Gold' had the greatest influence on [i][story title].[/i] The Asian brothel and Cochone's gambling were inspired by The Animals['] song, as was the prison (which some music critics think is the real 'House of the Rising Sun'). The band name itself, The Animals, also inspired the naming of the main characters, and Jenny's dogs are named after members of the band. Because of 'Solid Gold,' I added the chemical/alchemical aspect of the story. References are made throughout the game to elements [mdash] the names of the band members are abbreviated names for the noble gases argon, neon, and xenon, for example. 'Hot Dog' and, to a lesser extent, 'Il Est Cinq Heures Paris S'eveille' also influenced [fiction title]. Most obviously, Cochone's favorite food, the name of the band, and the vegetarian references were inspired by the former, and the French element was included because of the latter. This is just a sample of how these songs shaped the game; you'll likely find other similarities. See below for more trivia. [pb]I chose these songs based on listening to them, not on their videos. During development of the game I was made aware of them. As it turns out, those for 'Wandering' and 'Wires' share some themes with the game, but these similarities are coincidental. I enjoyed all of the songs on my playlist [mdash] six of the eight were new to me. Give them a listen. It should become readily apparent why the word 'music' is derived from the Greek 'muse.'"; say "[lb][b]Trivia[/b] [pb]"; say "Because The Animals recorded the version of 'House of the Rising Sun' that [fiction title] is based upon, 21 animals inhabit the game: bear, birds, bruins (Middle English for brown bear), buffalo, cat, ([i]chat[/i] in French)cobra, dogs, ducks, fish, fox, hornets, lynx (homonym of Lincks), monkeys, panthers, penguins, phoenix, pig ([i]Cochon[/i] in French), sharks, spider (as part of 'spydersound'), squirrels, timberwolves, and turkeys. [pb]"; say "Seven songs by The Animals are played at random and are heard when Cochone listens: 'Bright Lights Big City,' 'Don't Let Me Be Understood,' 'House of the Rising Sun,' 'It's My Life,' 'San Franciscan Nights,' 'See See Rider,' and 'We've Gotta Get Out of This Place.'"; say "Six songs by The Who are mentioned: 'Baba O'Riley,' 'Getting in Tune,' 'Happy Jack,' 'My Generation,' 'Squeeze Box,' 'Who Are You,' and 'Won't Be Fooled Again.' These last two, and 'Baba O'Riley,' are themes to the [i]CSI[/i] television show and its spinoffs. [pb]"; say "Dylan Salt is named after Bob Dylan, and Jakob Nickell is named after Jakob Dylan, bob's son and member of the band The Wallflowers."; say "'The Cover of [']Rolling Stone[']' is a song written by the poet Shel Silverstein and recorded by Dr. Hook and the Medicine Show."; say "[i]Meat is Murder[/i] and [i]Strangeways, Here We Come[/i] are albums by The Smiths."; say "Jenny mentions the Carrie Underwood song 'The More Boys I Meet' when she is asked about her bracelet. [pb]"; say "The song 'Solid Gold' inspired the alchemical aspect of the game and, accordingly, the inclusion of 22 elements: argon (represented by Argo), carbon (as ppart of Carbonites), cobalt, copper, curium, gold, iridium, iron (as part of Ironside),lead, neon (represented by Neo), nickel (homonym of Nickell), nitrogen (as nitro), oxygen, phosphorous, platinum, polonium, radium, silicon, silver, sulfur, tin, and xenon (represented by Xeno). [lb]Alchemists favored sulfur in their experiments to create gold. [pb]"; say "The Belle Bayou is named after the owner of La Maison Derriere, a burlesque house that Bart Simpson discovers in the 'Bart After Dark' episode of [i]The Simpsons.[/i] Veronica Cartwright, Xeno, is named after Nancy Cartwright, the voice of Bart Simpson.". This is the showing the development rule: say "[b][fiction title] Development[/b] [pb]Several months before ShuffleComp came along in April 2014, I was wondering how a work of interactive fiction could be based on the found footage genre of filmmaking. I wasn't planning on entering the competition, because I was afraid I couldn't develop and implement a game within the time allotted. But, a few days before the playlists were to be submitted, I thought about how a game could be constructed like a CD, with individual tracks making up a whole album. The interface could be much like a CD player. Then I realized this fit well with the found footage concept, and [fiction title] followed from there. [pb]I'm not sure that this experimental design was a complete success. [fiction title] did rank in the top ten ShuffleComp games, but I think that most players valued its ambition over its many flaws. Much of the latter have been addressed in the second release, which was started in early June and finished by early August. In the end, was the found footage approach a good choice for interactive fiction? I had thought that it would simply be a variation on other games that tell some of their story through journal entries or other scraps of text that the player finds along the way, another twist being that the player had to put these fragments in order and didn't have to wander through a maze of rooms to find them. The transfer of audio and visual media to text is, for me, natural; being blind, I need verbal or textual descriptions of visual media. But matching up tracks is probably more difficult than it sounds, and the mechanics of doing so can be clunky. Perhaps fewer tracks and one story would have been a better design. Maybe that would have been too easy. Still, I think the use of logic puzzles is vastly underused in interactive fiction, and [fiction title] does offer an unusual approach to constructing a narrative. I hope that the game is at least interesting in its design, if not as entertaining as found footage storytelling can be in other formats.". This is the recommending rule: say "[b]Fiction[/b][pb]"; say "Faber, Michel. [i]Under the Skin.[/i] Harcourt. 2000."; say "Hawk, Rhodi. [i]A Twisted Ladder.[/i] Forge Books. 2009."; say "Ransom, Christopher. [i]The Birthing House.[/i] St. Martin's Press. 2010."; say "McEuen, Paul . [i]Spiral.[/i] Headline Publishing Group. 2011."; say "Morrison, Toni. [i]Beloved.[/i] Alfred Knopf. 1987."; say "Ozeki, Ruth L. [i]My Year of Meats.[/i] Viking Press. 1998."; say "[lb][b]Nonfiction[/b][pb]"; say "Aldersey-Williams, Hugh. [i]Periodic Tales: A Cultural History of the Elements from Arsenic to Zinc.[/i] HarperCollins. 2011."; say "Emsley, John. [i]The Elements of Murder: A History of Poison.[/i] OUP Oxford. 2005."; say "Kean, Sam. [i]The Disappearing Spoon: And Other True Tales of Madness, Love, and the History of the Periodic Table of the Elements.[/i] Back Bay. 2011."; say "Tucker, Jonathan B. [i]War of Nerves.[/i] Pantheon Books. 2006."; say "[lb][b]Films[/b][pb]"; say "Antonioni, Michelangelo. [i]Blowup.[/i] Michelangelo Antonioni and Tonino Guerra screenwriters. MGM. 1966."; say "Ayer, David. [i]End of Watch.[/i] David Ayer, screenwriter. Open Road Films. 2012."; say "Coppola, Francis Ford. [i]The Conversation.[/i] Francis Ford Coppola, screenwriter. Paramount Pictures. 1974."; say "De Palma, Brian. [i]Blow Out.[/i] Brian De Palma, screenwriter. Filmways Pictures. 1984."; say "Dowdle, John Erick. [i]Quarantine.[/i] Drew Dowdle and John Erick Dowdle, screenwriters. Screen Gems. 2008."; say "Evans, Marc. [i]My Little Eye.[/i] David Hilton and James Watkins, screenwriters. Focus Features. 2002."; say "Myrick, Daniel and Sanchez, Eduardo. [I]The Blair Witch Project.[/i] Daniel Myrick and Eduardo Sanchez, screenwriters. Artisan Entertainment. 1999."; say "[lb][b]Interactive Fiction[/b] (available from [fixed letter spacing]http://ifdb.tads.org[variable letter spacing]) [pb]"; say "Christiansen, simon. [i]PataNoir.[/i] Glulx. 2011."; say "Huang, Christopher. [i]An Act of Murder.[/i] zcode. 2007."; say "Reed, Aaron. [i]18 Cadence.[/i] custom. 2013."; say "Weiner, Matt. [i]Friendly Companion.[/i] zcode. 2013."; say "[lb]Other 2014 ShuffleComp Entries: [lb]"; say "Ashwell, Sam Kabo. [i]Invisible Parties.[/i] Glulx. 2014."; say "Hart, Venus. [i]Light My Way Home.[/i] Glulx. 2014."; say "Lee, Yoon Ha. [i]Mirrorwife.[/i] Twine. 2014."; say "Ondricek, Hanon. [i]Groove Billygoat.[/i] Glulx. 2014."; say "Stefánsson, Mæja. [i]An Earth Turning Slowly.[/i] Undum. 2014.". Volume - Processing and Turn Sequence Rules Book - processing Rules Chapter - Before, Instead, After When play begins: say "*** [fiction title] contains adult-themed material (some violence and sexual innuendo), and it is not appropriate for anyone who hasn't started high school. It also features a few sound effects and theme music, which only work when the game is played offline on some interpreters (e.g., Gargoyle, WinGit, or WinGlulxe). Press a key to continue ... *** "; wait for any key; say lb; if glulx sound is supported, play sound of cymbals in foreground for 50 times; now the player is queried; now the command prompt is "[mdash] [one of](type your commands at this prompt and press 'enter)[or][stopping]"; now position list is the list of positions; now sequence mode is switched on; now track list is the list of tracks; repeat with counter running from one to the number of tracks begin; if (counter is greater than three and counter is less than six) or counter is greater than ten, now entry counter in track list is B-side; end repeat; sort track list in random order; let holding be the list of positions; repeat with counter running from one to the number of tracks begin; now Number-name of entry counter in Track list is counter; if counter is less than positions-plus, now number-name of entry counter in holding is counter; end repeat; now primary chain is the list of story-important tracks; now secondary chain is the list of not story-important tracks; setup matches for hockey teams; setup matches for basketball teams; fill one to the number of positions with blanks; say rpo. To setup matches for (opposers - description of values): let combatants be the list of opposers; sort combatants in random order; while combatants is not {} begin; let team one be entry one in combatants; let team two be entry two in combatants; now team two is away; remove team one from combatants; remove team two from combatants; now team one plays team two; end while. [We remove the following rules in a, perhaps pointless, attempt at speeding up action-processing.] The set pronouns from items from multiple object lists rule is not listed in any rulebook. The announce items from multiple object lists rule is not listed in any rulebook. The basic accessibility rule is not listed in any rulebook. The carrying requirements rule is not listed in any rulebook. The adjust light rule is not listed in any rulebook. [We never use light sources.] The note object acquisitions rule is not listed in any rulebook. [We don't use inventory.] [We use these variables to determine if the Sequence or the playlist has changed during a turn and, if they have, we examine them in the showing list changes rule.] Setting action variables: if stalling begin; now player is distracted; otherwise; now player is not distracted; end if; now temporary favorites list is favorites list; now temporary position list is position list. Setting action variables for eating: now Hot dog length is bites remaining. First before doing something other than stalling during Investigation: if clicking or examining a contents, continue the action; if (examining and(the noun is not on-screen and the noun is not the computer and the noun is not notebook)) or asking a person to try doing something or clicking internet, continue the action; if scoring and the player is not scoreboard watching begin; say "The only score in here is [if current music is tinnitis]coming from Cochone's inner ear[otherwise]playing on Jenny's laptop[end if]. [rpo]"; try listening instead; end if; say "[seq]"; say rpo. First before clicking or examining or listening to a not unidentified subject: say "Cochone selects a track that features [noun]."; try examining a random examined track which records the noun instead. First before doing something other than discussing or talking to or examining when the frankfurters are involved: unless eating and (Cochone is having hot dogs or Cochone is skipping lunch), say "[i]Am I that obsessed with those things?[/i] Cochone thinks." instead. First before doing something when an unresearchable subject (called target) is involved or (Kiku is involved and Chrysanthemum is unexamined) or (Marco is involved and Torching is unexamined) during Investigation: if target is pseudonymized and the player's command matches the regular expression "(?i)\bblue\b|\bpink\b|\bveggie\b|\bveggy\b|\bfoxy\b|\bshrappnel\b" begin; if examining or researching with or conversing, say "[i]I don't know a lot about googling,[/i] Cochone thinks, [i]but I do know I need to be more specific than some silly little name I give someone.[/i] [lb]" instead; say "[i]I can't do much for [if target is Neo or target is Xeno]her[otherwise]him[end if] now,[/i] Cochone thinks."; otherwise; say "[i]Where did that name come from?[/i] Cochone wonders."; end if; stop the action. First before doing something other than clicking or examining or listening or researching with when a researchable subject (called target) is involved during Investigation: unless discussing the target with Jennifer, say "[i]I can only try to find out what I can about [if target is Neo or target is Xeno]her[otherwise]him[end if] now,[/i] Cochone thinks." instead. First before doing something other than conversing or looking or waiting when every contents is not involved and Investigation has ended: if asking a person to try taking a destination, try taking the noun instead; if looking around, try looking instead; if taking or examining a destination, continue the action; if clicking or listening and the noun is on-screen, try examining the noun instead; if (examining and (the noun is a track or the noun is either playlist or sequence or footage)) or playing something through begin; say "'Let me just take another look at something,' Cochone says."; continue the action; end if; say "'That's not going to help us now, Steve,' Nigel says. 'Just tell me [if a destination is carried and water is not carried]what is so important about the backyard footage[otherwise]where you think those chemicals are being stored[end if].'" instead. Before asking Jennifer to try researching with something about something during Investigation, try researching with the noun about the second noun instead. Before asking Jennifer to try doing something other than researching with when Investigation is happening: if asking someone to try saying yes, try saying yes instead; if asking someone to try saying no, try saying no instead; say "[i]This is her office, her computer, her software,[/i] Cochone thinks. [i]I'll let her tell me what to do.[/i] [lb]" instead. Before attacking or clicking or switching on Happy Jack, try listening to the noun instead. Before clicking footage: let holding be a list of objects; repeat with selection running through track list begin; if selection is unpositioned, add selection to holding; end repeat; let ender be entry (number of entries in holding) in holding; try playing entry one in holding through ender instead. Before clicking Sequence, try playing a-slot through the last slot of the sequence instead. Before clicking or listening to Kiku when Chrysanthemum is examined, try examining Chrysanthemum instead. Before clicking or listening to Marco when Torching is examined, try examining Torching instead. Before clearing out when the noun is either the Sequence or playlist, try excising all from the noun instead. Before clicking or reading the case: try looking instead. Before clicking the notebook, try reading the noun instead. Before clicking the computer, try looking instead. Before clicking a contents, try examining the noun instead. Before clicking or examining or reading the internet, try seeking opinion from internet instead. Before consulting something about text: if the noun is either the computer or the internet, say "Cochone decides to focus on the case and especially the victims." instead; unless the noun is Jennifer, say "Cochone doesn't expect much useful information from [the noun]." instead; try talking about the topic understood with the noun instead. Before discussing or informing about when the second noun is Jennifer and the noun is a subject or the noun is either the band or Kiku or Marco: if Investigation is happening or the noun is the band, try researching with Jennifer about the noun instead. Before discussing something with Jennifer when (the noun is either the Sequence or the footage) and primary objective is solved during Investigation: try informing about the sequence to the second noun instead. Before discussing something with Jennifer when the noun is either hints or walkthrough during Investigation, try examining the noun instead. Before discussing help with Jennifer for the first time during Investigation: unless the time of day is 11:37 am, now Jennifer is explaining the manual; follow the explaining Sequitur rule instead. This is the explaining Sequitur rule: unless the time of day is 11:37 am begin; say "Cochone sighs and sits back. 'Jenny, can you give me a head start here?' [pb]Jenny appears at his side. 'Okay, I'll explain how [i]Sequitur[/i] works.[unless hints are examined or walkthrough is examined] If you want help with the case, though, you can just ask me for hints. I might be able to help.' [pb][i]She looks hopeful,[/i] [otherwise]' [pb][i]Well, someone has to, [/i][end unless]"; otherwise; say "'[if one track is explained]You are a quick learner,'[otherwise]Maybe I should help,'[end if] Jenny says before rolling up beside Cochone. 'I[if one track is explained] still[end if] should give you some idea of what all this means and how it works.[unless hints are examined or walkthrough is examined] If you want help with the tracks, though, you can just ask me for hints.' [pb][i]Gotcha, [/i] [otherwise]' [pb][i]Well, it's not exactly what I'm used to, [/i] [end unless]"; end unless; say "Cochone thinks. [pb]'So, we took all the stuff you gathered and fed it into the computer,' Jenny says. 'We salvaged what we could from three cell phones, two video recorders, and sound recorder. But we could only save snippets of footage from all the cell phones and video recorder found in the fire. All this video was wonky, but the footage from the video and sound recorders you found outside was intact. So you need to fit this footage, which we call [']tracks,['] into some kind of order. Many of the tracks overlap temporally, so I think the best approach is to take note of how each begins and place them in chronological order according to that. The tracks are designated with a number, name, length, and source. [pb]She circles the pointer around the 'Track List' then moves it up to the Sequence. 'You need to order the tracks by putting them in the Sequence. The best approach may be to play a track, place it in the Sequence, play another, and try to place it relative to the first, and so on. [if one track is explained]Apparently you have a great sense for this, and I'm sure you'll know when two or three tracks fit together[otherwise]I'm sure that you'll know when two or three tracks link up properly. Call it your instinct[end if]. [pb]'Right. Got it so far.' [pb]'Okay. You should be able to fill out the Sequence completely with ten tracks. The remaining five tracks may tell a story as well. You can put them in their own order too. Look for a common theme to distinguish them. Maybe five of the tracks contain something that the others don't. When you have the first ten tracks figured out, we should know what our next step should be.' [pb]'That would be finding the bad guys. What about these commands?' [pb]"; say "'Tracks are numbered and slots in the Sequence are lettered [']A['] to [']J.['] To play a track, just type its name or number. You put tracks in the Sequence by using a command like [']put track one in B[']. Or, you could put it in your playlist. Just typing the track number and slot letter will also work. When you do this, the tracks already in the Sequence adjust themselves. You'll see how it works. [']Cut['] with a track number removes the track from the Sequence. You can also cut a track from the playlist. Type [']look['] or [']l['] To refresh the screen and see all the changes. [pb]'Right. I think I have it.' [pb]'Remember, there are several other commands available, and [']help['] prints them.' She wheels herself away from Cochone's side.". Before doing it for more than one time: if Investigation is happening begin; say "[one of]'Jenny, can we go over how this works again?' Cochone says. [pb]'It's really simple,' Jenny says. 'Just type a verb and what you want it to act on, which is usually a track or slot. Like [']put five in C.[']' [pb]'Right. Simple.' [pb]'It's like those text games from the eighties. Planetfall. Zork. But I guess you were too busy [']banging broads['] to play with something as geeky as a computer.' [pb]'Something like that.' [pb]'Players would type commands like [']x Jenny['] to look at things in the room with them and other basic commands like [']listen.['] Try [']help.['] The Sequitur commands are listed there.' [pb]'Right.' Cochone [or]Cochone decides that it was a little easier to follow the instructions when they were on the screen. He [stopping]types."; try examining the noun instead; end if. Before discussing something with Jennifer when the noun is either the case or the notebook, try examining hints instead. Before doing something when the stain is involved: unless discussing or examining, say "[i]If I don't think about it, it's not there,[/i] Cochone thinks." instead. Before examining help when Jennifer has not been explaining the manual and the time of day is less than 11:37 am, try discussing help with Jennifer instead. Before examining when the noun is the band or the noun is an unidentified subject or (the noun is Kiku and Chrysanthemum is unexamined) or (the noun is Marco and Torching is unexamined), try researching with the internet about the noun instead. Before examining the bracelet, try discussing the bracelet with Jennifer instead. Before examining the cane, try examining Jennifer instead. Before examining or reading when the noun is the computer, try looking instead. Before examining notebook, try reading the noun instead. Before examining when noun is either hints or walkthrough, now interjection needed is true. Before examining a position: if the noun is full, try examining a random track which is in the noun; otherwise say "Slot [noun] is empty."; stop the action. Before examining or taking a destination when Investigation has ended, try discussing the noun with Nigel instead. Before informing about something to something when the noun is neither footage nor the sequence, try discussing the noun with the second noun instead. Before talking about "yes/y/okay" with someone, try saying yes instead. Before talking about "n/no/nope" with someone, try saying no instead. Before inserting something into a position when the noun is either Basement or Dead Animals and the noun is a Memory Trigger listed in Table of Memories, now Cochone is remembering search. Before inserting something to something when a not on-screen thing is involved or an intractable thing is involved, say "You can only group tracks and place them into a slot, or to the right or left of one, which will put the first track in the group into the specified slot with the other tracks in the group being placed in the slots ahead of it." instead. Before inserting something to something when substitution track is zero and substitution slot is placeholder: say "You need to put tracks next to a track that is in a slot, or relatively to a slot itself."; now substitution track is zero instead. [This action will not be recognized in the "last before" rules, so we grouped all three actions into before rules.] Before inserting something to something: let placeholder numbers be a list of numbers; unless substitution track is zero begin; repeat with selection running through tracks begin; if number-name of selection is substitution track and selection is positioned, now substitution slot is the holder of selection; end repeat; end unless; if substitution track is not zero and substitution slot is placeholder, say "Track [substitution track] needs to be in a slot for tracks to be positioned next to it." instead; if the noun is a positioned track, now the noun is the holder of the noun; if the second noun is a positioned track, now the second noun is the holder of the second noun; [We need to determine if the noun and second noun form a chain, and if that chain is in the Sequence. We use positions for the remainder of the action if the tracks are not linked, or we use the intellectual links path if the tracks are not lined up between the noun and the second noun.] if the noun is a full position and the second noun is a full position begin; let first track be a random track which is in the noun; let second track be a random track which is in the second noun; if first track and second track are intellectually connected begin; repeat with counter running from one to (number of entries in intellectual links minus one) begin; unless entry counter in intellectual links is properly positioned beside entry (counter plus one) in intellectual links, break; if counter is (number of entries in intellectual links minus one) begin; now entry (number-name of noun) in position list is placeholder; now entry (number-name of second noun) in position list is placeholder; now noun is first track; now second noun is second track; end if; end repeat; end if; end if; let insertion list be a list of things; if the noun is a position and the second noun is a position begin; if the number-name of the noun is greater than the number-name of the second noun, switch the noun for the second noun; if (inserting group left is true and the number-name of substitution slot is (number-name of second noun plus one) )or (inserting group right is true and number-name of substitution slot is (number-name of noun minus one)) or (inserting group left is false and inserting group right is false and number-name of substitution slot is number-name of noun), say "This wouldn't change anything, because you're putting the tracks into the same slots." instead; repeat with selection running through positions begin; if the number-name of selection is within number-name of noun and number-name of second noun begin; if selection is full, add a random track which is in selection to insertion list; if selection is empty begin; add number-name of selection to placeholder numbers; add placeholder to insertion list; end if; end if; end repeat; otherwise; if an empty position is involved, say "You'll need to specify two tracks." instead; if the noun and the second noun are intellectually connected begin; now insertion list is intellectual links; otherwise; say "Unless you've established that the tracks are connected, you can only group and move tracks that are in the Sequence." instead; end if; end if; if inserting group left is false and inserting group right is false and the number of entries in insertion list is greater than positions-plus minus number-name of substitution slot, say "You can't fit [number of entries in insertion list] tracks into the Sequence starting at slot [substitution slot]." instead; if substitution track is zero begin; if the number of entries in insertion list is the number of positions, say "That would fill the Sequence, and so it can't be placed next to another track." instead; if inserting group left is true begin; if the number of entries in insertion list is greater than (the number-name of substitution slot minus one), say "There aren't enough slots left of slot [substitution slot] to fit the group of [number of entries in insertion list]." instead; otherwise; let max be (the number of positions minus the number-name of substitution slot) minus one; if inserting group right is true, now max is the number of positions minus the number-name of substitution slot; if the number of entries in insertion list is greater than max, say "There aren't enough slots right of slot [substitution slot] to fit the group of [number of entries in insertion list]." instead; end if; otherwise; if (inserting group right is true or inserting group left is true) and the number of entries in insertion list is the number of positions, say "You can't fit [number of positions] tracks relative to a track already in the Sequence." instead; end if; if inserting group right is true begin; reverse insertion list; if substitution track is not zero, place the insertion list group into the sequence starting at number-name of substitution slot plus one using a track; if substitution track is zero, place the insertion list group into the sequence starting at (number-name of substitution slot plus one) including placeholder numbers; otherwise; if inserting group left is true begin; unless placeholder numbers is {} begin; repeat with counter running from one to the number of entries in placeholder numbers begin; now entry counter in placeholder numbers is positions-plus minus entry counter in placeholder numbers; end repeat; end unless; reverse position list; if substitution track is not zero, place the insertion list group into the sequence starting at positions-plus minus (number-name of substitution slot minus one) using a track; if substitution track is zero, place the insertion list group into the sequence starting at positions-plus minus (number-name of substitution slot minus one) including placeholder numbers; reverse position list; otherwise; reverse insertion list; if substitution track is not zero, place the insertion list group into the sequence starting at number-name of substitution slot using a track; if substitution track is zero, place the insertion list group into the sequence starting at number-name of substitution slot including placeholder numbers; end if; end if; unless inserting group left is true, reverse insertion list; say "[if a track is involved]Since we've established they are linked, tracks [number-name of entry one in insertion list] through [number-name of entry (number of entries in insertion list) in insertion list] [otherwise]The tracks between Slots [noun] and [second noun] [end if] have been placed [if inserting group right is true]after[otherwise if inserting group left is true]before[otherwise]in the Sequence starting at[end if] [if substitution track is not zero and (inserting group right is true or inserting group left is true)]Track [substitution track][otherwise]slot [substitution slot][end if]"; if inserting group right is true and substitution track is zero and two positions are involved and the number-name of the holder of noun is less than the number-name of substitution slot, say ", pushing ahead tracks forward of slot [substitution slot]"; if inserting group left is true and substitution track is zero and two positions are involved and the number-name of the holder of noun is greater than the number-name of substitution slot, say ", pushing back any tracks left of the transferred tracks"; say "[if (inserting group right is true or inserting group left is true) and substitution track is not zero]. The tracks have shifted to fill empty slots[end if]."; rule succeeds. To place the (inserters - a list of things) group into the sequence starting at (starter - a number) using a track: repeat with counter running from one to the number of entries in position list begin; let candidate be entry counter in position list; if candidate is a positioned track and candidate is listed in inserters begin; if inserting group left is false, now entry (number-name of holder of candidate) in position list is placeholder; if inserting group left is true, now entry (positions-plus minus number-name of holder of candidate) in position list is placeholder; end if; end repeat; add inserters to positions starting at starter; let limit be (number of entries in position list plus one) minus (starter plus (number of entries in inserters minus one)); if starter is greater than limit, now limit is starter; let removal list be a list of numbers; let extension be starter; if inserting group right is true or inserting group left is true, now extension is (starter minus one) plus the number of entries in inserters; repeat with counter running from one to limit begin; if extension plus counter is less than the number of entries in position list plus one begin; if entry (extension plus counter) in position list is placeholder begin; add extension plus counter to removal list; remove entry one from inserters; end if; end if; if inserters is {}, break; if starter minus counter is greater than zero begin; if entry (starter minus counter) in position list is placeholder begin; add starter minus counter to removal list; remove entry one from inserters; end if; end if; if inserters is {}, break; end repeat; if removal list is not {} begin; sort removal list; reverse removal list; repeat with selection running through removal list begin; remove entry selection from position list; end repeat; end if; truncate position list to the first ten entries. To place the (inserters - a list of things) group into the sequence starting at (starter - a number) including (placeholder standins - a list of numbers): let deletions be zero; let real-counter be one; let pre-deletions be zero; repeat with counter running from one to the number of positions plus number of entries in inserters begin; let anchor be entry real-counter in position list; if (anchor is a track and anchor is listed in inserters) or (anchor is placeholder and (real-counter plus pre-deletions) is listed in placeholder standins) or (entry real-counter in position list is placeholder and real-counter is greater than starter) begin; if real-counter is greater than starter begin; if (anchor is placeholder and (real-counter plus pre-deletions) is listed in placeholder standins) or (anchor is placeholder and (number of entries in inserters minus deletions) is greater than the number of entries in placeholder standins) or (anchor is a track and anchor is listed in inserters) begin; remove entry real-counter from position list; increment deletions; otherwise; increment real-counter; end if; otherwise; now entry real-counter in position list is placeholder; end if; if inserting group left is true and anchor is a track and real-counter is greater than starter and intellectual links is {}, decrement starter; if anchor is placeholder and (real-counter plus pre-deletions) is listed in placeholder standins, remove (real-counter plus pre-deletions) from placeholder standins, if present; increment pre-deletions; otherwise; increment real-counter; end if; if inserting group left is false and inserting group right is false and counter is one, decrement real-counter; if starter is real-counter begin; add inserters to positions starting at starter; now real-counter is real-counter plus number of entries in inserters; end if; if deletions is number of entries in inserters or (real-counter is 11) begin; truncate position list to the first ten entries; break; end if; end repeat. To add (intruders - a list of things) to positions starting at (initiator - a number): repeat with insertion counter running from one to the number of entries in intruders begin; add entry insertion counter in intruders at entry initiator in position list; end repeat. Before kissing Jennifer when Investigation is happening for the first time, say "'I'm so glad you're here, I could kiss you,' Cochone says. [pb]'Solve the case first, Romeo,' Jenny says. 'Then you'll have earned it.'" instead. Before kissing Jennifer when Investigation is happening, say "[i]Keep your mind on the case,[/i] Cochone thinks." instead. Before listening or waiting when the location contains a candidate song, say "Jenny taps the laptop with her red nails." instead. Before listening to a candidate song, try examining the noun instead. Before listening to or examining when the noun is either the radio or the location, try listening to the current music instead. Before listening to an on-screen thing: if the noun is intractable, try clicking the noun instead; try examining the noun instead. Before opening or reading an on-screen thing: unless opening a position, try examining the noun instead. Before opening a contents, try examining the noun instead. Before opening the notebook, try reading the notebook instead. Before putting something on something, try inserting the noun into the second noun instead. Before researching with something about something when the noun is either the computer or the internet or Jennifer and Cochone is awaiting information, say "[i]Jenny is busy right now,[/i] Cochone decides." instead. Before seeking opinion from the notebook, try reading the noun instead. Before seeking opinion from something: if the noun is Jennifer, try examining hints instead; if the noun is the internet, say "'Can you look up something on the internet for me?' Cochone says. [pb]'Sure,' Jenny says. 'Just ask me about whomever you want me to research, and I'll look them up for you.'" instead; if the noun is Cochone, say "Cochone thinks." instead; say "[The noun] doesn't reply." instead. Before stalling when (Kiku is involved and Chrysanthemum is unexamined) or (Marco is involved and Torching is unexamined), say "Cochone may not be feeling well, but he can distinguish between pixels on the screen and someone in Jenny's office with him." instead. Before stalling, now interjection needed is true. Before switching something which is not a device, try exchanging the noun for instead. Before switching on a track, try clicking the noun instead. Before switching off a track, say "Track [number-name of noun] isn't playing right now." instead. Before taking a position, say "You can't move the slots." instead. Before taking a track: if the noun is positioned, try excising the noun from the holder of the noun instead; if the noun is listed in favorites list begin; remove noun from favorites list; say "Track [number-name of noun] is removed from your playlist." instead; end if; say "Track [number-name of noun] isn't in a slot or your playlist." instead. Before toggling when mode is involved, say "You'll need to pick one: [mode offerings]" instead. Before waiting when the player is scoreboard watching, try scoring instead. Before writing text in the computer, try writing the topic understood in the notebook instead. Last before doing something other than stalling or looking or scoring or shuffling or recording or toggling: unless clearing out or clicking or examining or exchanging or excising from or excising all from or excising through or inserting something into or inserting relatively or opening or playing through or randomizing play for or reading or reversing or reversing through or sliding along, say "That isn't a command that I recognize. Type 'commands' if you need help finding commands that I understand." instead. Instead of attacking something which is not Jack, say "Cochone isn't a violent man.". Instead of clicking or excising from or excising all from or randomizing play for or renaming when the noun is not on-screen during Investigation, say "Please use a track name or number, slot letter, or the Sequence for that command.". Instead of exchanging or inserting or playing something through when two involved things are not on-screen, say "Please use specific track names or numbers and slot letters for that command." Instead of clicking a not on-screen thing: if the noun is Jennifer, say "Cochone decides he really doesn't want to push her buttons."; otherwise say "Cochone decides he shouldn't play with [the noun] right now.". Instead of conversing when the second noun is not a person, say "Cochone mutters to himself. At least he tells himself that.". Instead of conversing when Cochone is awaiting information, say "Cochone doesn't want to interrupt Jenny as she looks up the information.". Instead of discussing computer with Jennifer, try discussing help with Jennifer. Instead of discussing dogs with Jennifer: if bracelet is a Conversation Piece listed in the Table of Conversation, try discussing bracelet with Jennifer; otherwise continue the action. Instead of discussing frankfurters with Jennifer when Cochone is thinking about lunch: say "[one of]'You know,' Cochone says. 'I usually would have a couple of hot dogs for lunch. But today, I might even be too sick for that.' [pb]'Skipping them will probably speed up your recovery,' Jenny says[or]Cochone doesn't want to debate the pros and cons of hot dogs with Jenny right now[stopping].". Instead of discussing frankfurters with Jennifer when Cochone is skipping lunch for the first time: say "'If I pass out from hunger, Jenny, get me two steaming dogs, Stat,' Cochone says. [pb]'I'm not a paramedic,' Jenny says. 'If you go down, I'm going home.'". Instead of discussing frankfurters with Jennifer when Cochone is waiting for lunch for the first time: say "'You know?' Cochone says. 'What I figure is that with all the other crap we breathe, drink, and eat, the occasional hot dog does no harm.' [pb]'Maybe not to you,' Jenny says. 'But I'm sure the slaughtered whatever-are-in-them beg to differ.'"; now Cochone is discussing wieners. Instead of discussing frankfurters with Jennifer when Cochone is having hot dogs for the first time: say "'So when was the last time you had meat?' Cochone says. [pb] 'I gave it up when I was a teenager,' Jenny says. 'Now, the thought of eating it turns my stomach.'"; now interjection needed is true. Instead of discussing frankfurters with Jennifer when Cochone is satiated for the first time: say "'Did you know that O'Hare airport sells more hot dogs than does any other?' Cochone says. [pb]'No,' Jenny says. 'I didn't know that. How do you possibly know that?' [pb]'Gus at O'Hare told me. He makes some of the best.'"; now Cochone is discussing wieners. Instead of discussing footage with Jennifer: if a status has not been sequenced begin; say "'Tell me about these tracks[if Jennifer has been explaining the manual], again[end if],' Cochone says. [pb]'[one of]We got all that stuff from you yesterday, remember?' Jenny says, then she laughs. [or]Okay,' Jenny says. [stopping]'The tracks have names that I gave them and also their duration. The source of the tracks are indicated by the abbreviations. [']CP['] is cell phone; [']SR['] is sound recorder; [']VR['] is video recorder. Try to put ten of them together in order in the lettered slots. When they click, take them out and try the other five.'"; otherwise; say "'I'd say you pretty much know how this works. You already figured out [if primary objective has been sequenced]that long chain[otherwise]the short one[end if]"; if (primary objective has been sequenced and one story-important track is unexamined) or (secondary objective has been sequenced and one not story-important track is unexamined), say ". You should make sure you've actually played all the evidence"; say ".'"; end if. Instead of discussing playlist with Jennifer: say "'What's this playlist for, again?' Cochone says. [pb]'I thought that users could put a few tracks in there just to see how they would fit together. You could work on the long chain in the Sequence and the shorter one in the playlist or vice versa. But you need to ultimately put either chain in the Sequence to really get it.'". Instead of discussing Sequence with Jennifer: if two statuses have not been sequenced begin; say "'The lettered slots of the Sequence are supposed to help you arrange the tracks in order, however you think they should go,' Jenny says. 'You should base your decisions on the beginnings of the footage, when they were set up and started, and arrange them chronologically. You'll know when you've got the chains linked correctly.'"; otherwise; say "'You already sequenced [if primary objective has been sequenced]that long story[otherwise]the five-parter[end if]"; if (primary objective has been sequenced and one story-important track is unexamined) or (secondary objective has been sequenced and one not story-important track is unexamined), say ". You should make sure you've actually played all the tracks, though"; say ".'"; end if. Instead of discussing something with Jennifer when the noun is either prison or church or hospital during Investigation: if Google is examined, say "[one of]'Those places in the Google search may be important,' Cochone says. '[if Locked-Door is examined][Salt][otherwise]Someone[end if] seemed to think so.' [pb]'Yes,' Jenny says. You might want to keep them in mind. But I'm sure not all of those places are relevant.'[or]Cochone remembers that Jenny doesn't know any more than he does about the Google search.[stopping]"; otherwise say "[one of]'Did you find anything in these tracks to suggest if the victims or perps had any affiliations?' Cochone says. [pb]'No,' Jenny says. 'The [']Google['] track is the only one that mentions places, but I'm not sure of the context. That's your job, after all.'[or]Cochone decides that he should first check the tracks himself for the information he wants.[stopping]". Instead of discussing injured squirrel with Jennifer during Investigation: if Backyard is examined or Squirrel Trap is examined, say "[one of]'I think that squirrel with the bad leg is trying to tell me something,' Cochone says. [pb]'Poor thing,' Jenny says. 'The squirrel. Not you.' She giggles. 'He was fortunate, though. He didn't get sick like the other animals i saw in the [']Dead Animals['] footage.'[or]Cochone considers what Jenny said about the squirrel not getting sick like the other animals.[stopping]"; otherwise say "'We found some dead animals when we searched around the house,' Cochone says. 'Apparently the house really is a death trap.' [pb]'Well, I think one of the squirrels seems to be doing okay,' Jenny says. 'The one with the bad leg. You can see him in the [']Squirrel Trap['] and [']Backyard['] videos.'". Instead of discussing water with Jennifer during Investigation: if Time Lapse is examined or Backyard is examined, say "[one of]'I think the water in the birdbath may be important,' Cochone says. 'Not directly, but it may hold something of interest.' [pb]'If you think it's important, bring it up with the Lieutenant,' Jenny says.[or][i]What is it about that water?[/i] Cochone thinks.[stopping]"; otherwise say "[one of]'That house had an interesting backyard,' Cochone says. 'The fountain. I'm sure you saw it when you transferred the footage.' [pb]'Yes,' Jenny says. 'Can't say I like it much. At least they included a birdbath. It's probably the only nice thing about that place.'[or][i]The 'Backyard' track probably has a good shot of the fountain and birdbath,[/i] Cochone thinks.[stopping]". Instead of discussing house with Jennifer during Investigation: say "[one of]'We need to know more about that house,' Cochone says. [pb]'I've been working on it,' Jenny says. 'But I haven't found anything useful. Bring it up with Nigel later if you think you know something we don't.'[or][i]She doesn't know anything useful yet,[/i] Cochone thinks.[stopping]". Instead of eating Jennifer, say "Cochone can't decide which he would rather have: breast or leg.". Instead of eating the bagel, say "[i][if Cochone is having hot dogs]Not when I have hot dogs[otherwise if Cochone is satiated]The dogs did their job[otherwise if Cochone is skipping lunch]I probably shouldn't risk any food right now[end if],[/i] Cochone thinks.". Instead of eating the frankfurters when Cochone is skipping lunch, say "[i]I've made my decision, but that doesn't mean I can't pick some up when I'm finished here,[/i] Cochone thinks.". Instead of examining frankfurters when Cochone is skipping lunch, say "Cochone pictures a pair of barbecued wieners wrapped in their individual thick buns and a cold bottle of Perrier to wash them down.". Instead of examining footage: say "There are 15 tracks: [pb][track listing][lb]". Instead of examining hints when primary objective has been sequenced and secondary objective has been sequenced: say "'I'm [one of]getting [or]still [stopping]a bit confused[one of] here[or][stopping],' Cochone says. '[one of]Do you remember how this all fits together[or]Can you remind me[stopping]?' [pb]'Sure,' Jenny says. '[one of]Just give me a sec.' [or][stopping]Jenny types. '[one of]Have a look. T[or]Here is T[stopping]he long sequence[one of] we agreed on should be on your screen now[or][stopping]: ' [pb]"; recount primary chain; say "'And here is the shorter one,' Jenny says[pb]"; recount secondary chain; say "'Right,' Cochone says. 'Got it.' [lb]". Instead of examining hints when one track is unexamined: say "[i]I won't be able to solve the mystery if I don't play all of the tracks,[/i] Cochone [one of]thinks[or]remembers[stopping]. [i]I haven't watched [if every track is unexamined]any of them yet. [otherwise if the number of unexamined tracks is greater than (the number of tracks divided by two)]most of these. [otherwise]'[appropriate name for a random unexamined track],' for one. [end if][/i][lb]". Instead of examining hints when two statuses are solved during Investigation: say "[i]I got them both,[/i] Cochone thinks. [i]I just need to be prepared to tell Nigel where the powder is being stored, and why that squirrel didn't die. Jenny said that I should tell her about the Sequence when I am ready.[/i] [pb]". Instead of examining hints when a status is sequenced: now newly-hinted is {}; say "'How does this look to you?' Cochone says. [pb]'Hmmm. "; if a story-important track is positioned begin; say "[one of]It looks good to me. Take them out. [or][stopping]Try to fit the other five tracks together"; otherwise; if every story-important track is unpositioned begin; say "[one of]That's fine for the short segment. Take them out and try for the longer one with the other ten tracks[or]You need to take those tracks out, remember? Place the others[stopping]"; otherwise; say "[one of]Tracks [number-name of Backyard] through [number-name of Squirrel Trap] work together nicely, but the other track[if two story-important tracks are positioned]s[end if] in there do[if exactly one story-important track is positioned]es[end if]n't fit with it. You should focus on those ten[or]Take out tracks [number-name of Backyard] through [number-name of Squirrel Trap] and work with the rest[stopping]"; end if; end if; say ".' [lb]". Instead of examining Playlist: if the favorites list is {} begin; say relay an empty noun; otherwise; say "Your playlist contains [number of entries in favorites list] track[unless the number of entries in favorites list is one]s[end unless]: "; repeat with selection running through favorites list begin; say "[appropriate name for (selection)]"; say " "; end repeat; say pb; end if. Instead of examining Sequence: if every track is unpositioned begin; say relay an empty noun; otherwise; say "Sequence: "; repeat with selection running through full positions begin; say "[selection]: "; let target be a random track which is in selection; say "[number-name of target]. "; say "[appropriate name for (target)] "; end repeat; say lb; end if. Instead of examining when noun is either hints or walkthrough and Cochone is awaiting information, say "[i]I'll wait for the info before distracting her,[/i] Cochone thinks.". Instead of examining Manipulators: say "[seq][rpo]"; follow the crediting rule. Instead of examining examined walkthrough: say "Cochone decides to just type 'opinion' like Jenny suggested. [pb]"; say "The screen lists the long Sequence: [pb]"; recount primary chain; say "Cochone then brings up the short sequence: [pb]"; recount secondary chain. Instead of excising footage from something when the second noun is either playlist or Sequence, try excising all from the second noun. Instead of informing about something to Jennifer when (the noun is the footage or the noun is Sequence) during Investigation: unless one status has been sequenced begin; say "'I haven't given up,' Cochone says. [pb]'Neither have I,' Jenny says."; otherwise; continue the action; end unless. Instead of informing about something to Jennifer when (the noun is the footage or the noun is Sequence) and secondary objective is solved and primary objective is not solved during Investigation, say "'I think I'm getting close to solving that long sequence,' Cochone says. [pb]'I knew we would.'". Final countdown is initially nine. [We use this variable to allow the player eight attempts at telling Jayne about the prison and the birdbath (the solutions) before Cochone loses consciousness. We don't use a timed event, because we turned off the timed events when Cochone is in the Office.] Instead of informing about something to Jennifer when primary objective is solved and (the noun is footage or noun is Sequence) during Investigation: say "Cochone leans back in the chair and sighs. He remembers Neo being shot, Xeno stumbling through the trees and lying silent in hospital. And Kiku. And all the girls forced into her situation. He hears a voice. Maybe it's Jenny. She should really speak louder. He coughs, flips open his phone, and punches in Chrissy's number. The voice on his daughter's voice mail is faint and indistinct. He hangs up. [pb]'Nobody home?' Jenny says. 'Or maybe they have caller ID.' Her grin falls when Cochone turns around. 'You really don't look good.' [pb]'Let's finish this,' Cochone says. 'I think I know what happened.' [pb]'Great,' Jenny says. 'I'll get Nigel.' She stands and stabilizes herself with her cane. [pb]'Watch it,' Cochone says, rising to help her. He stumbles and places a hand on the handle of Jenny's wheelchair. He looks at Jenny, who has turned to frown at him. He falls back into the wheelchair. 'I'll wait here.' [pb]'I'll be right back.' Jenny hobbles into the hall and glances back at Cochone before continuing to Nigel's office. [pb]Press a key to continue. [pb]"; wait for any key; say "Nigel appears[if Cochone is waiting for lunch]. He shoves a couple of hot dogs on the desk[end if]. He says something that sounds like 'You're right he does.' [pb]'Push me over to the desk, and I'll show you what we have,' Cochone says. [pb]Nigel situates Cochone in front of the desk. Jenny and Nigel remain silent as Cochone clicks through the [if secondary objective is solved] two sequences[otherwise]ten tracks he sequenced[end if]. [pb]'Okay,' Nigel says. 'We're going to get you some medical attention. But based on what we've seen, we don't have a lot of time. What do you think we should do now?' [pb]Those chemicals need to be somewhere,' Cochone says. [pb]'All right,' Nigel says. 'Tell me where.'"; move player to Office, without printing a room description; now every thing in Workstation is in Office; now summary is switched off; now every edible thing is nowhere. Instead of inserting relatively when a not on-screen thing is involved or an intractable thing is involved: say "You can only place tracks relatively, either left or right of another track or slot.". Instead of inserting relatively when the noun is the second noun: say "You can't put something in itself. Be sure you specify a track and put it in a slot that doesn't already contain the track.". Instead of looking for the first time: say "Detective Cochone is being tortured by a dancing bear. The small toy bobs on the desk, its cymbals crashing out an eardrum-tearing beat that shouldn't be possible for such tiny plates of gold-colored tin. Cochone's head pounds in sympathy. Even the walls of Jenny's office seem to shake. With a sour expression, Cochone turns away from the cacophony. [pb]'Okay, so you don't like Happy Jack,' Jenny says as the bear stops clapping. Seated in her wheelchair in front of the only other desk in the office, Jenny frowns in mock disappointment. 'Somebody has a bad case of the mubble fubbles.' [pb]'The morning has been a bit rough,' Cochone says. 'I think I'm coming down with something.' [pb]'Well, I hope you are well enough to listen to some music. I need a soundtrack to my day. Do you want to choose a song?'"; now the player is queried. Instead of looking when location contains a candidate song (this is the reviewing the playlist rule): say "Cochone concentrates on the screen: [pb]"; repeat with selection running through candidate songs begin; say "[number-name of selection]. [printed name of selection] '[short-name of selection]'[lb]"; end repeat. Instead of opening an empty position, say "Slot [noun] is already empty.". Instead of opening a full position: now removal point is the nearest empty slot for the position list starting at slot number-name of noun; remove entry removal point from position list; if removal point is less than number-name of noun, add placeholder at entry (number-name of noun plus one) in position list; if removal point is greater than number-name of noun, add placeholder at entry (number-name of noun) in position list; if ten positions were full begin; say "The Sequence was full, so Track [number-name of (a random track in the last slot of the sequence)] was bumped from slot [last slot of the sequence]."; otherwise; say "The sequence has shifted [if removal point is less than number-name of noun]backward[otherwise]forward[end if] from slot [noun][if entry (number of entries in position list) in position list is not listed in temporary position list], and the last track[otherwise] to fill the closest empty slot[end if]."; end if. Instead of reading something which is not the notebook, say "I can only let you read the notes that have been recorded.". Instead of researching with something about something when the noun is neither the computer nor the internet nor Jennifer, say "Cochone decides that Jennifer is more likely to find what he needs than he himself could.". Instead of researching with the internet about something when the second noun is either the water or injured squirrel: say "[one of]'Do you think you could find something useful on the internet about those animals we found at the house?' Cochone says. 'Maybe the fountain, too.' [pb]'I doubt it,' Jenny says. 'The lab is doing autopsies on the animals this weekend. Their report would be able to tell us more.'[or]Cochone decides to just hope that the lab can find something.[stopping]". Instead of researching with the internet about something when the second noun is either prison or church or hospital: if Google is examined, say "[one of]'Did you also try searching for those places in the [']Google['] footage?' Cochone says. [pb]'Way ahead of you,' Jenny says. 'There's not much we don't already know. I left the most useful information in that track. One of those places may end up being important, though.'[or]Cochone is sure Jenny isn't holding back any relevant information about the prison, the hospital, or the church.[stopping]"; otherwise try discussing the second noun with Jennifer. Instead of researching with the internet about house, try discussing the house with Jennifer. Instead of researching with something about Kiku: say "[one of]'Can you try to find out more about Kiku, Jenny?' Cochone says. 'Japanese girl. Japanese.' [pb]'Really?' Jenny says. 'Why don't I try to find [']John Smith['] while I'm at it.' [pb]'[']John Smith?[']' Cochone says. 'I haven't seen anyone with that name.' [pb]Jenny rolls her eyes. Her sarcasm seems to be lost on the distracted detective. [pb]'I'll tell you this, though,' Jenny says after tapping some keys on her laptop. 'Kiku is Japanese for [']chrysanthemum.['] I saw one of those in the videos. [pb]'Yes, I remember one, too.'[or][i]'Kiku' is too generic, [/i] Cochone remembers.[stopping]". Instead of researching with something about Marco when Google is unexamined: now Marco is unassociated with prison; say "[one of]'One of the thugs is called [']Marco,['] Cochone says. 'Can we work with that?' [pb]'No,' Jenny says. 'We'll need more names or a place to associate him with.'[or]Without any new information, Cochone decides not to bother Jenny.[stopping]". Instead of researching with something about Marco when Google is examined for the first time: now the being-researched is Marco; say "[unless Marco is unassociated with prison]One of the thugs is called [']Marco,['] Cochone says. 'He may have spent some time in Sangoro. Can we check that?[otherwise]'I think we should search for a link between Marco and the SanGoro prison,' Cochone says. 'Can we do that?[end unless]' [pb]'I'll see if I can find some records,' Jenny says. 'Give me a few.'"; now Cochone is awaiting information. Instead of doing it more than one time, say "Cochone brings up the information on Marco: [description of Marco] [lb]". Instead of saying yes when the player is queried and Workstation contains a candidate song: say "'Right,' Cochone says. 'I'll play along. [']The Sound of Silence['] would be good.' [pb] Jenny plugs a device into the laptop resting on her legs. 'The who?' [pb]'No. Simon and Garfunkel.' [pb]'That sounds like an eighties detective show,' Jenny says with a smile. [pb]'[i]The Who[/i] is my generation, not yours.' [pb]'Here, I'll let you choose, okay?' She turns the laptop around to face Cochone. 'Pick one of these.'"; now the player is not queried; try looking. Instead of saying no when the player is queried and Workstation contains a candidate song: unless the player is dismissive begin; say "Cochone shrugs. 'I really don't care. You choose.' [pb]'Okay, I'll be merciful.' [pb]"; otherwise; say "Jenny must see something in Cochone's eyes. Or maybe it's his blanched face. 'We need to get on with this,' she says. 'I'll handle it.' [pb]"; end unless; say "'Just do me a favor and keep the volume down.'"; now the player is dismissive; now the player is not queried; try examining sfa. Instead of saying yes when player is queried and Nigel is waiting for lunch request: say "'Yeah,' Cochone says to Nigel. 'I'll take two.' [pb]'Okay. I'll be back soon.' Nigel leaves."; now Nigel is not waiting for lunch request; now Cochone is waiting for lunch; now Cochone is not queried. Instead of saying no when player is queried and Nigel is waiting for lunch request: say "'Sounds good, but I think I need to take it easy on my stomach today. At least for now.' [pb]'Okay,' Nigel says. 'I'm sure you'll have something good to tell me when you're done here.' He leaves."; now Cochone is skipping lunch; now Nigel is not waiting for lunch request; now Cochone is not queried. Instead of saying yes or saying no when player is not queried during Investigation, say "'Huh?' Jenny says. [pb]'Oh, nothing.'" instead. Instead of switching on a switched on reminder, say "[noun] is already on." Instead of switching off a switched off reminder when the noun is ignore mode, say "Rather than switch off [noun], you'll need to turn on another mode. SEQUENCE MODE shows the Sequence when it changes. TRACK MODE shows the list of unslotted tracks. FULL MODE always shows the Sequence and the unslotted tracks.". Instead of switching off a reminder, say "You'll need to choose another mode to use instead of [noun]. The three others are [the list of switched off reminders].". Instead of talking about text with Jennifer when the topic understood matches "ring/rings/cobra/cobras" or the topic understood matches "cobra ring/rings": if Google is examined, say "[one of]'Do you know anything about those cobra rings?' Cochone says. [pb]'Not anymore than what is in Track [number-name of Google],' Jenny says[or]Cochone remembers that Jenny only knows as much as he does about the ring[stopping]."; otherwise say "[if Locked-Door is examined][i]I'll need to know more about it,[/i] Cochone thinks[otherwise][i]My wedding ring did sting like a cobra,[/i] Cochone thinks[end if].". Instead of talking about text with Jennifer when the topic understood matches "gold" or the topic understood matches "gold/-- powder/chemical/chemicals/weapon": if primary objective has been sequenced, say "[one of]'Any idea where they might be storing that gold powder?' Cochone says. [pb]'I think the answer is in there somewhere,' Jenny says[or]Cochone decides it is his job to find out where the weapon is[stopping]."; otherwise say "[one of]'Can you find out anything about that gold powder we found at the scene?' Cochone says. [pb]'I'll have to let the lab guys figure that out,' Jenny says[or][i]Jenny doesn't know anything more than I do,[/i] Cochone thinks[stopping].". Instead of talking about "short/long/shorter/longer/small/large segment/sequence/chain" with Jennifer: say "'You think I should be able to sequence ten tracks then the other five, right?' Cochone says. [pb]'I hope so,' Jenny says. 'Once you figure out one of the chains, you should be able to take out the tracks and link up the others into their own distinct story.'". Instead of talking to Jennifer: if Table of Conversation is empty begin; unless the player has been discussing wieners or Cochone is skipping lunch begin; try discussing frankfurters with Jennifer; otherwise; say "Cochone engages Jenny in some idle chatter, but she doesn't seem interested. He returns to the case."; end unless; otherwise; repeat through the Table of Conversation begin; if there is a Conversation Piece entry begin; try discussing Conversation Piece entry with Jennifer; break; end if; end repeat; end if. Instead of toggling when the noun is not a device, say "You can switch on a track, which will play it, or the summaries, which will print your short descriptions of tracks when you play them. You can also switch off the summaries.". Instead of writing about anything in something which is not the notebook, say "You can only record your thoughts in the notebook.". Instead of writing about anything in something, say "Cochone decides he should record something more specific about [the second noun].". After discussing Jennifer with Jennifer when Investigation is happening for the first time: say "'So how do you like IT?' Cochone says. 'It seems to like you.' [pb]'Yeah, I'm a bit of a computer geek. My dad wanted me to be a cop. You believe that? Well, he wanted either me or my sister to be, but I have the size. Maybe [']cause he didn't have a son. His blood runs blue. I liked being a cop, but I think I like what I'm doing now more.'". After discussing Jennifer with Jennifer when Investigation is happening for the second time: say "'You have a guy waiting for you at home?' Cochone says. [pb]'A boyfriend?' Jenny says. 'No.' She sighs. 'What about you? Is there a [']Mrs. Piggy?[']' She laughs. [pb]'I was chained to that lead ball for ten years.' [pb]'So what happened, if I may ask?' [pb]'She liked to talk. I thought I was a good listener. She said I wasn't.'". After discussing Jennifer with Jennifer when Investigation is happening for the third time: say "'So why did you call yourself [']Tin Foil Jenny?[']' Cochone says. [pb]'Well, I like to think of it as me. The software is me, and I'm helping people. Bringing out the best in them. Like a foil.' [pb][i]Foil?[/i] Cochone thinks, but says, 'Why [']tin?[']' [pb]'Because it's a computer, and [']Silicon Foil Jenny['] sounds dumb.'". After discussing Jennifer with Jennifer for the fourth time: say "'Can I stall any longer by asking about you?' Cochone says. [pb]'Nope,' Jenny says. 'More information about me usually costs a dinner.'". After discussing Happy Jack with Jennifer: Jenny discovers ironside in three minutes from now; continue the action. After eating the frankfurters: if bites remaining is at least one begin; decrement bites remaining; if the bites remaining is zero begin; now hot dog length is zero; now Cochone is satiated; say "Cochone pops the last piece of his lunch into his mouth, finishes the cola, and throws the box and can into a garbage can next to the desk."; otherwise; say "[one of]Cochone takes another bite from a hot dog, hoping it will remain in his stomach much like the first did. He chews, waits, swallows. His stomach remains calm. [i]I think I even feel a bit better,[/i] he thinks. [i]It doesn't feel like this is going to be a problem.[/i] In celebration, he gulps down a fizzy mouthful of cola and burps. He hears Jenny making oinking sounds behind him[or]Cochone bites into [if the bites remaining is greater than 5]a[otherwise]the[first time] remaining[only][end if] hot dog[stopping]. "; if bites remaining is six begin; say "He swallows the last bit of bun and discards the paper wrapper."; otherwise; say "He [one of]wipes his mouth and fingers with a napkin, drinks from the can, and returns to work[or]takes a swig from the can[or]wipes his fingers and turns back to the monitor[or]turns back to the monitor[or]licks his lips, sips from the can, and returns to the keyboard[or]wipes some mustard from his chin and returns to the case[purely at random]."; end if; end if; otherwise; say "That remains of Cochone's lunch [mdash] wrappers, napkins, and the cola can [mdash] are in the garbage."; end if. First after examining a track when typing a summary has not been true for the first time: say "Note that you can write your own description of a track with the command SUMMARIZE [bracket]a track[close bracket]. SWITCH ON SUMMARIES will show these descriptions when you play the tracks, and SWITCH OFF SUMMARIES allows you to play the original tracks."; continue the action. After examining Basement for the first time, now Neo is researchable. After examining Backyard for the first time: now Xeno is researchable. After examining Chrysanthemum for the first time, now Xeno is researchable. After examining Diary when Argo is unidentified for the first time, now Argo is pseudonymized. After examining Escape for the first time: if Xeno is unidentified, now Xeno is pseudonymized. After examining Kitchen for the first time, move the band to Workstation. After examining Locked-Door for the first time: now Nickell is researchable; now Xeno is researchable. After examining Squirrel Trap for the first time, now Salt is researchable. After listening to Happy Jack: if glulx sound is supported, play sound of cymbals in foreground for 20 times; say "Cochone gingerly taps Jack. The bear bobs and smashes his cymbals together again and again and again and again[one of]. [pb]'See?' Jenny says, 'Jack isn't so bad. He's kinda fun.' [pb]Unlike Cochone, she smiles[or][stopping].". After listening to a music genre when Cochone is listening to the Who: say "Townsend sings 'Who are You?' Cochone guesses Townsend's ears are ringing more than his are."; now interjection needed is true. After listening to tinnitis: say "The last time Cochone heard ringing in his ears this loud was during his last hangover decades ago. No. The last time was when he was listening to his ex."; now interjection needed is true. After listening to a music genre: say "Cochone listens to Jenny's music, trying to ignore the ringing in his ears. "; if the turn count is greater than 25, say "[one of][i]Jenny must have turned the volume down,[/i] Cochone thinks. He concentrates on the soft sounds. [or][stopping][rpo]"; if the current music is: -- classic: say "[one of]'House of the Rising Sun.' [or]'San Franciscan Nights.'[or]'Don't Let Me Be Understood.'[or]'We've Gotta Get Out of This Place.'[or]'See See Rider.'[or]'Bright Lights Big City.'[or]'It's My Life.'[or]Something from the seventies plays on Jenny's laptop.[stopping] [lb]"; -- dance: say "Dance music."; -- foreign: say "More songs from the French guy, Cochone assumes."; -- instrumental: say "An instrumental interlude."; -- novelty: say "[i]So she likes cutesy novelty songs, too,[/i] [if the turn count is greater than 25]he[otherwise]Cochone[end if] thinks. [i]Why am I not surprised?[/i] [lb]"; -- hard rock: say "[i]Why is the singer yelling so much?[/i] Cochone thinks. [i]I hope Jenny doesn't have many of these.[/i] [lb]"; now interjection needed is true. After listening to Jennifer: say "[if turn count is less than 15]Cochone can hear Jenny tapping on the keys of her laptop[otherwise if turn count is less than 25]Jenny isn't typing much now; Cochone hears only intermittent taps[otherwise if turn count is greater than 35]Jenny has stopped typing. No. Cochone hears a few taps occasionally[end if].". After looking when the location does not contain a candidate song for the first time: say "You can resume a previous investigation with re-open. The HELP command shows a brief guide to using the software, and ABOUT provides more information on Sequitur's origin. Type CLEAR NOTES to erase the notebook. [pb][end seq] [lb]Cochone screws up his face. 'Oh boy,' he mutters. [pb]'Don't forget,' Jenny says. 'You can also ask me for help, and I'll explain all of this when you're ready. Or, if you don't mind consulting a woman, you can ask me for a hint, and I'll help you find the connections.'". After playing something through something when summary is switched on and one track is marked for manipulation, say "Track[if the number of marked for manipulation tracks is not one]s[end if] [list of the marked for manipulation tracks] do[if exactly one track is marked for manipulation]es[end if]n't have [if exactly one track is marked for manipulation]a [end if]summarized description[if two tracks are marked for manipulation]s[end if].". After switching on a reminder: if the noun is: -- sequence mode: say "The Sequence will be displayed every time you change it."; -- track mode: say "The list of unslotted tracks will be shown after every command."; -- full mode: say "Both the Sequence and track list will be displayed after each command."; -- ignore mode: say "You won't be shown changes to the Sequence or a reminder of the unslotted tracks after each command.". After switching on the summary: say "Now only your description of the tracks will appear when you play them.". After switching off the summary, say "Now the tracks will play normally.". after waiting, say "Cochone ponders the case. [pb][interjection]". Chapter - Specific Action-processing Rules from Standard Rules Understand "eat" as eating. [Grammar lines like these prevent the parser from asking things like "What do you want to ... ," which would be printed while the parser is reading the command and not make sense in this game. Now, the parser is forced into supplying a missing noun activities where we can say a more appropriate response.] Rule for supplying a missing noun while eating: if Cochone is having hot dogs begin; now the noun is the frankfurters; otherwise; if Jennifer is having lunch, now the noun is the bagel; unless Jennifer is having lunch, say "[if the player has been having hot dogs]The hot dogs still sit heavy in Cochone's stomach[otherwise if Cochone is waiting for lunch]Cochone anticipates the hot dogs, despite his tempermental stomach[otherwise]Cochone thinks about getting some lunch[end if]."; end if. This is the new can't eat unless edible rule: if the noun is inedible, say "[if the noun is a subject or the noun is Marco or the noun is Kiku]Cochone prefers non-human meat. [otherwise if the player has been having hot dogs][i]I like meat. Hot dogs may have a bad rap, but at least they're made from cow,[/i] Cochone thinks. [i]I hope.[/i][otherwise][i]I'm not really that hungry, am I?[/i] Cochone thinks. [i]Yeah, I am. I think it'll be time to visit 'Long Hots' soon.[/i][end if][lb]" instead. The new can't eat unless edible rule substitutes for the can't eat unless edible rule. The standard eating rule does nothing. Understand "look at [something]", "x", and "examine" as examining. Rule for supplying a missing noun while examining: say "Pick a track to play.". Carry out examining Help: say "[seq]"; if one status is solved begin; say "[one of]Surprise, Steve! I can change this program on the fly, too, in case you haven't noticed. [or][stopping]I think we "; if walkthrough is examined begin; say "can go with how I thought the tracks link up, if you want"; otherwise; say "solved [if primary objective is solved and secondary objective is not solved]the long segment[otherwise if two statuses are solved]both segments[otherwise]the short segment[end if]"; end if; say ". [if secondary objective is solved and primary objective is not solved]We really need to figure out that longer one, too. Let's work on those ten remaining tracks by fitting them into their own Sequence[otherwise]We should have enough to go on, so just tell me about the sequences, and I'll get Nigel[end if][if exactly one status is solved and primary objective is solved]. We could also work on those five remaining tracks, though, and figure out what's going on there. Try fitting them in the Sequence too, on their own, if you want[end if]. [pb]"; end if; unless one status has been solved and one track has been positioned, say "[fiction title] is designed for you to put tracks in the Sequence in temporal order. This particular case has 15 tracks, so two distinct sequences should be established: one with ten tracks and the other with the remaining five. The tracks are numbered one through fifteen, and the slots are lettered from A through J. Place the tracks in the slots, and your instincts should tell you when they are arranged sensibly. When one chain has been linked, remove the tracks from the Sequence and set up the other chain with the remaining tracks. Linking the ten-segment chain should be enough to know what happened and what to do next, but only by sequencing both chains will we be able to see the whole story. [pb]"; say "[b]Sequitur Commands and Brief Guide[/b] [pb]"; say "CLEAR SEQUENCE [bracket]or PLAYLIST[close bracket]: removes all the tracks[lb]"; say "CUT [bracket]a track[close bracket] FROM [bracket]a slot or playlist[bracket]: removes the track; if a second noun isn't specified, the track will be removed from the Sequence[lb]"; say "CUT [bracket]a track[close bracket] THROUGH [bracket]a track[close bracket]: removes the track in the first specified slot up to and including the track in the second specified slot[lb]"; say "EXAMINE or X [bracket]a track or slot[close bracket]: plays the track or the track which is in the slot[lb]"; say "EXAMINE or X TRACKS or SEQUENCE or PLAYLIST: lists all the tracks, the tracks in the Sequence, or the tracks in the playlist, respectively[lb]"; say "LOOK or L: refreshes the screen [lb]"; say "[bracket]a mode[close bracket]: either sequence mode, track mode, full mode, or ignore mode; determines what is displayed after you type a command [lb]"; say "OPEN [bracket]a slot[close bracket]: Unlike removing a track, which doesn't shift the remaining tracks, opening a slot moves the Sequence left or right (filling the nearest empty slot) to open the specified slot. [lb]"; say "PUT [bracket]a track[close bracket] IN [bracket]a slot or playlist[close bracket] (or just [bracket]a track[close bracket] [bracket]a slot[close bracket]: This will either fill an empty slot or, if the slot contains a track, first shift the tracks right if there is an empty slot available. If no slots are available to the right but there is an empty slot to the left, the tracks shift backward. If the Sequence is already full, the track in the last slot is lost; You can also put a track number first or second or third, etc."; say "PUT [bracket]a track[close bracket] RIGHT OR LEFT OF [bracket]a slot[close bracket] [lb]"; say "PUT [bracket]a track[close bracket] TO [bracket]a track[close bracket] IN [bracket]a slot[close bracket]: This allows you to move a string of tracks that are in the Sequence to another region of the Sequence. The leftmost track specified will be placed in the slot, with the subsequent tracks in the group being placed in the slots after it. You can also put these grouped tracks after or before another track or slot."; say "PLAY TRACKS or PLAYLIST or SEQUENCE: plays all the tracks in whatever you specified; 'tracks' will play all the unslotted tracks[lb]"; say "PLAY or P [bracket]a track[close bracket]: accepts track names or numbers[lb]"; say "PLAY or P [bracket]a slot or track[close bracket] THROUGH [bracket]a slot or track[close bracket]: specifying two unslotted tracks plays tracks that are not in the Sequence in their number order[lb]"; say "PLAY TRACKS or SEQUENCE or PLAYLIST RANDOMLY: if 'tracks' is specified, all the tracks not in the Sequence will play randomly[lb]"; say "REMEMBER: reminds you of the links you've established [lb]"; say "RENAME [bracket]a track[close bracket] or RENAME [bracket]a track[close bracket] [bracket]new name[close bracket][lb]"; say "REVERSE SEQUENCE or REVERSE [bracket]a slot[close bracket] THROUGH [bracket]a slot[close bracket]: reverses the positions of the tracks in the Sequence [pb]"; say "SHIFT [bracket]a track or slot[close bracket] FORWARD or BACKWARD BY [bracket]a number[close bracket]: moves the track or track in the specified slot forward or backward the specified number along the Sequence if there are empty slots to fill; if an empty slot is specified, the specified number of slots forward or back will be emptied; it will separate tracks if the specified track is next to another track[lb]"; say "SHUFFLE PLAYLIST or SEQUENCE: rearranges the tracks but doesn't play them[lb]"; say "SUMMARIZE [bracket]a track[close bracket]: allows you to write a brief description of the track; if you play a track with a summary and summaries is switched on, your description will be printed, instead of playing the track[lb]"; say "SWITCH SUMMARIES or SWITCH ON or OFF SUMMARIES: When summaries are switched on, your descriptions of the tracks will be printed. When they're off, the tracks play normally[lb]"; say "SWITCH [bracket]a track or slot[close bracket] WITH [bracket]a track or a slot[close bracket]: this won't shift the tracks in the Sequence; the track is placed in the new position, either filling it or replacing the previous track it held[pb]"; say "You can also record notes by typing WRITE, read them with READ NOTES, and clear the notebook with CLEAR NOTEBOOK. [pb]"; say "Other commands: CREDITS, HELP, QUIT, REOPEN, RESTART, and SAVE[if player is scoreboard watching]. SCORES shows you the hockey and basketball scores[end if][if a track links a track]REMEMBER reminds you of the connections you have made[end if]. [pb]"; say "ASK JENNY FOR HINTS if you want her advice, or ASK JENNY FOR an OPINION if you want her to show you how she would fit all the tracks into the Sequence. You can also just TALK TO JENNY anytime. If you want Jenny to do some research on someone in the footage, just type LOOK UP and the person's name[one of]. [pb][end seq] [lb]'Cute, Jenny,' Cochone says. 'Including yourself in there like that.' [pb]Jenny giggles. 'That's why I'm here. I'm usually good for a little chat.' [pb]'Right.' Cochone nods then coughs[or][stopping].". Already-hinted is a list of things that varies. Newly-hinted is a list of things that varies. [These are used to determine if Jenny will end up helping Cochone with the same tracks that were hinted at in the previous turn, i.e., the player didn't take the hint.] Setting action variables for examining when the noun is hints: now already-hinted is newly-hinted. Hinting for short chain is initially false. First check examining hints: say "'[one of]I need some fresh eyes on this,' Cochone says. 'Will you take a look?' [lb][or]Would you mind taking another look at this stuff?' Cochone says. [lb][stopping] [lb]'Okay,' Jenny says. [first time]'I can do it from my laptop. Just watch your screen.' [pb][i]Of course you can,[/i] Cochone thinks. [only][pb]Jenny mumbles as Cochone's cursor flits about his screen. "; if primary objective has been sequenced begin; say "[one of][pb]'I'm having a bit of a problem with the short sequence,' Cochone says. [pb]'Let's take a look,' Jenny says. [or][stopping] "; now hinting for short chain is true; otherwise; if secondary objective has been sequenced begin; say "[one of][pb]'This long chain,' Cochone says. 'Let's try it.' [pb]'Can do,' Jenny says. [or][stopping] "; now hinting for short chain is false; otherwise; now hinting for short chain is false; if (the number of positioned not story-important tracks is greater than the number of positioned story-important tracks) or (every story-important track is not explained and one positioned not story-important track is explained), now hinting for short chain is true; end if; end if; now hints are examined; say rpo. [We first want to put all the short segment tracks that we have linked into the Sequence and in the right order.] Check examining hints when secondary objective has not been sequenced and one not story-important track is explained (this is the place linked second chain tracks rule): if every explained not story-important track is positioned begin; repeat with counter running from one to the number of entries in secondary chain minus one begin; let hint list be the connected links for secondary chain starting at counter; let numbered hint list be numbered track list for hint list; if hint list is not {} and hint list is incorrectly shuffled, say "'Remember that you figured one chain is [numbered hint list]. Put those tracks in that order.' [lb]" instead; end repeat; otherwise; if (the number of positioned not story-important explained tracks is greater than the number of positioned story-important explained tracks) or every story-important track is not explained or (every track is unpositioned and the number of not story-important explained tracks is greater than the number of story-important explained tracks) or (every positioned story-important track is not explained and the number of explained not story-important tracks is greater than the number of explained story-important tracks) begin; if one not story-important unpositioned track (called magnet) links a track and magnet is not explained begin; let hint list be the connected links for secondary chain starting at position number of magnet among secondary chain; let numbered hint list be numbered track list for hint list; say "'Let's continue with what we know for that short segment. Let's see ... you've figured out a chain of tracks [numbered hint list], so put that in the Sequence.' [lb]" instead; end if; end if; end if. [Second, we want to put all the long segment tracks that we have linked into the Sequence and in the right order, but only after the conditions specified above are satisfied (that is, it is not appropriate to focus on the short chain).] Check examining hints when one story-important track is explained and primary objective has not been sequenced (this is the place linked first chain tracks rule): if every explained story-important track is positioned begin; repeat with counter running from one to the number of entries in primary chain minus one begin; let hint list be the connected links for primary chain starting at counter; let numbered hint list be numbered track list for hint list; if hint list is not {} and hint list is incorrectly shuffled, say "Part of that long chain is [numbered hint list], so put that string in order." instead; end repeat; otherwise; if one story-important positioned not explained track (called magnet) links a track begin; let hint list be the connected links for primary chain starting at position number of magnet among primary chain; let numbered hint list be numbered track list for hint list; say "'Let's take on what we know about the long segment. We know tracks [numbered hint list] belong like that, so go ahead and put them in the Sequence.' [lb]" instead; end if; end if. To decide if (targets - a list of things) is incorrectly shuffled: repeat with second counter running from one to the number of entries in targets minus one begin; let first track be entry second counter in targets; let second track be entry (second counter plus one) in targets; if number-name of holder of first track is not the number-name of the holder of second track minus one, decide yes; end repeat; no. [Now we make sure all the tracks in the Sequence pertain to the segment that we want to provide hints for.] Check examining hints when one track is positioned and (primary objective has been sequenced and every not story-important track is unpositioned) or (secondary objective has been sequenced and every story-important track is unpositioned) (this is the ensure all tracks are for the hinted chain rule): say "'You can take out [if exactly one track is positioned]track [number-name of a random positioned track][otherwise]all of those tracks[end if][first time], because they don't belong in the chain we want to work on[only].' [lb]" instead. The ensure all tracks are for the hinted chain rule is listed after the place linked second chain tracks rule in the check examining rules. The ensure all tracks are for the hinted chain rule is listed after the place linked first chain tracks rule in the check examining rules. Check examining hints when two tracks are positioned: if one story-important track is positioned and one not story-important track is positioned begin; let target tracks be the list of positioned story-important tracks; if (one not story-important track is positioned and secondary objective has been sequenced) or hinting for short chain is false, now target tracks is the list of positioned not story-important tracks; now newly-hinted is target tracks; let numbered target tracks be the numbered track list for target tracks; sort numbered target tracks; say "'[unless hinted tracks differ]Remember? [end unless]You can take out Track[if the number of entries in numbered target tracks is at least two]s[end if] [numbered target tracks][if hinted tracks differ or more than one track is positioned] and ... that's it[end if]. We know that [if number of entries in numbered target tracks is one]it doesn't[otherwise]they don't[end if] belong in the [if primary objective has been sequenced]short[otherwise]long[end if] chain.' [pb]'Okay, right,' Cochone says." instead; end if. [We want to sort out A- and B-sides when all the tracks of the long chain are in the Sequence.] Check examining hints when hinting for short chain is false and every story-important track is positioned: repeat with counter running from one to the number of entries in position list begin; let selection be entry counter in position list; let hint list be the connected links for position list starting at counter; if hint list is {} begin; if selection is A-side and the number-name of the holder of selection is greater than five begin; prepare hinted list for selection; say "'[unless hinted tracks differ]Like I said, t[otherwise]T[end unless]ry putting ['][appropriate name for selection]['] earlier, in the first half of the Sequence.' [lb]" instead; end if; if selection is B-side and the number-name of the holder of selection is less than six begin; prepare hinted list for selection; say "'[unless hinted tracks differ]Remember [otherwise]It seems [end unless]that ['][appropriate name for selection]['] probably happened later than where you put it.' [pb]'Could be.' Cochone grumbles." instead; end if; otherwise; let numbered hint list be numbered track list for hint list; let first track be entry one in hint list; let final track be entry (number of entries in hint list) in hint list; if first track is A-side and final track is A-side and the number-name of the holder of first track is greater than five, say "Tracks [numbered hint list] should be placed in the second half of the Sequence.' [lb]" instead; if first track is B-side and final track is B-side and the number-name of the holder of first track is less than six, say "I think Tracks [numbered hint list] should be in the first half of the Sequence.' [lb]" instead; if first track is A-side and final track is B-side and (the number-name of the holder of first track is greater than five or the number-name of holder of final track is less than six), say "Tracks [numbered hint list] should be moved to the middle-ish part of the Sequence.' [lb]" instead; end if; end repeat. [We make sure there is at least one track in the Sequence.] Check examining hints when every track is unpositioned: say "'Let's put some tracks in there for the [if hinting for short chain is true]shorter[otherwise]longer[end if] chain. I like ['][if hinting for short chain is false][appropriate name for a random story-important A-side track][otherwise][appropriate name for a random not story-important A-side track][end if]['] early om in the sequence and ['][if hinting for short chain is true][appropriate name for a random B-side not story-important track][otherwise][appropriate name for a random story-important B-side track][end if]['] in the second half.' [lb]" instead. [Lastly we fill the sequence with the appropriate tracks, either of the short or long chain, placing them on A- or B-sides.] Last check examining hints when (hinting for short chain is true and one not story-important track (called target) is unpositioned) or (hinting for short chain is false and one story-important track (called target) is unpositioned): prepare hinted list for target; if hinting for short chain is true begin; say "'[unless hinted tracks differ]I mentioned this: m[otherwise]M[end if]aybe try placing ['][appropriate name for target]['] close to the [if target is B-side]end of[otherwise]start of[end if] the short chain.' [pb]'Maybe.' [lb]" instead; end if; say "'[unless hinted tracks differ]I think I mentioned this, so m[otherwise]M[end unless]aybe we should put ['][appropriate name for target]['] in there in the [if target is A-side]first[otherwise]second[end if] half of the chain.' [pb]'Yeah, maybe,' Cochone says." instead. Last check examining hints when hinting for short chain is true and every not story-important track is positioned: if the short chain has interrupting placeholders, say "[one of]Well, I think they look good like that, but I haven't really studied them[or]You need to confirm what I think[stopping]. Try smushing them next to each other. It might be clearer that way.' [lb]" instead. [So at this stage every relevant track should be in the sequence, and there shouldn't be tracks of the non-hinting chain in it.] Carry out examining hints: let hint list be primary chain; let comparator be position list; if hinting for short chain is true begin; now hint list is secondary chain; remove placeholder from comparator; end if; repeat with selection running through hint list begin; if position number of selection among hint list is not position number of selection among comparator begin; if selection is entry one in hint list begin; say "I think it all started with ['][appropriate name for selection].[']' [lb]"; break; otherwise; let starter be entry (position number of selection among hint list minus one) in hint list; let attacher train be the connected links for hint list starting at position number of selection among hint list; let numbered train be the numbered track list for attacher train; if the number of entries in attacher train is greater than two begin; say "Probably tracks [entry one in numbered train] through [entry (number of entries in numbered train) in numbered train] happened right after ['][appropriate name for starter].[']' [lb]"; break; otherwise; say "Let's put [if attacher train is empty]['][appropriate name for selection]['][otherwise]tracks [numbered train][end if] right after Track [number-name of starter].' [lb]"; break; end if; end if; end if; end repeat. Report examining hints: say "'Right. Sounds good.'". To prepare hinted list for (item - a thing): now newly-hinted is {}; add item to newly-hinted. To decide whether hinted tracks differ : if newly-hinted is already-hinted, decide no; yes. [Examining the walkthrough reveals both chains and allows the player access to Nigel regardless of whether or not the player has sequenced or solved the individual chains.] Check examining walkthrough: unless hints are examined or walkthrough is examined begin; say "'[one of]So you think you can put all these tracks together?[or]Maybe I should get your opinion,[stopping]' Cochone says. [pb]'[one of]I can give it a shot[or]Sure[stopping],' Jenny says. '[one of]Do you want me to tell you how I think they all link up[or]You okay with a woman helping you now[stopping]?'"; if the player consents begin; say "'[one of]Anything to get out of here as soon as I can[or]Whatever works[stopping].' [pb]'Okay.' [rpo]"; otherwise; say "Cochone sighs and rubs his eyes. '[one of]Maybe I'll see what I can do before calling in the pinch hitter[or]Maybe not[stopping].' [pb]'Okay.'" instead; end if; otherwise; say "'[one of]I'd like your opinion on how each chain fits together[or]Remind me on how you did this[stopping],' Cochone says. [pb]'Sure,' Jenny says. [rpo]"; end unless. Place primary chain is initially false. Place secondary chain is initially false. Place neither chain is initially false. Carry out examining walkthrough: now place primary chain is false; now place secondary chain is false; now place neither chain is false; say "Jenny wheels over and begins reviewing the footage. [pb]Cochone sits back and rubs his eyes. [pb]"; if exactly one status is sequenced begin; say "'I think you got the [if primary objective is sequenced]long chain[otherwise]short sequence[end if] right,' Jenny says. 'This is how I [one of]see[or]saw[stopping] the other one.' [pb]"; unless primary objective is sequenced begin; recount primary chain; otherwise; recount secondary chain; end unless; otherwise; say "'This is how I [one of]see[or]figured[stopping] the long sequence,' Jenny says[one of]. 'Have a look.'[or].[stopping] [pb]Cochone studies the screen: [pb]"; recount primary chain; say "'Right,' Cochone says. 'Looks good. And the other?' [pb]Jenny removes the sequence and links another chain: [pb]"; recount secondary chain; say rpo; end if. Report examining walkthrough: say "'I can "; if one status is sequenced begin; say "leave the [if primary objective is sequenced]long[otherwise]short[end if] chain in there if you want, or I can switch it for the [if primary objective is sequenced]shorter[otherwise]longer[end if] one,' Jenny says. 'Do you want me to put the other chain in there?'"; if the player consents begin; if primary objective is sequenced, now place secondary chain is true; if secondary objective is sequenced, now place primary chain is true; otherwise; now place neither chain is true; end if; otherwise; say "put our [if primary objective has been sequenced and secondary objective has not been sequenced]short[otherwise]long[end if] chain in there if you like, or I can leave the Sequence as you had it,' Jenny says. 'Do you want me to change it?'"; if the player consents begin; if primary objective has been sequenced and secondary objective has not been sequenced begin; now place secondary chain is true; otherwise; now place primary chain is true; end if; otherwise; now place neither chain is true; end if; end if; say lb; unless place neither chain is true begin; if place primary chain is true, now position list is primary chain; if place secondary chain is true begin; now position list is secondary chain; fill six to the number of positions with blanks; end if; now every status is sequenced; [The Sequencing rule will turn the appropriate one off.] say "'Go ahead and save it your way.' [pb]'Done.'"; otherwise; say "'I still want to think about this, so leave it as I had it.' [pb]Jenny shrugs. 'Okay.'"; end unless; say "[lb]'You're awesome, Jenny,' Cochone says as Jenny wheels away. I'll make sure Nigel knows about this.' [pb]'Thanks, but this is a team effort.' [pb]"; unless every track is examined begin; now player is vigilant of footage; if more than six tracks are unexamined begin; say "'I haven't watched [unless every track is unexamined]m[end unless]any of the tracks, yet,' Cochone says."; otherwise; let target be the number of unexamined positioned tracks; say "'I still have [if target is 1]a[otherwise]some[end if] track[unless target is 1]s[end unless] to watch,' Cochone says. He scans [if target is one]for the title[otherwise]the titles[end if] of the track[unless target is one]s[end unless] he hasn't watched:"; watch for the list of unexamined tracks; end if; say lb; say "'Just play [if exactly one track is unexamined]it[otherwise]them[end if].' [pb]"; end unless; say "'Right. Go team.' [pb]'Tell me about the sequences when you think you are finished, and I'll get Nigel. But if you're not sure and want to fiddle some more, you can see what I just did by typing [']opinion.['] That will list the two sequences the way I think they link up.'"; say "[lb][if primary objective is solved][i]There's a reason that squirrel survived exposure to the powder,[/i] Cochone thinks. [i]Nigel will need to know what that is, too.[/i][otherwise if secondary objective is solved][i]Nigel will need to know where that gold powder is being stored, too,[/i] Cochone thinks. [otherwise][i]The long chain should tell me where that gold powder is being stored,[/i] Cochone thinks. [i]That shorter one. Why did that injured squirrel with the bum leg survive exposure to the weapon? The Lieutenant should know about that, too.[/i][end if] [lb]"; now every status is solved. The yes or no question internal rule response (A) is "Jenny screws up her face. 'I'm really just looking for a [']yes['] or [']no['] for now, Steve.'". [Annoyingly, this won't use the mdash command prompt, and it uses the default greater than symbol. I'm sure some I6 hackery could change this.] Check examining a track: if summary is switched on and the short-description of the noun is "" begin; if Continuous play is false begin; say "You haven't provided a description for Track [number-name of noun]."; otherwise; now noun is marked for manipulation; end if; stop the action; end if; say "[bold type]Track [number-name of noun] "; say "[appropriate name for (noun)]"; say roman type; unless summary is switched on, say lb; if summary is switched on, say "[short-description of noun][lb]" instead. [Using "not empty," as opposed to the default "", evaluates text substitutions accurately.] Carry out examining (this is the new standard examining rule): if the noun provides the property description begin; if the description of the noun is not empty begin; say "[the description of the noun][lb]"; otherwise; unless the noun is a backdrop, say "Cochone is struggling to concentrate, so he decides to limit distraction."; end if; now examine text printed is true; end if; if the noun is a track begin; repeat with target running through subjects begin; if the noun reveals the target begin; now target is identified; now target is researchable; end if; end repeat; end if; if the noun provides the property examined, now the noun is examined. The new standard examining rule is listed instead of the standard examining rule in the carry out examining rulebook. [We can't substitute a rule because the action uses a truth state that is designed specifically for the examining action.] Last carry out examining a not story-important track when secondary objective is not solved and Investigation has ended: say "Cochone doesn't have time to sort through the remaining five tracks, and he can't concentrate enough to make sense of them individually."; rule succeeds. Last carry out examining Backyard when Investigation has ended: say "[i]That squirrel drank from the birdbath and survived exposure to the powder,[/i] Cochone thinks.". Last carry out examining Time Lapse when Investigation has ended: say "[i]Those leaves fell into the birdbat that the squirrels were drinking from,[/i] Cochone thinks.". Last carry out examining Fight when Investigation has ended: say "[i]Something tore up that glove,[/i] Cochone thinks. [i]Something sharp like a cobra ring.[/i] [lb]". Last carry out examining Basement when church is not carried and prison is not carried and hospital is not carried and Investigation has ended: say "[i]We only found traces of that gold powder in the basement,[/i] Cochone thinks. [i]So where are they keeping it?[/i] [lb]". Last carry out examining Google when church is not carried and prison is not carried and hospital is not carried and Investigation has ended: say "[i]They must be keeping that chemical agent in one of these places,[/i] Cochone thinks.". Last carry out examining Locked-Door when Investigation has ended: say "[i]That ring is probably a two-headed cobra,[/i] Cochone thinks.". Last carry out examining a track when Investigation has ended: say end seq. The examine directions rule response (A) is "Cochone glances around and quickly returns to work.". The examine containers rule does nothing. Rule for supplying a missing second noun while inserting something into: if the noun is a track, now the second noun is the Sequence; otherwise say "You'll need to specify where you want to put it.". The can't insert into what's not a container rule does nothing. The can't insert what's not held rule does nothing. The standard inserting rule does nothing. The standard report inserting rule does nothing. The concise report inserting rule does nothing. Check inserting an intractable thing into an intractable thing when the noun is the second noun: say "[The noun] can't be placed inside itself." instead. Check inserting an intractable thing into playlist: say "You'll need to put individual tracks into [second noun]." instead. Check inserting an intractable thing into the Footage: say "You can't put a list of tracks into the list of all tracks." instead. Check inserting footage into the Sequence: say "Try adding a specific track into a slot." instead. Check inserting playlist into something when the second noun is the Sequence or the second noun is a position: if favorites list is {}, say "There are no tracks in your playlist to copy over." instead; if the number of entries in favorites list is greater than ten, say "You can fit at most ten tracks in the Sequence." instead; if the second noun is a full position, say "You can only fit your playlist into empty consecutive slots." instead; repeat with selection running through favorites list begin; if selection is listed in position list begin; say "The Sequence can only contain one copy of a track."; stop the action; end if; end repeat; if second noun is sequence begin; let candidates be the list of positions; repeat with counter running from one to the number of positions begin; if number of entries in favorites list slots are available starting at counter begin; now entry counter in candidates is marked for manipulation; break; end if; end repeat; end if; if second noun is a position begin; if number of entries in favorites list slots are available starting at number-name of second noun, now second noun is marked for manipulation; end if; unless a position is marked for manipulation, say "There aren't enough consecutive empty slots to fit your playlist." instead. Check inserting a not intractable thing into footage: say "The unslotted tracks can't really contain anything." instead. Check inserting a not intractable thing into the Sequence: if the noun is a track begin; if every position is full, say "Because the Sequence is full, you'll need to specify a slot, e.g., PUT [bracket]track number[close bracket] INTO [bracket]slot letter[close bracket]." instead; let slots be the list of empty positions; say "I'll put Track [number-name of noun] in the first empty slot, [entry one in slots]. [rpo]"; now the second noun is entry one in slots; end if; if the noun is a position, say "The Sequence already contains slots, and you can't rearrange them." instead. Check inserting a not intractable thing into the playlist: if the noun is a full position, now the noun is a random track which is in the noun; if the noun is an empty position, say "I can add a track that is in the Sequence into your playlist, but the slot needs to contain a track, and slot [noun] doesn't have one." instead; if the noun is a track and (the noun is listed in favorites list or the number of entries in favorites list is (number of tracks)), say "Sorry, but your playlist can only contain one copy of a track." instead. Check inserting an intractable thing into a not intractable thing: unless the noun is playlist and second noun is a position, say "The individual [if the second noun is a track]tracks[otherwise]slots[end if] can't contain a list of tracks." instead. Check inserting a track into a not intractable thing: if the second noun is a track, say "Tracks can't hold other tracks. Try inserting a track into a slot, lettered A through J, instead." instead; if the noun is positioned and the second noun contains the noun, say "Slot [second noun] already contains Track [number-name of noun]." instead. Check inserting a position into a not intractable thing: if the second noun is a track, say "You can't put a slot or the track within it into another track; try putting it into another slot." instead; if the noun is the second noun, say "Slots and their contents can't be placed inside themselves." instead; if the noun is empty, say "Slot [noun] is empty." instead; now the noun is a random track which is in the noun. Last check inserting a positioned track into a position: add placeholder at entry number-name of holder of noun in position list; remove noun from position list. Carry out inserting a track into playlist: add noun to favorites list. Carry out inserting playlist into something: let starter be number-name of a random marked for manipulation position; repeat with counter running from starter to (starter plus the number of entries in temporary favorites list minus one) begin; now entry counter in position list is entry one in favorites list; remove entry one from favorites list; end repeat. Carry out inserting an unpositioned track into an empty position: now entry (number-name of second noun) in position list is noun; rule succeeds. Carry out inserting a track into a position: remove noun from newly-hinted, if present; now removal point is the nearest empty slot for the position list starting at slot number-name of second noun; if removal point is zero or removal point is greater than the number-name of the second noun begin; add noun at entry number-name of second noun in position list; unless removal point is zero, remove entry (removal point plus one) from position list; otherwise; reverse position list; add noun at entry positions-plus minus number-name of second noun in position list; reverse position list; remove entry (removal point minus one) from position list; end if. Report inserting a track into playlist: say "Track [number-name of noun] has been added to [second noun]."; if exactly one status is solved, say "[one of][lb][end seq] [lb]'I see you put a track in your playlist,' Jenny says. 'Remember that you'll also need to put the other [if primary objective is solved]five[otherwise]ten[end if] tracks in the slots to make their own sequence, without the others. Your playlist is really just a temporary holding space. You could keep the [if primary objective is solved]long[otherwise]short[end if] chain in there as you work on the other one, or you could put several tracks in your playlist then add your playlist to the sequence.' [pb][seq][rpo][or][stopping]". Report inserting playlist into something: say "The Sequence now contains the tracks from your playlist[if the second noun is a position], starting at slot [second noun][end if].". Report inserting a track into a position: if second noun is empty begin; say "Track [number-name of noun] has been inserted into slot [second noun], filling it."; otherwise; say "Track [number-name of noun] is now in Slot [second noun]. "; if ten positions were full and workstation contains the noun begin; say "The Sequence was full, so the last track was removed from slot [the last slot of the sequence]."; otherwise; say "The sequence has shifted [if removal point is less than number-name of second noun]left[otherwise]right[end if] of slot [second noun][if entry (number of entries in temporary position list) in temporary position list is not listed in position list], knocking out the last track[otherwise if noun is unpositioned or (one position is empty and the noun is positioned)], filling in the nearest empty slot[end if]."; end if; end if. Check listening to the player: try waiting instead. The report listening rule response (A) is "[The noun] [don't] make any sound.". The room description paragraphs about objects rule does nothing. [This also prevents the rules listed after it from triggering. Thus, we won't have any paragraphs about things after the room description.] The room description heading rule does nothing. This is the new room description body text rule: print the location's description. The new room description body text rule substitutes for the room description body text rule. Check switching on a switched on thing: say "The short descriptions of tracks should already be active." instead. Check switching off a switched off thing: say "You should already be able to play the original tracks." instead. Book Turn Sequence Rules Chapter - Every Turn Cochone can be aware of connecting the tracks. First every turn when five not story-important examined tracks are positioned and the player is not aware of connecting the tracks and the short chain has interrupting placeholders: say "[i]I guess I should complete the links for the short chain by placing them next to each other to be sure,[/i] Cochone thinks."; now the player is aware of connecting the tracks; now interjection needed is true. [This rule determines whether or not either the short segment or long segment is in the proper order in the Sequence. If one is, then the secondary objective or primary objective, respectively, is considered "sequenced." Note that this isn't enough to proceed; players must also watch all the tracks and, when they do, then the objectives are finally "solved." Examining the walkthrough bypasses these steps because we assume the player just wants to skip to the end if he or she examines the solutions.] First every turn (this is the sequencing rule): let potential links be a list of things; let targets be position list; remove placeholder from targets, if present; if the number of entries in targets is less than two begin; now primary objective is not sequenced; now secondary objective is not sequenced; otherwise; let short chained list be a list of things; repeat with counter running from one to number of entries in targets minus one begin; let target be entry counter in targets; let second target be entry (counter plus one) in targets; if (target is story-important and second target is story-important) or (target is not story-important and second target is not story-important) begin; if target is properly positioned beside second target begin; if target is not story-important, add target to short chained list; unless target is unexamined or second target is unexamined or target links second target begin; if less than three not story-important tracks are examined or less than three story-important tracks are examined begin; add target to potential links; add second target to potential links; break; end if; follow the linker rules for second target; if the outcome of the rulebook is the link established outcome begin; now target links second target; carry out the recalling the link activity with second target; end if; end unless; end if; end if; end repeat; now connections made is one; if ten tracks are positioned and one positioned track is unexamined and player is not vigilant of footage begin; now every positioned unexamined track is marked for listing; say "[i]I'll need to play all of the tracks to be sure of how they fit together, [/i]Cochone thinks. [italic type]I haven't done that. I'll need to play"; unless every positioned track is unexamined begin; if more than five positioned tracks are unexamined begin; say " most of these.[roman type] [lb]"; otherwise; watch for the list of marked for listing tracks; end if; now every thing is not marked for listing; end unless; say roman type; now player is vigilant of footage; end if; if (less than three not story-important tracks are examined or less than three story-important tracks are examined) and potential links is not {} begin; say "[first time][i]Tracks [number-name of entry one in potential links] and [number-name of entry two in potential links] could go together, but I won't be able to make any conclusions until I figure out the two themes by watching more tracks,[/i] Cochone thinks.[only]"; otherwise; if primary chain is position list begin; if primary objective has not been solved and every positioned track is examined begin; say "'I think I have it then, Jenny,' Cochone says. 'The long chain.' [pb]'Good. I knew we would. With the help of [i]Sequitur,[/i] of course[if secondary objective is not solved]. You might want to remove those ten and fit those other five tracks into their own chain. They might help, too[end if]. Just tell me about the sequence when you're ready.' [pb][i]When I'm ready,[/i] Cochone thinks. He considers the ten tracks. [i]We didn't find much of that gold powder in the basement. Maybe these tracks tell me where the thugs are storing it.[/i] [lb]"; now primary objective is solved; end if; now primary objective is sequenced; otherwise; now primary objective is not sequenced; end if; if the number of entries in short chained list is (the number of not story-important tracks minus one) and four not story-important tracks are explained begin; if secondary objective has not been solved begin; say "'[if a story-important track is positioned]Tracks [entry one in short chained list] through [entry (number of entries in short chained list) in short chained list][otherwise]That[end if] makes the shorter sequence, [if primary objective is solved]too, [end if]Jenny.' [pb]'[if primary objective is solved]Great! Both of them. I knew we could do it. I'll get Nigel after you tell me about the sequences.' [pb][i]But first,[/i] Cochone thinks, [i]I need to know why that injured squirrel with the bum leg didn't get sick. Nigel will probably want to know.[/i] [lb][otherwise]I'm sure we can figure out those other ten tracks, too. Take out the five and order up those other ten in the Sequence.' [pb]Cochone sighs. [i]These five are telling me something, though,[/i] he thinks. [i]The injured squirrel with the bum leg. Why wasn't it sick?[/i] [lb][end if]"; now secondary objective is solved; end if; now secondary objective is sequenced; otherwise; now secondary objective is not sequenced; end if; end if; end if. First every turn when already speaking is true and (typing a new name is false and typing a summary is false and writing some notes is false): say end seq; if (Xeno is identified and Xeno was not identified) or (Xeno is pseudonymized and Xeno was not pseudonymized), say "[one of][lb]Cochone sighs. [if Escape is examined and Escape was unexamined and Xeno is pseudonymized][i]The pretty blond in the hospital must be the girl recording the '[appropriate name for Escape]' video,[/i] he thinks. [i]I hope you make it, Foxy.[/i] [lb][otherwise][i][Xeno] is the pretty blond we found,[/i] he thinks. [lb][end if] [lb]Jenny's playlist switches songs. [lb][or][rpo][stopping]". [We mention this here because "track mode" can't be named before making a track a kind of thing.] A reminder is a kind of device which is privately-named. Sequence mode, Track mode, Full mode, Ignore mode, and mode are reminders. All reminders are in the Workstation. Understand "Sequence mode" as sequence mode. Understand "Track mode" as track mode. Understand "Full mode" and "full" as full mode. Understand "Ignore mode" and "ignore" as ignore mode. Understand "mode" as mode. Mode reminder is initially zero. Temporary mode reminder is initially zero. To say mode offerings: say "[one of]By default, [fiction title] shows the Sequence or playlist every time it changes[or]SEQUENCE MODE shows the Sequence or playlist when it changes[stopping]. TRACK MODE will show the list of unslotted tracks after you type a command, and FULL MODE will show both the Sequence and track list after a command. IGNORE MODE turns off these options, and nothing is displayed."; increment mode reminder. Stripping tag info is initially false. First every turn (this is the showing list changes rule): unless ignore mode is switched on begin; if full mode is switched on, try examining sequence; unless track mode is switched on or full mode is switched on begin; unless (walkthrough was unexamined and walkthrough is examined) or every track is unpositioned, compare the position list with the temporary position list for the Sequence; unless ((favorites list is {} and temporary favorites list is {}) or (favorites list is {}) and the number of entries in favorites list is the number of entries in temporary favorites list), compare the favorites list with the temporary favorites list for the playlist; end unless; if (full mode is switched on or track mode is switched on) and player is not distracted begin; now stripping tag info is true; say "[track listing] [lb]"; now stripping tag info is false; if mode reminder is less than six and (mode reminder is temporary mode reminder), say mode offerings; end if; end unless. To compare the/-- (lister - a list of things) with the/-- (second lister - a list of things) for the/-- (target - a thing): if lister is not second lister begin; try examining target; if mode reminder is less than six and (mode reminder is temporary mode reminder), say mode offerings; end if. First every turn: unless the player has been in the Office for one turn, follow the put tracks in positions rule; if Office contains player begin; decrement final countdown; if already speaking is true, say end seq; if final countdown is four, say "Cochone's head bobs forward, but Nigel catches the detective before he teeters over. 'Jenny, call an ambulance,' Nigel says. [pb]'I'm all right,' Cochone says. [pb]'No, Steve, I'm afraid you're not,' Nigel says. 'Is there anything more you can tell me?'"; if final countdown is zero, follow the roll the presses rule; rule succeeds; end if; if the location contains a candidate song, rule succeeds. [Stating that "rule succeeds" shuts down the whole rulebook, which we want because the rules are irrelevant in the Office or at the beginning of the game.] First every turn when three story-important tracks are examined and three not story-important tracks are examined and the player is not aware of different chains and two statuses are not solved (this is the make the player aware of themes rule): now player is aware of different chains; let tracker be the numbered track list for the list of not story-important examined tracks; [We need to do this because the list of examined not story-important tracks will create a list in the order they are listed in the source text, and that would give away how they should be arranged.] sort tracker; say "[end seq] [lb][italic type]There seems to be a similar theme running through tracks [tracker],'[roman type] Cochone thinks. [i]Certainly they're different than the others I've seen. The two sets of tracks probably belong to the different themes Jenny was talking about.[/i] [pb]Two detectives look into Jenny's office and smile. One of them says, 'Hey Cochone, what you doin['] here today? Lose a bet?' His partner chuckles, and they walk away.". Every turn when song cue is less than turn count: now current music is a random music genre; now song cue is turn count plus (a random number between three and seven). Every turn when player is scoreboard watching (this is the scoreboard rule): if turn count is less than 150 begin; repeat with chosen running through away hockey teams begin; let target be a random team which plays chosen; unless netted of chosen is greater than six or netted of target is greater than six begin; if a random chance of 1 in 15 succeeds and netted of chosen is not greater than 6, increase the netted of chosen by 1; if a random chance of 1 in 30 succeeds and netted of target is not greater than 6, increase the netted of target by 1; end unless; end repeat; repeat with chosen running through away basketball teams begin; if a random chance of 1 in 6 succeeds and (the netted of chosen is less than 130 or the netted of a random team which plays chosen is less than 120) begin; increase the netted of chosen by (a random number between 5 and 10); increase the netted of a random team which plays chosen by (a random number between 3 and 10); end if; end repeat; if ((bites remaining was bites remaining) or Cochone is satiated) and ticker tracker is less than turn count begin; if scoreboarding is false begin; now interjection needed is true; say "Cochone needs to scratch an itch by typing: [pb]"; try scoring; now ticker tracker is turn count plus (a random number between 6 and 10); end if; end if; end if. Every turn when scoreboarding is true for three turns, now scoreboarding is false. [This will ensure that we don't check the scoreboard and then check it again in the every turn rule.] Every turn when player is awaiting information and the player was awaiting information: now the being-researched is researched; if the being-researched is a subject, now being-researched is identified; now Cochone is not awaiting information; say "'Here you go,' Jenny says. [pb]Jenny's summary of [being-researched] appears on the screen: [description of being-researched] [lb]". Every turn when player is having hot dogs: if a random chance of 1 in 5 succeeds, try eating the frankfurters. Every turn when temporary playlist is not {}, now temporary playlist is {}. Every turn when something is marked for manipulation, now every thing is not marked for manipulation. Every turn: now substitution slot is placeholder; now substitution track is zero; now inserting group right is false; now inserting group left is false; now removal point is zero; now slot-skip is one; now Continuous play is false; now temporary mode reminder is mode reminder. Chapter - Timed Events The custom timed events rule substitutes for the timed events rule when interjection needed is true and Investigation is happening. The custom timed events rule translates into I6 as "CUSTOM_TIMED_EVENTS_R". [This allows us to execute code when a timed event is about to fire. In this case, we add the interjections. Thanks to Andrew Plotkin (Zarf on the Interactive Fiction Forum) for this code.] Include (-[ CUSTOM_TIMED_EVENTS_R i event_timer fire rule; for (i=1: i<=(TimedEventsTable-->0): i++) if ((rule=TimedEventsTable-->i) ~= 0) { event_timer = TimedEventTimesTable-->i; fire = false; if (event_timer<0) {(TimedEventTimesTable-->i)++;if (TimedEventTimesTable-->i == 0) fire = true; } else { if ((the_time >= event_timer) && (the_time < event_timer+30)) fire = true; } if (fire) { TimedEventsTable-->i = 0; FollowRulebook( (+ timed events preamble rule +) ); FollowRulebook(rule); } } rfalse;];-). This is the timed events preamble rule: unless the time of day is 11:43 am or the time of day is 11:55 am, say interjection. The timed events rule does nothing when Office contains the player. [This prevents any of the timed events from triggering when the game is over.] At the time when Jenny inquires about the case: unless Jennifer is explaining the manual begin; say "'So, can you tell me a little bit about the case you're working on?' Jenny says. 'It's that house in the bayou?' [pb]'Right.' Cochone sighs. 'At about 7:00 Thursday night a guy, Mr. Mayer, was walking his weiner dog on the outskirts of the Belle Bayou.' [pb]'Was his name Oscar? The dog. It was a dachshund, right?' [pb]'Right. He finds a young woman. Twentysomething. She is barely conscious. She points into the trees. Passes out. Mayer sees some smoke. He calls emergency. They search the area. Turns out there's a house there with a fire in the basement and two burned bodies. Two more people are found dead. Shot. All young, your age. There is also a lot of recording equipment, and some cell phones. We spend all day in and around the house gathering it all up for your little pet project. And today I'm hoping it will talk because right now the girl is in a coma, and we don't even know who any of them are.' [pb]Jenny's smile finally fades. 'Well, I'm sure we'll figure it out.' [pb]'It doesn't look good for the girl. Five-to-one says she won't make it.' [pb]Jenny's eyes widen. 'I, I don't like taking chances.' She frowns. 'Especially when it involves someone's life.' [pb]Cochone shrugs. 'She lives or dies either way.' [pb]Arms crossed, Jenny glances at the computer. 'Maybe you should get back to work. Ask me for help when you need it.' She emphasizes the 'when.'"; otherwise; now Jennifer is not explaining the manual; Jenny inquires about the case in one minute from now; end unless. At 11:37 am: unless Jennifer has been explaining the manual or one status has been sequenced, try discussing help with Jennifer. At 11:43 am: say "Lieutenant Jayne appears in the doorway. He glances down at the stain on Cochone's crotch. 'Everything okay in here?' [pb]Jenny's lips curl up. She whispers, 'He's had a little accident.' [pb]'What?' Cochone says, turning away from the computer screen. [pb]'He's doing great so far,' Jenny continues, grinning. [pb]'Thanks, teach,' Cochone says. [pb]'Come on, Steve, we all know how you are with electronics. I've seen you still using a Walkman. Which is why you're here on this beautiful Saturday morning. The Belle bayou case is perfect to test out the new software. If you can learn it ...' [pb]'Anybody can,' Cochone says. 'Right. And Lady Gaga here [if hints is examined or two statuses have been sequenced]has been a great help.'[otherwise]is gonna help me?'[end if] [lb]'Miss Lincks helped develop the program,' Nigel says. 'She can teach computer tech to chimps.' [pb]'Chimps are pretty smart,' Cochone says. [pb]'Yeah, but I don't think we'll need a million of you with a million computers to write Shakespeare,' Jenny says. 'Or figure this out.' [pb]'Shakespeare?' Cochone says. [pb]'Geeze,' Jenny says. 'Is it too late to get a monkey in here?' [pb]'I have faith in you, Jenny,' Nigel says. 'I'm going to get some lunch. You two want anything?' [pb]Jenny shakes her head. 'No thank you.' [pb]Nigel turns to Cochone. 'You want two dogs?' [pb]Cochone is undeniably hungry, and two hot dogs topped with relish and mustard would take care of that, but he thinks his stomach might reject them as part of his general malaise."; now Nigel is waiting for lunch request; now Cochone is queried. At 11:50 am: say "'Bum-bum-bum,' Jenny sings. 'Here you go, Cochone, isn't this appropriate?' [pb]Cochone is momentarily confused, then he hears Peter Townsend ask 'Who are you?' 'I thought you didn't know [i]The Who.'[/i] [pb]'Sure I do. They're the guys who wrote the themes for the [i]CSI[/i] shows, right?' [pb]'They were around way before then.' [pb]Jenny laughs. 'I know that. Obviously nobody does music quite like that anymore.'"; now Cochone is listening to the Who. At 11:55 am: now Cochone is not listening to the Who. At 11:55 am: if Cochone is waiting for lunch begin; now Cochone is having hot dogs; say "Someone knocks at the office door. Nigel appears at Cochone's shoulder. 'Well, I don't see any smoke pouring from the motherboard,' Nigel says. "; if help is examined or hints are examined begin; say "[pb]'Right,' Cochone says. 'Marie Curie here must be rubbing off on me.' [pb]'Indeed,' Nigel says, 'I didn't even think you knew who Curie was.' [pb]'Sure I do. She invented that Indian spice.' [pb]Nigel places a box and a can of cola on the desk. 'Keep rubbing, Jenny,' Nigel says. 'Maybe something will stick eventually. Good luck.' He nods, smiles, and leaves. [pb]"; Jenny explains Curie in two minutes from now; sports ticker is requested in six minutes from now; otherwise; say "'Here's your lunch.' He places a box and cola on the desk. [pb]'Right,' Cochone says. 'Thanks.' [pb]'Well, I'll leave you two to it,' Nigel says. 'Good luck. To both of you.' He slaps the chair and leaves. [pb]"; sports ticker is requested in four minutes from now; end if; say "Cochone regards the hot dogs smothered with mustard, relish, and pickles. He turns around. 'You want a bite?' [pb]Jenny reaches into a small bag that hangs from her chair. 'No thank you. I'm fine.' She places a bagel and a bottle of water on her desk. [pb]'That's healthy,' Cochone says. '"; otherwise; say "'You want a bite of my bagel?' Jenny says. 'I'm sure your stomach could handle it much better than that offal Nigel proposed.' [pb]Cochone turns around. Jenny holds a bagel with cream cheese, and a bottle of water is sitting on the desk behind her. 'I'll pass,' Cochone says. 'I'll maybe get something later. That may be a bit too ... healthy for me. "; sports ticker is requested in six turns from now; end if; say "Are you one of those people who won't eat anything that farts?'[if Cochone is having hot dogs] Cochone bites off the tail of one of the hot dogs.[end if] [lb]'Actually I am.' [pb]'Right. Well, [if Cochone is having hot dogs]I don't want to know what's in this, okay?' [pb]'You don't want to know my sister found a vein in one?' [pb]'Yeah. Some girls don't like wieners with big veins. There's so much stuff on these that I can't even tell if I'm eatin['] the cow's tits.' [pb]'Cows don't have [']tits.[']' [pb]'You haven't seen my ex's mother.' [pb]'Pig.' [pb]'Hey, I'm a Cochone. There's an [']e['] at the end.' Cochone takes another bite of the hot dog, mustard dripping onto his hand. 'Mmmm. That's good booby.' [otherwise]I'm not sure that meat is worse than the rest of the crap we eat and breathe.' [pb]'It's not just that. You ever see a slaughterhouse? Its disgusting. So much blood and guts. Those poor animals kept under atrocious conditions; their only reason to live is to be tortured and slaughtered so we can satisfy some primal urge to eat meat. It's so unnecessary.' [pb]Cochone shrugs. 'Killing is bloody. Removing organs is bloody. It's part of the job. Besides, the animals are dead by that time. This Neanderthal likes his red meat, and he's glad he doesn't have to chase after it.' [end if][pb]Jenny giggles and shakes her head."; now Jennifer is having lunch; now Workstation contains bagel. At the time when Jenny explains Curie: say "'Marie Curie was a Polish chemist, you know,' Jenny says. 'She discovered radium and polonium. There's an element named after her and her husband. Curium.' [pb]'Right. I can read Wikipedia, too.' [pb]'I didn't need to look that up.' [pb]'Did you also know that Pierre was mowed down in the street and died? Marie shacked up with one of his students who she was bangin[']?' [pb]Jenny doesn't respond. Cochone turns to see her tapping at her keyboard."; Jenny confirms Cochone's trivia in two minutes from now. At the time when Jenny confirms Cochone's trivia: say "'Huh,' Jenny says. 'You're right. About Marie. Although I wouldn't have quite put it like that.' [pb]Cochone smiles. [i]I may not use 'Wikipedia,' but I do watch The History Channel.[/i][lb]". At the time when sports ticker is requested: say "Cochone leans back and glances at the time in the corner of the screen. 'Does this thing come with a sports ticker?' [pb]'What kind of sports?' Jenny says. [pb]'NHL, hockey. NBA.' [pb]'I'll see what I can do.'"; ticker starts in five minutes from now. At the time when ticker starts: now player is scoreboard watching; say "'Okay, Hockey Puck,' Jenny says . 'Or should that be Basket Balls?' She laughs. 'If you want to check the sports scores, just type [']scores.[']' [pb]'Right, Cochone says. 'You're amazing.'". At 12:17 pm: say "'You're toing just fine,' Jenny says. [pb]Cochone turns to face her. [i]Does she ever stop smiling?[/i] he wonders. 'This program is great. It seems to be running itself.' [pb]'Good. That's how I designed it. I knew you'd be getting in tune soon enough.'". At 12:22 pm: say "Cochone regards Happy Jack next to the monitor. [i]Keeping silent now?[/i] he thinks, [i]not much to celebrate today, is there, Jack.[/i] [lb]". At the time when Jenny discovers ironside: say "Cochone hears some muttering from behind him. 'What's that?' he says. [pb]'A television show,' Jenny says. 'With Raymond Burr. [i]Ironside.[/i]'". Chapter - Testing test countdown with "n / walkthrough / y / y / tell jenny about sequences". test filler with "n / put one in A / put two in B / put eleven in E / put 15 in F / put six in I / put 8 in J". test primary-solution with "n / put kitchen in A / put diary in B / put chrysanthemum in C / put locked door in D /put google in E / put basement in F / put Motorboat in G / put fight in H / put escape in I / put torching in J". test secondary-solution with "n / put backyard in A / put dead Animals in B / put time lapse in C / put sound test in D / put squirrel trap in E". test whole-story with "test primary-solution / talk to jenny / g / no / no / test watch-primary / excise all / test secondary-solution / test watch-secondary / tell Jenny about sequences". Test watch-primary with "x kitchen / x diary / x chrysanthemum / x locked door / x google / x basement / x Motorboat / x fight / x escape / x torching". test watch-secondary with "x backyard / x time lapse / x dead Animals / x sound test / x squirrel trap". test group with "put one in a / put two in b / put three in c / put four in d / put one through three into e / put one to two in a".