| [These are the on-line hints provided with the Macintosh version of Border | |
| Zone. I do not know if all other versions provided them, as well; if they did, | |
| this file is pretty obsolete. | |
| Torbj|rn Andersson, d91tan@Minsk.DoCS.UU.SE] | |
| THE TRAIN | |
| How do I answer the man? | |
| 1. It is possible to answer either way, although you must be careful. | |
| 2. If he thinks you are lying, it will raise his level of suspicion, | |
| regardless of what you said. | |
| 3. Also, the admission that you have seen the American agent is enough to | |
| generate a little suspicion. | |
| Why doesn't he believe my answer? | |
| 1. Is there any reason the man might KNOW that you've seen the American agent? | |
| 2. Might the agent have left something behind, besides the document and the | |
| carnation? | |
| 3. Wasn't he holding his left arm? Mightn't it have been wounded? | |
| 4. LOOK AT THE FLOOR to see the blood that he's left here. It's a dead | |
| giveaway, no pun intended. It would be best to clean up after him. | |
| 5. In the lavatory, across the hall and to the south, there is a towel. Get | |
| it, wet it, then use it to clean up the blood. | |
| 6. Also, answering in a way that contradicts the evidence (i.e. the bloodiness | |
| of the floor), adds suspicion. | |
| Why am I searched so thoroughly? | |
| 1. For one reason, there's an important document missing. | |
| 2. For another, they know the American agent had it. | |
| 3. You are American, therefore somewhat suspicious. | |
| 4. If you're wearing that crushed carnation, you might look peculiar to them. | |
| 5. Depending on how you handled your 'interview' with the trench coated man, | |
| you might have appeared suspicious. | |
| 6. Also, if you have been seen outside of your compartment holding any unusual | |
| items - a carnation, a briefcase, etc... | |
| Why am I followed at the station? | |
| 1. Clearly, you are under suspicion. | |
| 2. There are a number of things you may have done to make the situation worse. | |
| See the previous two questions. Also, if the guards found anything peculiar | |
| in their search of your possessions, that would increase their suspicions. | |
| How can I deliver the document? | |
| 1. You'll have to make sure the guards don't find it. | |
| 2. Have you tried hiding it...? | |
| 3. ...in your compartment? | |
| 4. ...in the lavatory? | |
| 5. ...in your camera? | |
| 6. Oh, you have? Then, you should be aware that you CANNOT deliver the | |
| document. | |
| 7. However, you can deliver its contents. | |
| 8. Your camera can be used for more than tourist shots. | |
| 9. PHOTOGRAPH the document. | |
| 10. You must be clever to avoid the guards destroying your film during the | |
| search. | |
| 11. Try rewinding the roll that's in there, and loading the camera with the | |
| exposed roll. That will divert suspicion. | |
| Who is my contact? | |
| 1. It depends on what the American agent said at the very beginning. | |
| 2. Check your Frobnian phrase book (in your Border Zone package) for the | |
| translation of the phrase that your contact was supposed to repeat. Be | |
| careful; the exact words must be used. | |
| 3. When your contact appears, you must SAY "It is my fault" in Frobnian. Check | |
| your phrase book for the translation. | |
| 4. Then, GIVE THE COLOR ROLL TO THE CONTACT. Alternatively, you can DROP THE | |
| COLOR FILM; this latter method is less obvious, in case you are followed. | |
| Depending on how much suspicion you have raised, you may be able to do | |
| either, both, or none of these two things. | |
| Have you ever tried...? | |
| 1. [Please don't read further until you have successfully completed this | |
| chapter.] | |
| 2. ...dropping things in the passageway? | |
| 3. ...entering other compartments (they're all different!) | |
| 4. ...photographing things at the train platform? | |
| 5. ...photographing the bad spy? yourself? the camera? | |
| 6. ...pulling the stop cord on the train? | |
| 7. ...jumping out the window in your compartment? | |
| 8. ...giving the document (or shreds) to the bad spy? | |
| 9. ...reading the graffiti in the bathroom? | |
| 10. ...putting things in the sink? | |
| 11. ...flushing things down the toilet? | |
| 12. ...trying to hide the document every place you can think of? | |
| 13. ...taking a gun from one of the guards? | |
| THE BORDER | |
| How do I stop myself from bleeding? | |
| 1. Have you tried using a tourniquet? | |
| 2. Is there any cloth or fabric you can use? | |
| 3. RIP your CLOTHES. | |
| 4. Then, TIE THE PIECE OF CLOTHING AROUND LEFT ARM. | |
| How can I get warm? | |
| 1. Have you found any shelter? | |
| 2. Go east and north from your starting point. | |
| 3. You'll have to get into the hut. | |
| 4. There's a very nice parka inside. | |
| 5. See the question "How do I get into the hut?" | |
| How can I keep away from the dogs? | |
| 1. Can you find food to distract them? | |
| 2. Didn't think so. | |
| 3. Can you hide your tracks? | |
| 4. Guess not. | |
| 5. Can you confuse their senses? | |
| 6. How about a place where you don't leave tracks... | |
| 7. ... and don't worry much about odors. | |
| 8. Have you been at the swamp? | |
| 9. Make sure that you ENTER THE SWAMP; then move somewhere else along the | |
| edge, so they'll lose the trail. | |
| 10. Oh, I hope you weren't wearing any of your nice shoes. | |
| What about the automobile I hear? | |
| 1. Have you observed it from up close? | |
| 2. If you get in it's way, you'll be caught. | |
| 3. There's a good spot where you can observe the car. | |
| 4. Like the north side of the hut. | |
| 5. Basically, three enemy guards are in the car. | |
| 6. They come to warn the man in the hut that you are an escaped lunatic. | |
| 7. Who else would be walking around, wounded and cold, in the middle of | |
| nowhere? | |
| How can I get into the hut? | |
| 1. Have you tried the front and back doors? | |
| 2. Well, it works better if nobody's inside. | |
| 3. You can get in when the occupant is talking to the men from the car. [See | |
| the hint about the car if this is meaningless...] | |
| 4. Also, the occupant will leave at some point to get more wood from the shed. | |
| 5. Also, there's another way, but that's for you to figure out... | |
| How can I get out of the hut? | |
| 1. If the owner hasn't returned and there's no scout prowling around, it's no | |
| problem. | |
| 2. The scout will be gone when the car leaves (you'll hear it). | |
| 3. But now, the owner's returned as well. The squeaky door alerts him to your | |
| presence. | |
| 4. Take the oil can, then OIL THE HINGES. | |
| 5. Now you can leave - just don't come back! | |
| How do I use the explosive? | |
| 1. Better might be "Where...?" | |
| 2. To use the explosive, REMOVE the CAP, PUSH the BUTTON once for every minute | |
| you want the fuse to run, and REPLACE the CAP. | |
| 3. Oh... you won't want to be there when it goes off. | |
| 4. Try placing it in different places to see what happens; remember it's | |
| magnetic so you can PUT it ON metallic objects. | |
| 5. You don't really need this until you've gotten as far as the border fences. | |
| 6. See "How can I cross the border?" for details. | |
| How can I avoid the searchlights? | |
| 1. If you are not WATCHing them, you should. | |
| 2. The status line will show you the current positions of the lights. | |
| 3. You should plan to head NORTH when the three lights are all aimed away from | |
| you. | |
| 4. Make sure you understand where YOU are in relation to the three lights; the | |
| right times to cross differ depending on your position. | |
| 5. To cross successfully, you must be in good physical condition. | |
| 6. That means warm and not bleeding. | |
| 7. You should also be wearing proper shoes. | |
| 8. For example, the WORK SHOES in the hut. | |
| How can I cross the first fence? | |
| 1. It's electrified, so you'd best not touch it. | |
| 2. Also, you'll need something to break the chain links. | |
| 3. You could use something insulating on your hands. | |
| 4. Perhaps RUBBER GLOVES, from the woodshed. | |
| 5. You'll also need the BOLT CUTTERS, also found in the woodshed. | |
| 6. You'll have to LOOK AT THE TOOLS to find the gloves and the bolt cutters. | |
| 7. Try CUTting the LINKS WITH THE BOLT CUTTERS. | |
| 8. Oh, yeah. If you want to get through the fence, you'll have to BEND (or | |
| PULL) it back, otherwise you'll get zapped going through. | |
| How can I survive the tear gas? | |
| 1. Did you don your gas mask? | |
| 2. And why not? | |
| 3. Oh, you don't have one. | |
| 4. Perhaps you're playing the wrong game? | |
| 5. Or cheating? | |
| 6. Either way, it doesn't reflect well on you. | |
| How can I avoid the border guards? | |
| 1. Both are moving, so you should WATCH them. | |
| 2. When they are facing away from you, you have some freedom of action. | |
| 3. Unless you're in front of the middle tower, you are ALWAYS in view of one | |
| of the guards. | |
| 4. The quieter you are, the better. | |
| 5. The farther away they are, the better. | |
| 6. The less you hang around there, the better. | |
| How do I get past the second fence? | |
| 1. There's no way. | |
| 2. You can't. | |
| 3. Really. | |
| 4. No. | |
| 5. ! | |
| How can I cross the border? | |
| 1. If you haven't gotten to the guard tower yet, don't read any further. | |
| 2. How tall is the fence? | |
| 3. How tall is the tower? | |
| 4. It might be possible to "ride" the tower across the border. | |
| 5. An explosive device would be useful in this regard. | |
| 6. But where to put it? | |
| 7. The posts are fairly weak, but choose well. | |
| 8. The northern posts will work. ATTACH THE PEN TO THE NE (NW) POST | |
| 9. Oh, first you should set the timer and arm the device. | |
| 10. Then, you should get INTO the tower. | |
| How do I get into the tower? | |
| 1. Did you try knocking on the door? | |
| 2. Well, that doesn't mean that you should be just standing there with a | |
| stupid look on your face... | |
| 3. Check out the brace; you can GET ON it. | |
| 4. Then try KNOCKing on the DOOR. | |
| 5. No, we're not pulling your leg. | |
| The guards are coming after me! | |
| 1. Well, what did you expect? | |
| 2. You can't leave; you can't fight; or can you? | |
| 3. You'll have to somehow blow up the tower and yet stay in relative safety | |
| (no mean trick). | |
| 4. This hinges on where you've placed the explosive, how you've set the timer, | |
| and where you are when it goes off. | |
| 5. See the question regarding "How can I cross the border?" | |
| Have you ever tried...? | |
| 1. [Please don't read further until you have successfully completed this | |
| chapter.] | |
| 2. ...having the bomb explode in the car? Or in or adjacent to the hut? Or the | |
| shed? | |
| 3. ...going farther into the swamp? | |
| 4. ...knocking on the tower door for a second time? | |
| 5. ...using the binoculars? On something you're carrying? | |
| 6. ...climbing the hut? | |
| THE ASSASSINATION | |
| Where is the sniper hiding? | |
| 1. Have you seen your contact, the antique dealer? | |
| 2. The antique shop is just west of the southwest corner of the square (i.e. | |
| south and west of your starting position). | |
| 3. Be careful; the police are sometimes inside, checking around. They know who | |
| you are, so you'd better not get seen. | |
| 4. You'll have to find out yourself on which floor of the apartment building | |
| the sniper is hiding, but at least your contact had the password. | |
| 5. Perhaps he is, in some way, visible from the street; the town square might | |
| be a good vantage point. | |
| 6. From the town square, try LOOKing AT THE WINDOWS or BUILDINGS. There are | |
| three open windows in the apartment building; the sniper is in one of them. | |
| 7. In the apartment building's lobby, there is a directory of residents; maybe | |
| there is some information there. | |
| 8. There is only one vacant apartment with the window open. Guess who's in it? | |
| How do I get TO the sniper? | |
| 1. You can try using the elevator in the apartment lobby. | |
| 2. Or, have you been into the alley? | |
| 3. Down at the end is a fire-escape ladder. | |
| 4. If you TAKE THE TRASH CAN, then PUT THE TRASH CAN UNDER THE LADDER, then | |
| STAND ON THE CAN, you can easily reach the ladder. Then, go up to the | |
| proper floor. | |
| 5. Knock on the door, and have the password handy. If you don't give the | |
| password quickly, the sniper will ignore you for the remainder of the | |
| scenario. | |
| How do I get the password? | |
| 1. You'll have to meet with your contact, the antique dealer. See the previous | |
| question. | |
| Should I kill the sniper? | |
| 1. An interesting dilemma. If you kill the sniper, your cover is broken, due | |
| to suspicion regarding the gun used (yours) and the incident on the train, | |
| in which you lost the coded document. On the other hand, you stop the | |
| assassination. All in all, a mixed bag. You can do better. | |
| Why does the sniper kill me? | |
| 1. A variety of reasons. First, anything you do that might cause him to think | |
| you're intent on defeating him will get you killed. Also, arriving at his | |
| door while you're being pursued is a definite killer. | |
| How can I avoid Topaz? | |
| 1. Once he's seen you, he will doggedly pursue you for the remainder of your | |
| alloted time (i.e. until the assassination happens.) | |
| 2. He can be avoided by staying away from the cafe. The more you pass by there | |
| or spend time there, the more likely that he'll see you. | |
| 3. Maybe you don't want to avoid him... | |
| Can Topaz help me? | |
| 1. Firstly, his interest and yours are similar - preventing the assassination. | |
| In your case, however, you daren't risk exposing yourself to Topaz, | |
| firstly, for fear of being seen by other Soviet agents and, secondly, for | |
| fear of being killed by Topaz, who has an axe to grind with you. | |
| 2. Can you arrange for Topaz to kill the sniper? | |
| 3. Think about it... | |
| 4. Topaz will follow you anywhere, even to the sniper's room. | |
| 5. If you can lead him there, you're home free. Almost. | |
| Topaz always catches me. Why? | |
| 1. He's about the same speed as you, so you're usually fine. Unless you're in | |
| the alley, trying to get to the fire-escape ladder. That takes more time | |
| than you've got. | |
| 2. Can you put a stumbling block in his way? | |
| 3. You can TOPPLE THE VENDOR'S CART and make an unholy mess; that will hold | |
| Topaz for a little while. After that, it's up to you. | |
| I can't get the best ending. Why? | |
| 1. Presumably, you have found the sniper and know the password. | |
| 2. Also, you know that Topaz can be made to kill the sniper for you. | |
| 3. Meaning that Topaz must follow you up to the sniper's room. See the | |
| previous clue for help in this regard. | |
| 4. Once you're in the sniper's room, Topaz will never find you in time unless | |
| you've helped him along. | |
| 5. DROP something before giving the password; it's presence will alert Topaz | |
| to yours. Oh, and make it small or the sniper will find it instead. | |
| 6. And HIDE or STAND BEHIND THE DOOR so that you won't get in Topaz's line of | |
| fire and get killed with the sniper. | |
| 7. Then, HIT TOPAZ, and he'll never know what happened. | |
| Have you ever tried...? | |
| 1. [Please don't read further until you have successfully completed this | |
| chapter.] | |
| 2. ...buying food from the vendor? | |
| 3. ...taking food after toppling the cart? | |
| 4. ...throwing things at Topaz as he chases you? | |
| 5. ...killing the sniper yourself? with Topaz's gun? | |
| 6. ...figuring out how many Infocom people live in the Gribnitz apartments? | |
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