637 lines
41 KiB
Plaintext
637 lines
41 KiB
Plaintext
|
|
|||
|
|
1 If you are in need of help, you need but ask...
|
|||
|
|
2 ************************* INSTALLED: 17 FEB 85 *********************
|
|||
|
|
3 Welcome to BWMS (BackWater Message System) Mike Day System operator
|
|||
|
|
4 ************************************************************
|
|||
|
|
5 GENERAL DISCLAIMER: BWMS IS NOT RESPONSIBLE FOR ANY INFORMATION
|
|||
|
|
6 PLACED ON THIS SYSTEM.
|
|||
|
|
7 BWMS was created as an electronic bill board. BWMS is a privately owned
|
|||
|
|
8 and operated system which is currently open for use by the general public.
|
|||
|
|
9 No restrictions are placed on the use of the system. As the system is
|
|||
|
|
10 privately owned, I retain the right to remove any and all messages which
|
|||
|
|
11 I may find offensive. Because of the limited size of the system, it will be
|
|||
|
|
12 periodically purged of messages. (only 629 lines of data can be saved)
|
|||
|
|
13 To leave a message, type 'ENTER' and use ctrl/C or break to get out of the
|
|||
|
|
14 ENTER mode. The message is automatically stored. If after entering the
|
|||
|
|
15 message you find you made a mistake, use the replace command to replace
|
|||
|
|
16 the line. To exit from the system, type 'OFF' then hang up.
|
|||
|
|
17 Type 'HELP' to see other commands that are available on the system.
|
|||
|
|
18 ************************************************************
|
|||
|
|
19
|
|||
|
|
20 *******************************************************************************
|
|||
|
|
21 (chuckle, snort, big grin) on the top!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
|
|||
|
|
22 oh it feels so good.
|
|||
|
|
23 ******************************************oreocookieskathyd*******************
|
|||
|
|
24
|
|||
|
|
25 mikey: disk b should be disk c no?
|
|||
|
|
26 jack: message received, ok get us out of the pits with our skins.-thanks-
|
|||
|
|
27 ***********************************kathyd**************************************
|
|||
|
|
28
|
|||
|
|
29 it's been said before... "so close..."
|
|||
|
|
30
|
|||
|
|
31 *)_%#*%)_!*%_)@!*_)#*^_)#$&^_)*^_)@#&*^)_&^_)#$*!^_+)*!^)_+&_)$#*^$_)@#^&*#_)$&^_#)^*#$_)^&#_)^*#_$)^&_#)^*#_)^*_)#^&_#$)^^
|
|||
|
|
32 "Farley", L'homme began, "sometimes I worry about you. Actually I worry about you almost all of the time. I have
|
|||
|
|
33 noticed your devotion to Fred with much more than a little concern. Maybe the NET indoctrination didn't spell things out
|
|||
|
|
34 as clearly as it should have, so I am going to try and point out a few things to you."
|
|||
|
|
35 Farley knew he was in for a big lecture, but instead of resisting, he pushed back his seat a bit, and prepared
|
|||
|
|
36 himself for the sermon. #The drive to the southeast address won't take that long,#, Farley mused, #maybe we'll get there
|
|||
|
|
37 before I am chastised too much.#
|
|||
|
|
38 L'homme directed the Fiat, coffins full of electronics and all, onto the Banfield Battlefield, settled into the
|
|||
|
|
39 far left lane, and began.
|
|||
|
|
40 "When NET began many years ago, definitions between good and evil were much more clear. We had no doubts about
|
|||
|
|
41 what we were doing. The individuals who initiated the NET agent network realized from the start, that in order to get
|
|||
|
|
42 premium results from field agents, those agents must totally believe in what they were doing. In a business such as the
|
|||
|
|
43 one you find yourself in now, there can be no second thoughts; no rationalizations about why you are here or what you are
|
|||
|
|
44 doing. To second-guess a directive, or not take split-second action could result in the failure to carry out a mission,
|
|||
|
|
45 and even more importantly, your death. You must hold the NET ideals as your own, or you will never live long enough to
|
|||
|
|
46 tell your grandchildren what you did when you were young."
|
|||
|
|
47 L'homme paused for a second to change lanes. They were now in the middle lane, coming up on the 33rd street exit.
|
|||
|
|
48 Cars jostled for position, maneuvering in and out, trying to avoid being caught in the wrong place when the right lane
|
|||
|
|
49 ended. #Bumper cars without the bumps#, L'homme thought.
|
|||
|
|
50 NET's creators appreciated the need for agent independence. They instilled this independence in every portion of
|
|||
|
|
51 NET agent training. But there was something more; something that was learned from other para-military intelligence
|
|||
|
|
52 organizations. Although an agent should never be without his complement of extra-ordinary gadgets and gizmos, the devices
|
|||
|
|
53 that sometimes give him or her that winning edge over the opposition, the gadgets and gizmos should never overshadow the
|
|||
|
|
54 agent that is using them." L'homme's voice seemed to tremble a bit. Something Farley had never heard before. "The agent
|
|||
|
|
55 IS the MOST important thing. You must never forget that. You can loose your secret decoder ring in a fight. Your sidearm
|
|||
|
|
56 weapon can run out of power or ammunition. You can loose you walkie-talkie watch with Telex capability. You must never
|
|||
|
|
57 lose yourself. You must always realize that you, Agent Farley, are more than a driver of a slick AI car, or the shooter
|
|||
|
|
58 of a nickel-plated .45. You are a NET agent, and places you on a diases that must never tip. To fall from your elevated
|
|||
|
|
59 position is to fall from grace in NET, and to lose your life in the process. SPECTER never understood this ideal, and they
|
|||
|
|
60 were soundly defeated. The CIA never understood this ideal, and they are but an international joke amongst spy
|
|||
|
|
61 organizations. Control understood, but was never able to gather the caliber of agents needed to pull things off perfectly.
|
|||
|
|
62 Nonetheless they were successful, most of the time, against KAOS. NET believes this, lives this, and imparts this to all
|
|||
|
|
63 of its agents. You were run through the system so quickly that there wasn't time to inculcate these paradigms in you.
|
|||
|
|
64 #Inculcate these paradigms?# Farley was more than perplexed. #He sometimes uses big words, but I think I get the
|
|||
|
|
65 meaning.#
|
|||
|
|
66 "Farley, your devotion to Fred was what started this. Fred is but a tool. Your tool. You must never forget that...
|
|||
|
|
67 Farley interrupted. "Fred is more than a gun or a watch or a secret decoder ring. His designers have given him a
|
|||
|
|
68 personality. He is a thinking creature, capable of loyalty and friendship to me. You haven't worked with him, there is no
|
|||
|
|
69 way you could know."
|
|||
|
|
70 "You are right, I don't know Fred, but I do know what it is to feel a sort of comradery with an inanimate object
|
|||
|
|
71 such as a car. I used to have one too. It was different from Fred in many ways, but to hear you speak of Fred, my car
|
|||
|
|
72 wasn't so different. You can only go through so much with something before you start to feel a kinship with it, car or not
|
|||
|
|
73 I understand where you are coming from Farley, but you must also understand my position. The only person or thing you
|
|||
|
|
74 must put your utmost trust in is yourself. Someday Fred won't be there, and then what? You can only depend on yourself.
|
|||
|
|
75 That is the basis for all NET training. Do you understand?"
|
|||
|
|
76 Farley was silent for a few moments. Then he nodded, and responded in the affirmative. "Yes. I understand. Don't
|
|||
|
|
77 miss your exit."
|
|||
|
|
78 L'homme guided the car up the off ramp. Minutes later, they were almost there. What would greet the agents at this
|
|||
|
|
79 new location? No one in the entire organization could even have come close to guessing, but there is time enough to explai
|
|||
|
|
80 that in the next NET entry.
|
|||
|
|
81 *%)_#*%@#)_%*#_@)%*@_#)%*@_)#*%
|
|||
|
|
82 ch /loose/lose/ (duh?) ch /explai/explain/ sorry!
|
|||
|
|
83 voyeur:You missed a fun pizza feed. natch.
|
|||
|
|
84 piper:I am getting the run-around. You know... 'please go to office 123d' 123d-'please go to office 117i' 117i-'please talk
|
|||
|
|
85 to....' ad nauseum. I'll try again Monday. No work, but school is open.
|
|||
|
|
86 Mystery Author:NET sent two representatives to the CBBS/Aloha party last night to check into rumors of enemy
|
|||
|
|
87 activity. We didn't find any, but a not-missing-for-the-time-being Gaudy Minsky said she was working on a new entry, and would
|
|||
|
|
88 try to enter it today (Sunday). I gave her M.A. #1, so she knows the score.
|
|||
|
|
89 *%)_#@*%_#%*_!*%_*#$_)^&*#$_)!^*!#_)^*!#_)^* L'homme sans Parity *%_)#*%_)*%!)_*^)_)_^#$*^_#^)&#_)$^*#_$)^)_#!$*^!_#)^*!
|
|||
|
|
90 Amongst all this wit, I leave you 2 For Sale's:
|
|||
|
|
91 -----------------------------------------------
|
|||
|
|
92 For Sale: Heath/Zenith H89A:
|
|||
|
|
93 ----------------------------
|
|||
|
|
94 - 64K RAM
|
|||
|
|
95 - 1 Drive w/HDOS (Assembler, etc.)
|
|||
|
|
96 - Green Screen CRT
|
|||
|
|
97 - 3 RS-232C ports (1 DTE, 2 DCE)
|
|||
|
|
98 - 2 8 Bit Parallel Ports, 2 Handshaking Lines/Port
|
|||
|
|
99 - Benton Harbor BASIC
|
|||
|
|
100 - MBASIC
|
|||
|
|
101 - PIE Text Editor
|
|||
|
|
102 - CPS Computerized Phone System
|
|||
|
|
103 - *** $500 Cash (I'll deliver) ***
|
|||
|
|
104 The best time to reach me is from 8AM-12PM, Mon-Fri.
|
|||
|
|
105 Contact:
|
|||
|
|
106 Tom Handley / New Age Communications
|
|||
|
|
107 656-xxxx (Oregon City Area)
|
|||
|
|
108 For Sale:
|
|||
|
|
109 =========
|
|||
|
|
110 Okidata u92 Printer
|
|||
|
|
111 - 8 1/2" X 11" Paper
|
|||
|
|
112 - 160 cps Data Processing Mode/40 cps Correspondence Mode
|
|||
|
|
113 - 80, 96, And 136 Columns
|
|||
|
|
114 - Dot Addressable Graphics
|
|||
|
|
115 - Host of Other features...
|
|||
|
|
116 - 8 New Ribbons
|
|||
|
|
117 - Modified For Both Serial And Centronics Interface
|
|||
|
|
118 (Just flip a switch on the rear)
|
|||
|
|
119 - *** $400 Cash (I'll deliver) ***
|
|||
|
|
120 The best time to get a hold of me is from 8AM-12PM, Mon-Fri.
|
|||
|
|
121 Contact:
|
|||
|
|
122 Tom Handley / New Age Communications
|
|||
|
|
123 656-xxxx (Oregon City Area)
|
|||
|
|
124 /\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\
|
|||
|
|
125
|
|||
|
|
126 Isis: Speaking as a relatively silent guest of the Backwater Inn, I can
|
|||
|
|
127 say with certainty that the fair residents herein will never snicker at what
|
|||
|
|
128 you say. If you are wrong they will point this out, usually with a fair
|
|||
|
|
129 amount of tact; you may even be lucky enough to start a raging debate or a
|
|||
|
|
130 host of commentary; but you will never be looked down on. The folkes
|
|||
|
|
131 around here are very nice about that.
|
|||
|
|
132 Leonard: WHEN I join,(that is, as soon as I round up 20 bucks) I will
|
|||
|
|
133 no doubt join the shire where I now reside, Coeur de Valle. After I get
|
|||
|
|
134 out of school, then I will pack up my bow and move to Three Mountains.
|
|||
|
|
135 No, I wasn't aware that my border had a meaning, but I will surely look
|
|||
|
|
136 it up as soon as I get back to my books.
|
|||
|
|
137 To All Concerned: as far as the True Names debate goes, I might as well
|
|||
|
|
138 contribute my two cents. I feel that it is a matter of personal taste and
|
|||
|
|
139 whim(whims are very important things, you know.) If you feel like baring
|
|||
|
|
140 your soul to all the patrons assembled, then please do so...but if, like
|
|||
|
|
141 your poor sorcerer's apprentice here (or whatever it is I'm studying down
|
|||
|
|
142 there), you feel better using a pseudonym, or pseudosex, or whatever, then
|
|||
|
|
143 by all means do so. That's why this is here, methinks...to be a forum for
|
|||
|
|
144 YOU, to express YOUR feeling and emotions and (here's that word again)
|
|||
|
|
145 whatever. That was a nickel, rather than two cents, sorry.
|
|||
|
|
146
|
|||
|
|
147 If all the world's a stage and all the men and women
|
|||
|
|
148 merely palyers,
|
|||
|
|
149 (players)(sorry)
|
|||
|
|
150 then WHO'S PRODUCING THIS TURKEY???????
|
|||
|
|
151 (PRODUCING?? I thought we were doing improvs. Somebody show me a script!!)
|
|||
|
|
152
|
|||
|
|
153 Fare thee well... (any meesages will be saved by my devoted brother...
|
|||
|
|
154 so TALK TO ME!!)
|
|||
|
|
155 /\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/Luingil/\/\/\/\/\/\/\(STUDY HELP NEEDED)/\/\/
|
|||
|
|
156
|
|||
|
|
157 Okay, what is this devoted brother stuff I keep hearing???? Oh well, I might
|
|||
|
|
158 as well do it.... (like those dots!)........ (((these too))) Jeez, should
|
|||
|
|
159 I save all this too?? I think I will just to be silly!
|
|||
|
|
160 ^:^:^:^:^:^:^:^:^:^:^:^:^:^:^:^:^:^:^:^:^:^:^:^:^:^:^:^:^(devoted?)^:^:^:^:^
|
|||
|
|
161 'tis better to be a devoted brother
|
|||
|
|
162 than a deported brother, as in the
|
|||
|
|
163 brother from another planet, or the
|
|||
|
|
164 brother with the double chin, or the
|
|||
|
|
165 brother with three %@#....
|
|||
|
|
166 #$##$##$##$##$##$##$##$##$##$##$##$##$##$##$##$##$##$##$##$##$##$##$##$##$##$##$##$##$##$##$##$##$##$##$##$##$##$##$#
|
|||
|
|
167 I thought on what L'homme had said. Everything he had said made sense, but if he'd only talked to Fred once...
|
|||
|
|
168 Our destination was rapidly approaching. I wished that I would've had more time to stop and think.
|
|||
|
|
169 L'homme turned the car down a few narrow streets, and parked it. "We walk from here, Farley. The place is most likely
|
|||
|
|
170 guarded, and the streets watched. Just remember what I've said, okay?"
|
|||
|
|
171 "I will...," I said, not able to think of anything else.
|
|||
|
|
172 We began walking. L'homme began to talk as if we were on a causal tour of the neighborhood. I returned the
|
|||
|
|
173 banter for appearances. Then the building came into view.
|
|||
|
|
174 It was a two-story house, seeming no different than the many others around. It was well-kept and recently painted with
|
|||
|
|
175 an off-white color. A two-car garage that formed part of the house showed us how the van was supposed to get inside.
|
|||
|
|
176 "That's it," L'homme whispered, interspersing his banter with his words.
|
|||
|
|
177 I was, in the meantime, having difficulty keeping up the talk. "Do-you-learn-to-do-this-in-NET-training?", I managed
|
|||
|
|
178 to whisper while keeping up the talk at the same time.
|
|||
|
|
179 "Yes. You're doing well for your first time. I see a window that we can get to from the roof," L'homme whisper-said.
|
|||
|
|
180 "I-think-I-see-a-ladder-next-door," I whispered back. We had, by this time, passed the house. Seeing that there was
|
|||
|
|
181 no one at home at the house next door, L'homme and I turned to walk up to the front door.
|
|||
|
|
182 "That lock'll be a cinch," L'homme whispered. I bent over and picked up a small toy on the lawn, and at the same time
|
|||
|
|
183 moved myself between L'homme and the house next door. "Go-ahead," I said.
|
|||
|
|
184 With my shielding his actions, L'homme had the door open in the same time it would have taken with a key. "After
|
|||
|
|
185 you," he said.
|
|||
|
|
186 We entered, and suddenly our banter dropped. My brain thanked me for the rest. "That's hard to do."
|
|||
|
|
187 "Yes. Now, don't touch anything in here. We're just using this house as cover. Now, did you notice where they had
|
|||
|
|
188 their lookout posted?"
|
|||
|
|
189 I strained to remember. Nothing. "No."
|
|||
|
|
190 "Look closer next time. They had one at the living-room window. There's probably another at the back. I'd guess
|
|||
|
|
191 there's five or six guys in there in all. Plus Gaudy, Flemming, and parts of Fred."
|
|||
|
|
192 "At least I DID see that there's no one upstairs. And that ladder is our passage up there. Neither of the lookouts
|
|||
|
|
193 can see us if we approach the house from the sides."
|
|||
|
|
194 "Not bad, Farley, not bad. And our cover for being out there with a ladder?"
|
|||
|
|
195 I pointed to a pile of paint cans, brushes, rollers, and overalls. "Care to try on one of those overalls, Da Vinci?"
|
|||
|
|
196 L'homme smiled, and we each put on overalls. Grabbing a can and a brush each, we left out the side door.
|
|||
|
|
197 We moved the ladder up to the window, and very gently set it alongside the house. L'homme climbed up first, depositing
|
|||
|
|
198 his brush and can on the roof just below the window. I climbed up and followed suit.
|
|||
|
|
199 We moved closer to the window, and carefully peered in. "What the...", we whispered tin unison.
|
|||
|
|
200 #$##$##$##$##$##$##$##$##$##$##$##$# Farley #$##$##$##$##$##$##$##$# 14:28 - 02/17/85 #$##$##$##$##$##$##$##$##$##$#
|
|||
|
|
201
|
|||
|
|
202 ttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttt
|
|||
|
|
203
|
|||
|
|
204 if i was only a little less worried over people and their opinions... i might
|
|||
|
|
205 leave a little song... tin unison written by yours truly...
|
|||
|
|
206
|
|||
|
|
207 ttttttttttttttttttttttttttttttttgtttttttttttttttttttttttttttgtttttttttttttttttt
|
|||
|
|
208
|
|||
|
|
209 :::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
|
|||
|
|
210
|
|||
|
|
211 "Why aren't you there? Helping my father, a kindly old man, who's helped
|
|||
|
|
212 you more than once!" Screamed the girl, he face slightly twisted with tears.
|
|||
|
|
213 The Former reached an unsteady hand, to slowly wipe away her tears and lift
|
|||
|
|
214 some of the horrible agony that is worry and fear.
|
|||
|
|
215
|
|||
|
|
216 The little girl in the robes of a peasant fell into the arms of the Former,
|
|||
|
|
217 and almost tipped him over in the doing. She cried into his fur, letting all
|
|||
|
|
218 pretenses drop and all worries fade away into a time that was gone for now.
|
|||
|
|
219
|
|||
|
|
220 After a long while, the girl stood up and straightened her rags, then told
|
|||
|
|
221 the Former that they would leave now. Leave finally for a place where another
|
|||
|
|
222 person cried for worry and self doubt. Finally to the aid of a friend.
|
|||
|
|
223
|
|||
|
|
224 :::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
|
|||
|
|
225
|
|||
|
|
226 [[[[[[[[[[[[[[[[[[[]]]]]]]]]]]]]]]]]]]]]
|
|||
|
|
227 To the Guardian......
|
|||
|
|
228 Just to clarify..East Ave is called a tavern, but it's not REALLY a tavern
|
|||
|
|
229 It's more of a coffee-house-that-sells-every-beer-known-to-man-house...So there
|
|||
|
|
230 are no drunks or many wierd people there,well not too many wierd people...
|
|||
|
|
231 Anyway it has a nice atmosphere like PC&S. If age is the question I wouldn't
|
|||
|
|
232 worry about that too much either.
|
|||
|
|
233 So....it's on E Burnside at about 8th. Maybe later.....
|
|||
|
|
234 [[[[[[[[[[[[[[[[[[[[]]]]]]]]]]]]]]]]]]]
|
|||
|
|
235 PS: Is this board getting alot more serious or what?
|
|||
|
|
236 [[[[[[[[[[[[[ MENTAT & LORAC ]]]]]]]]]
|
|||
|
|
237
|
|||
|
|
238 Masturbation: Using a margin of 128 when entering your stories, thereby ren-
|
|||
|
|
239 dering them illegible to anyone whose screen does not show lines of 132 char-
|
|||
|
|
240 acters. If you are just writing for your own personal pleasure, fine. If you
|
|||
|
|
241 are just writing to impress your friend, fine. If you want the rest of us to
|
|||
|
|
242 take you seriously, show some courtesy. It's bad enough having to figure out
|
|||
|
|
243 the convoluted punctuation, mangled grammar, and poor spelling(some of which is
|
|||
|
|
244 due to "Enter Only", I know(hope?)) without having this particular problem to
|
|||
|
|
245 contend with... "You may not like what I have to say, but you'll have to
|
|||
|
|
246 kill me to keep me from saying it..." Patrick Henry
|
|||
|
|
247
|
|||
|
|
248 MathMathMathMathMathMathMathMathMathMathMathBOC1
|
|||
|
|
249
|
|||
|
|
250 Geometry problem: Naturally the difference between the volume of the sphere
|
|||
|
|
251 and the cylinder varies with the radius of the sphere (or of the cylinder).
|
|||
|
|
252 I believe the answer can be found with the following equation:
|
|||
|
|
253 V(sphere-cylinder)=(2/3)PI(2R^3-9R^2+81)
|
|||
|
|
254
|
|||
|
|
255 I don't really know what direction you wanted us to go with this, but I derived
|
|||
|
|
256 the equation with respect to the radius of the sphere (R). The same could have
|
|||
|
|
257 been done with respect to the radius of the base of the cylinder. Also, the
|
|||
|
|
258 equation could have been factored in many different ways. Oh well.
|
|||
|
|
259 MathMathMathMathMathMathMathMathMathMathMathMathMathMathMathMathMathMathMath
|
|||
|
|
260 Luingil: My sympathies are more with Stromgard (perhaps being one of the
|
|||
|
|
261 founding members has something to do with that). I currently reside in the
|
|||
|
|
262 "unofficial" Stromgard embassy in Three Mountains. As for the meaning of
|
|||
|
|
263 /\/\ according to the infamous MIT "jargon file" it is TTY for "giggle"!?
|
|||
|
|
264 Math & QUIZMASTER: Sorry, I discovered AFTER I posted it, that there IS
|
|||
|
|
265 a detail missing, I've got to try to find the original in my library...
|
|||
|
|
266 ARRRGGHH! (and the answer is REAL weird!)
|
|||
|
|
267 ____________________________________Leonard________________________________
|
|||
|
|
268 Pam: Bawdy songs? ME?! I know some VERY bawdy songs, but I doubt that the
|
|||
|
|
269 Innkeeper would permit them.... (Piper, perhapss you know one them? "The
|
|||
|
|
270 Ball at Kerrimuir"?)
|
|||
|
|
271 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~BARD~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
|
|||
|
|
272 ps. Mikey: Here's to 719!!!
|
|||
|
|
273 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
|
|||
|
|
274 ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ETC.^^^^^^^^^^^^^
|
|||
|
|
275 A Dream
|
|||
|
|
276
|
|||
|
|
277 I am sitting on a stool about four and a half feel high. The room is
|
|||
|
|
278 dark, but looking around I can see counters and an refigerator, a micro-
|
|||
|
|
279 wave. The counter, shelves, and cupboards are all white. The stool I am
|
|||
|
|
280 sitting on is black.
|
|||
|
|
281 Beneath my feet is the cold tile floor, stretching in all directions in
|
|||
|
|
282 the dark. I cannot see the counters anymore, or hear the icemaker. I
|
|||
|
|
283 can only see the floor slipping into the darkness in all directions. I
|
|||
|
|
284 feel as though I am in some very large, very dark room. I try to speak,
|
|||
|
|
285 to see if my words reflect from distant walls. My lips move, my breath
|
|||
|
|
286 passes my lips, but there is no sound. Or is it just swallowed up by the
|
|||
|
|
287 walls of darkness that press in on me.
|
|||
|
|
288 I try to move from my stool, but as my feet touch the floor I see a
|
|||
|
|
289 ghost of movement deep within the darkness, just a whisper of a shadow.
|
|||
|
|
290 I stop. I wait a long time, my eyes straining at the darkness, as if by
|
|||
|
|
291 will alone I can force my eyes to see.
|
|||
|
|
292
|
|||
|
|
293 Nothing.
|
|||
|
|
294
|
|||
|
|
295 I slip back onto the stool, no longer willing to give up the small perch
|
|||
|
|
296 above the cool white floor.
|
|||
|
|
297 Again I try to speak, to call out. Again the darkness swallows the ds
|
|||
|
|
298 so that even I cannot hear the sounds.
|
|||
|
|
299
|
|||
|
|
300
|
|||
|
|
301 Much later I see a shape in the dark. I turn slowly towards it. I feel
|
|||
|
|
302 the tightness of my back and arms from to long sitting and stareing into
|
|||
|
|
303 the darkness. The shape does not move as I turn. It is a person. As I
|
|||
|
|
304 strain at the darkness I see a hand holding some kind of leather strap.
|
|||
|
|
305 The strap is looped around the wrist, pulling the arm down and forward.
|
|||
|
|
306 As time passes I see the shape of a dog at the end of the strap. It
|
|||
|
|
307 pulls forward, its shoulders tight, it eyes fixed. I follow its stare.
|
|||
|
|
308
|
|||
|
|
309 For the first time I see a small shape on the floor. It is just a few
|
|||
|
|
310 feet from my stool, a little dark rumpled pile. It is leather and there
|
|||
|
|
311 are thongs tied to it laying on the floor beside it. As I watch I see the
|
|||
|
|
312 pile darken. A puddle begins to form beneath it. The dark stain begins to
|
|||
|
|
313 stread across the tiles, crawling fast within the cracks and moving thickly
|
|||
|
|
314 along the white surface of the tile's face.
|
|||
|
|
315 The stain is red. Not the bright red of hollywood blood, but a deep
|
|||
|
|
316 burgundy, the color of blood fouled by sickness and age.
|
|||
|
|
317 I here the dog breath, just out of sight in the darkness. I here the
|
|||
|
|
318 soft slap of the strap being dropped. The dog waits. A moment later the
|
|||
|
|
319 hand behind the dog flicks its fingers forward. Without having turned to
|
|||
|
|
320 see the sign the dog leaps forward, somehow getting traction on the hard
|
|||
|
|
321 tile its quiet energy throwing it forward with only the soft sounds of its
|
|||
|
|
322 paws on the floor. It is the only sound I can hear. The dog moves
|
|||
|
|
323 incredibly fast, but as I watch him pass I feel as thought my mind is
|
|||
|
|
324 moving even faster. I watch his body stretch in the first explosion of
|
|||
|
|
325 movement, and as his legs hit the floor I see the ripple of flesh as the
|
|||
|
|
326 wave of the impact travels up the leg. I can count the hairs on his back
|
|||
|
|
327 and see every detail of the dark wet tissue around the eye. The muscles
|
|||
|
|
328 along the snout are pulled taut, flattening the whiskers back against the
|
|||
|
|
329 short fur below the eyes.
|
|||
|
|
330 The back legs hit the floor and the dog leaps again, streaching even
|
|||
|
|
331 stretching
|
|||
|
|
332 farther as he gathers speed.
|
|||
|
|
333 He lands with one foot on either side of the pile of leather, his teeth
|
|||
|
|
334 bared, drool spilling from his lips. He grasps the pile in his teeth and
|
|||
|
|
335 shakes it violently, drops of blood fly in every direction, falling on the
|
|||
|
|
336 white tile, splattering everywhere.
|
|||
|
|
337 I can see now that the pile is a mask. A large peice of leather with
|
|||
|
|
338 crude holes cut for eyes and mouth, shaped to fit over the front of the
|
|||
|
|
339 face and tie in the back of the head.
|
|||
|
|
340 The smell of the blood has made the dog wild. He is frenzied as he rips
|
|||
|
|
341 at the mask with his teeth. I watch as he stands on the lower part of the
|
|||
|
|
342 mask and fixes his teeth through out of the eye holes. With a series of
|
|||
|
|
343 fierce jerks he rip the leather of the mask turning the eye into a
|
|||
|
|
344 hideous gash.
|
|||
|
|
345 I watch transfixed as the dog tears and chews the mask into small peices.
|
|||
|
|
346
|
|||
|
|
347 The dog stands, and with one look over his sholder towards the shape
|
|||
|
|
348 standing in the dark, he begin to lick the blood from the floor.
|
|||
|
|
349
|
|||
|
|
350 ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ETC.^^^^^^^^^^^
|
|||
|
|
351 [/] [/] [/] [/] [/] [/] [/] [/] [/] [/] [/] [/] THE TIN MAN [/] [/] [/] [/]
|
|||
|
|
352 ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ETC.^^^^^^^^^^^
|
|||
|
|
353 [/] [/] [/] [/] [/] [/] [/] [/] [/] [/] Adrian- THE TIN MAN [/] [/] [/] [/]
|
|||
|
|
354 . . . . . . . . . . . . . . . . . .
|
|||
|
|
355 Adrian, my friend, the tin man--
|
|||
|
|
356 I don't know what to say. Words, lack me, caught in my throat. I'm
|
|||
|
|
357 lost... talk to me somewhere, please... I have stared at this screen.
|
|||
|
|
358 Trying, trying to write... nothing, nothing. The light is too harsh.
|
|||
|
|
359 The darkness too unsettling. -Tanya
|
|||
|
|
360 . . . . . . . . . . . . . . . . . .
|
|||
|
|
361 The cold, the bitter biting cold, why is it so damn cold?
|
|||
|
|
362 My skin is a mass of bumps and the hairs on my arms have
|
|||
|
|
363 risen as if to climb away from the shudders and seizures of
|
|||
|
|
364 my frigid body. Even my mouth has rebeled with my teeth
|
|||
|
|
365 clattering so that I must separate them in order to prevent
|
|||
|
|
366 the enamel from being chipped into small pieces.
|
|||
|
|
367 Must I suffer so? Why am I not warming nor even gaining any kind
|
|||
|
|
368 of control of my senses? Is this the death that many have warned
|
|||
|
|
369 about? Does freezing to death mean violent convulsing rapture?
|
|||
|
|
370 Where is the peaceful sleep? How many times have I heard that one
|
|||
|
|
371 just closes his eyes and you never wake up? How could anyone
|
|||
|
|
372 attempt to become peaceful when his entire body is reverberating
|
|||
|
|
373 to the point of shattering? I must get control, I must get control,
|
|||
|
|
374 I must get, , , , I must, , , ,I mu, , ,I, , , - - -
|
|||
|
|
375 TTTTTTTHHHHHH--"The Cold"--OOOOOORRRRRR
|
|||
|
|
376
|
|||
|
|
377
|
|||
|
|
378 fg
|
|||
|
|
379
|
|||
|
|
380 sondargaard... call me when you get to the headquarters... if you still
|
|||
|
|
381 breathe that is... remember this... it is of importance...
|
|||
|
|
382
|
|||
|
|
383
|
|||
|
|
384 ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ (of ^^^ and ^^^)
|
|||
|
|
385 Tin Man: P-, it is with great humility that i recant my previous statements,
|
|||
|
|
386 my previous thoughts and impressions. In so little a time, you have become
|
|||
|
|
387 one that has been the cause of many a thought. You have taken The Mask and
|
|||
|
|
388 carried it farther and deeper than I have dreamed. Your privacy was never
|
|||
|
|
389 in jepordy(sp). As I stated elsewhere- "I only seem to have a problem with
|
|||
|
|
390 keeping *MY* identities a secret." They never last- but yours could have
|
|||
|
|
391 been forever. At this, I extend my hand as well as my apologies.
|
|||
|
|
392 ^^^^^ --->the Guardian
|
|||
|
|
393 My Legion is finding it hard to scurry their fingers across the keys lately.
|
|||
|
|
394 Everything will be taken into account. The Emotions and all.
|
|||
|
|
395 ^^^^^
|
|||
|
|
396 ***** kathyd: Thank you for the "prize", but what brought it about? (smirk)
|
|||
|
|
397 ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ --->the Guardian 49:03
|
|||
|
|
398
|
|||
|
|
399 tilean ripped at the stick... trying to turn the copter to avoid another wave
|
|||
|
|
400 of oncoming copters... the controls were sluggish... results of the tail rotor
|
|||
|
|
401 being shot up in one of the initial strafing raids...
|
|||
|
|
402
|
|||
|
|
403 the gray skies... blemished with the black forms of sleek fighters... dancing
|
|||
|
|
404 around each other... swooping to and fro... with one sinking low to the ground
|
|||
|
|
405 once in a little while... to terrorize the copter below...
|
|||
|
|
406 tilean pulled back on the stick... and with the normal grace of the airborne
|
|||
|
|
407 the nose pulled high into the air... the twin turrets turned to one of the six
|
|||
|
|
408 fighters above... drew bead... and let rip with a continuous thumop... one of
|
|||
|
|
409 the ships burst into a thousand peices... leaving a cloud of flame to disperse
|
|||
|
|
410 and metal shards to fall slowly... tilean swooped the nose down with equal
|
|||
|
|
411 grace as the previous maneuvers... and flew only feet above the grassy plains
|
|||
|
|
412 of the airport... and soon disappeared behind a slope...
|
|||
|
|
413
|
|||
|
|
414 the silence and still serenity of the sloping plain was soon again destroyed
|
|||
|
|
415 in the screaming sounds of fighters pacing after an enemy now proven... oover
|
|||
|
|
416 the thick crackle of a certain radio frequency someone was heard to say... "wa
|
|||
|
|
417 the hell is he... rise to fifty meters and ride the crescents of the slopes..."
|
|||
|
|
418
|
|||
|
|
419 still silence dominated the still serenity of the slopes... interrupted only
|
|||
|
|
420 rarely by the screaming sounds of fighter engines... in patrol patterns... they
|
|||
|
|
421 had lost him... ought to regroup at another elevation...
|
|||
|
|
422
|
|||
|
|
423 tilean shoved the stick downward... with a grace betrayed only in the motions
|
|||
|
|
424 of the fighter... and not in the thrashing of the fighter controls... the two
|
|||
|
|
425 fore turrets drew bead again one another fighter... the continuous thumps...
|
|||
|
|
426 and once again shards of metal and flaming gas... strewn along the intended
|
|||
|
|
427 path of the fighter... a decisive reminder of training... and the wise intent
|
|||
|
|
428 of the many sayings around the Earth... eavesdropping is fun... just never get
|
|||
|
|
429 caught at it...
|
|||
|
|
430
|
|||
|
|
431 the continuous thumping did not stop... and the turrets emptied into gray
|
|||
|
|
432 skies and flaming hulks... soon only a rasping came from the turrets... and all
|
|||
|
|
433 of the fighters were lain against the grassy slopes... and tilean was streaming
|
|||
|
|
434 off into the skies... under the clouds... flying free for another day...
|
|||
|
|
435
|
|||
|
|
436 ttttttttttttttttttttttttttttttttttttttttttttttttttgtttggttgggtttttgtttttttttttg
|
|||
|
|
437
|
|||
|
|
438 gaudy minsky... is it my turn or am i simply being ignored... i know what it
|
|||
|
|
439 is... i leaned a little heavy on the net betrayal bit... sorry for that little
|
|||
|
|
440 episode... i only saught to protect you from a dutifully unnescessary absense
|
|||
|
|
441 with no reason in sight...
|
|||
|
|
442 sondargaard... i asked you to call the towers... not the academy annex... try
|
|||
|
|
443 again old friend... anyway... did you see that little thing in the oregonian
|
|||
|
|
444 about your little talk with morey and schafier...?
|
|||
|
|
445
|
|||
|
|
446 whomever was talking about margin lengths as though they might be slaughtered
|
|||
|
|
447 for doing so... i am not a slaughterer... even though i was a bit less than
|
|||
|
|
448 reassured by your general declarations that leaving messages that did not end
|
|||
|
|
449 up conforming to everyone else and their screen lengths... was wrong and was an
|
|||
|
|
450 act of masturbation...
|
|||
|
|
451
|
|||
|
|
452 tttttttttttttttttttttttttttttttttttttttttgtttggtttgttttggggttgggtgttgggtgtggttt
|
|||
|
|
453
|
|||
|
|
454 ppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppp
|
|||
|
|
455 tilean: just a couple of points that bothered me during the action -- the
|
|||
|
|
456 last rotary wing aircraft I had anything to do with had quite different
|
|||
|
|
457 controls -- the tail rotor speed was controlled by a set of foot pedals, and
|
|||
|
|
458 the main rotor was controlled by two pitch controls: the overall pitch
|
|||
|
|
459 of the rotor blades by the collective pitch control (also containing an
|
|||
|
|
460 engine speed control via a motorcycle-type twist grip throttle), a single
|
|||
|
|
461 lever to the left of the pilot's position, and the cyclic pitch control, which
|
|||
|
|
462 controled the pitch of the rotor blades at different points in the revolution.
|
|||
|
|
463 The last joy-stick controls that I am aware of were in fixed-wing aircraft.
|
|||
|
|
464 If things have changed, my apologies -- I've not been following aircraft for
|
|||
|
|
465 many years now. (On rereading the above, I see that I forgot to mention
|
|||
|
|
466 that the cyclic control was suspended from the roof of the aircraft.)
|
|||
|
|
467 ppppppppppppppppp
|
|||
|
|
468 all: We seem to be shaping up for a re-run of the great margin wars of
|
|||
|
|
469 yesteryear. There are two opposing viewpoints -- each fully valid --
|
|||
|
|
470 about margin length. One viewpoint states that with only 629 lines of data
|
|||
|
|
471 available on a disk, anything less than a full 128 characters is a sinful waste
|
|||
|
|
472 of precious disk space. The other is the viewpoint of someone whose terminal/
|
|||
|
|
473 computer/idic-screen does not "wrap-around" long lines. This person sees only
|
|||
|
|
474 the first x characters of a line (where x may be 22, 32, 40, 64, 80 or another
|
|||
|
|
475 machine-dependent value) and feels that use of any other portion of the line
|
|||
|
|
476 is an insult to him/her. Mikey suggested during the course of the last one
|
|||
|
|
477 that the margin be set to 72 characters. This seems to be a good compromise
|
|||
|
|
478 for most folks -- if your machine won't wrap on this short a line, there
|
|||
|
|
479 is not much hope for you anyway. Now I'm gonna duck before the glass
|
|||
|
|
480 starts flying!
|
|||
|
|
481 ppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppp
|
|||
|
|
482 --------------------------------------
|
|||
|
|
483 Mad Max checking in at 9:29'30 8502.18
|
|||
|
|
484 --------------------------------------
|
|||
|
|
485 hello everybody!!!!!!!
|
|||
|
|
486 ZYXXYZZYXXYZZYXXYZZYXXYZ:ZYX
|
|||
|
|
487 Sitting in front of the terminal,
|
|||
|
|
488 Zyx wondered what would happen
|
|||
|
|
489 next. "I wonder...", said Zyx.
|
|||
|
|
490 closs
|
|||
|
|
491
|
|||
|
|
492
|
|||
|
|
493 I wonder what would happen too if people like that were left in charge...
|
|||
|
|
494 Oh well. If the program cuts things off at a small margin then change it if
|
|||
|
|
495 at all possible. The margins should be up to the individual to decide on.
|
|||
|
|
496 we shouldn't be presured into foing things we don't want to.
|
|||
|
|
497
|
|||
|
|
498 HO! I JUST FIGURED OUT HOW TO GET THIS STUPID MACHINE TO LET ME TYPE FULL LINES!
|
|||
|
|
499 I AM KIND OF NEW ON THIS SYSTEM. WOULD SOME NICE PERSON TELL ME WHAT IS GOING
|
|||
|
|
500 ON ON THIS SYSTEM AND HOW TO GET IN ON IT? MY NAME IS BOTCH, AND I CAN BE FOUND
|
|||
|
|
501 ON LE NERD OR OAK GROVE!
|
|||
|
|
502
|
|||
|
|
503 since a margin length of one-hundred-twenty-eight disabilitizes the fa and fi
|
|||
|
|
504 ommands... it is not the best length for everyone to use... perhapsnothing is
|
|||
|
|
505 the best for everyone to use... the ma command exists that we might change it...
|
|||
|
|
506 and we are not forced into one-hundred-whatever or seventy-whatever...
|
|||
|
|
507
|
|||
|
|
508 let the margin lengths vary... and try to strike a medium between matters of
|
|||
|
|
509 congeniality and legibility... and try not to be upset with those who use the
|
|||
|
|
510 more miserable lengths... say twenty-two or others...
|
|||
|
|
511 i know it can be done... after all... if you could see what the eighty column
|
|||
|
|
512 pprejudice does to my screen... all those forms and charts... graphic arts just
|
|||
|
|
513 infuriate me... and ya wanna talk about pains to read...?
|
|||
|
|
514
|
|||
|
|
515 tttttttttttgttgtgtgggtgtttgtttgtggggggttttttggttttttttttttgttttttgtgtttttttttttt
|
|||
|
|
516
|
|||
|
|
517 piper... almost all of what you said flew right over my head so to speak...
|
|||
|
|
518 sure the pun was intended... anyway... i am not familiar with the insides of a
|
|||
|
|
519 copter... steering inside one of the little things is nearly a complete mystery
|
|||
|
|
520 to me... as i never did take any aviation classes...
|
|||
|
|
521 however... as most things i learn are by osmosis...i always saw the controls
|
|||
|
|
522 of copters to be joysticks... the similarity in controls always seemed so
|
|||
|
|
523 constant... it was only right if i wanted to write that the controls ought to
|
|||
|
|
524 be in the form that i know them best... sorry if i was wrong...
|
|||
|
|
525
|
|||
|
|
526 %--%--%--%--%--%--%--%--%--%--%--%--%--%
|
|||
|
|
527 HELLO, OUT THERE IN BBS LAND.
|
|||
|
|
528 ANYONE WANT TO BUY A YOUNGER, SLIGHTLY
|
|||
|
|
529 USED BROTHER? ONLY -$150 DOLLARS.
|
|||
|
|
530 LEAVE A MESSAGE PLEASE.
|
|||
|
|
531
|
|||
|
|
532 %--%--%--%--%--%--%--%--%--%--%--%--%--%
|
|||
|
|
533
|
|||
|
|
534 tis i tis i tis i tis i tis i tis i tis i tis i tis i tis i tis i tis i tis i
|
|||
|
|
535 Gaudy had noticed that the dark figure was becoming very anxious. It
|
|||
|
|
536 appeared to be that something was about to happen. What it was, she couldn't
|
|||
|
|
537 tell. What was it to be? Was this figure going to make th event occur, or was
|
|||
|
|
538 he waiting for th event to take place around him?
|
|||
|
|
539 The dark figure strolled with much control and restraint to a portion of
|
|||
|
|
540 the far wall. It then began to tug at the material covering that wall, it gave
|
|||
|
|
541 way easily. At first, Gaudy had thought that the material that was draped over
|
|||
|
|
542 a good portion of the room was being used to create the dark, withdrawn atmos-
|
|||
|
|
543 phere as well as act as an acoustic shield.
|
|||
|
|
544 Since they were in a darkend room, the light that shined through the now
|
|||
|
|
545 partially incovered window was brilliant. The objects within the room semed to
|
|||
|
|
546 take on more distinct shapes, more reality. #Hmmm... Within light there is
|
|||
|
|
547 truth# thought Gaudy. She spared no time in beginning to analyze her newly
|
|||
|
|
548 uncovered surroundings. In the farthest reaches of this odd room could be seen
|
|||
|
|
549 a table covered with many papers. And around it could be seen things that
|
|||
|
|
550 looked like maps and medals layed out on the floor. There was a ruffle on the
|
|||
|
|
551 wall near the table, and slight bulge where a doorknob might be. A fact hidden
|
|||
|
|
552 in the absence of light.
|
|||
|
|
553 Gaudy could almost picture this figure, this person of missions past, to
|
|||
|
|
554 have lived those empty months alone in a world created by its dreams. Then
|
|||
|
|
555 Then, as she dared look out of the room into the light, everything had
|
|||
|
|
556 changed. #If I'm going to save this guy from himself# she thought #I'm going
|
|||
|
|
557 to have to work a little faster or he could be dead within minutes!# Gaudy
|
|||
|
|
558 then mentally prepared herself for anything, any action. #I just hope I have
|
|||
|
|
559 enough time to straiten out things before it's too late and they barge right
|
|||
|
|
560 in.# She then remembered her thoughts concerning the rediscovery of Joshua
|
|||
|
|
561 and Petrov... #Rescue never seems to be thought out on BOTH sides, it's just
|
|||
|
|
562 assumed that the missing person WANTS to be rescued. Now This...#
|
|||
|
|
563 Sounds began to filter into the room from the outside world, sights and sounds.
|
|||
|
|
564 Words could barely be made out... something like "Hey Sven, pass me another
|
|||
|
|
565 brush, this one is all a gummed up!" And like "Oky-doky Oly, just let me get
|
|||
|
|
566 this here ladder in place so we can paint this here house right THE FIRST TIME"
|
|||
|
|
567 The sight of a couple of 'vikings' in work clothes seemed to go right
|
|||
|
|
568 past the figures notice, as if it didn't matter. But to Gaudy, a moustache
|
|||
|
|
569 wouldn't hide the recognition, it never did before.
|
|||
|
|
570 tis i tis i tis i tis i tis i tis i tis i tis i tis i tis i tis i tis i tis i
|
|||
|
|
571 L'homme: before you continue (hoping you READ before you ENTER) I must clear
|
|||
|
|
572 up a few points concerning the surroundings. A note should be waiting for you
|
|||
|
|
573 somewhere within the files of a PCS. I hope I am in time...
|
|||
|
|
574 tis i tis i tis i tis i tis i tis i Tis I, Mystery Author tis i tis i
|
|||
|
|
575
|
|||
|
|
576 IS ANYONE READING THIS A BLUE BLAZER
|
|||
|
|
577 OR A HONG GONG CAVALIER??????
|
|||
|
|
578
|
|||
|
|
579
|
|||
|
|
580
|
|||
|
|
581
|
|||
|
|
582
|
|||
|
|
583
|
|||
|
|
584 KOMMISSAR
|
|||
|
|
585
|
|||
|
|
586 check it out joe
|
|||
|
|
587 HOT,1,2,3,it's easy to tellbut it's that I don't care
|
|||
|
|
588 Cause I here it all the time and they never let you know
|
|||
|
|
589 On the T.V. and the radio!
|
|||
|
|
590 She was young and her heart was pure but evry night it was the price she got
|
|||
|
|
591 She said she was sweet ( you got to rap it to the beat ) and I knew that she was right!
|
|||
|
|
592 She said "baby you guys,jill and joe and all my funky friends but my crude understanding was just enough to know ju
|
|||
|
|
593 -st what she realy meant!
|
|||
|
|
594 I got to thinking while she was talking that here nose don't mean a store
|
|||
|
|
595 Those special places that she knows and goesand she rides with the others,
|
|||
|
|
596 Their singing!
|
|||
|
|
597 Don't turn around ue ut oh oh oh
|
|||
|
|
598 shaw shaw da kommissar's in town ah ut oh oh oh
|
|||
|
|
599 Their in his eye and you know why the more you live the faster YOU YOU WILL WILL DIE DIE DIE DIE DIE
|
|||
|
|
600 aletch clar herkommissar?
|
|||
|
|
601
|
|||
|
|
602 Hey you wan'na buy some stuff man??
|
|||
|
|
603 did you eve rap that thing jack?
|
|||
|
|
604 say rap it to the beat!
|
|||
|
|
605 We meat jill and joe and brother hip ( the whole coll gang and all)
|
|||
|
|
606 Their raping here and raping their
|
|||
|
|
607 WHILE SHE'S OUT CLIMBING THE WALL!!
|
|||
|
|
608 It's a clear cut case herkommissar cause all the children know ,The're all sliding down to the valey of daeath their
|
|||
|
|
609 all slipping on the same snow!
|
|||
|
|
610 (chor)
|
|||
|
|
611 MARK L. (*) (*)
|
|||
|
|
612 )
|
|||
|
|
613 /-----/
|
|||
|
|
614
|
|||
|
|
615 mlmlmlmlmlmlmlmlmlmlmlmlmlmlmlmlmlmlmlmlmlmlmlmlmlmlmlmlmlmlmlmlmlmlmlmlmlmlmlmlmlmlmlmlmlmlmlmlmlmlmlmlmlmlmlmlmlmlm
|
|||
|
|
616 yakyakyakyakyakyakyakyakyakyakyakyakyakyakyakyakyakyakyakyakyakyakyakyakyakyak
|
|||
|
|
617
|
|||
|
|
618 "C'mon Herri!". It was the insistent voice of a young child, yelling
|
|||
|
|
619 through the fog. "C'mon, or you'll be late!". The recicpient of this plea
|
|||
|
|
620 turned, shouted back. "I'll be there in a minute. I gotta see something."
|
|||
|
|
621 The small boy turned back, looked out over the valley. 'It was so good here,
|
|||
|
|
622 isisisisisisisisisisisisisisisisisisisisisisisisisisisisisisisisisisisisisisisis This Inn is too crowded now.
|
|||
|
|
623
|
|||
|
|
624
|
|||
|
|
625 ^^^^^ what's that supposed to mean? --->g
|
|||
|
|
626
|
|||
|
|
627
|
|||
|
|
[][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][]
|
|||
|
|
|
|||
|
|
628 It's always been crowded. You just have to find the room if you can.
|
|||
|
|
|
|||
|
|
629 [][][][][][][][][][][][][][][][][][][]PAM.[][][][][][][][][][][][][][][][][]
|
|||
|
|
|
|||
|
|
|
|||
|
|
TOTAL NUMBER OF LINES = 629
|