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P 0.86 (Volume I, Issue 3) 468. 583. P 72. 578. 540. 578. 2 L N 2.05 (Circulation: 431) 273. 583. P 1 F (Contents) 271.5 526. T 2 F (Etc... ) 72. 485. T 3 F ( ) 106.22 485. T (.......................................................................\ ...............................................) 112. 485. T ( ) 526. 485. T 2 F ( 2) 529.5 485. T 4 F (Jim McCabe) 468.85 469. T 2 F (Final Memories) 72. 440. T 72. 437.28 166.49 438.61 R V ( ) 166.49 440. T 3 F (.......................................................................\ .............................) 175. 440. T ( ) 526. 440. T 2 F ( 3) 529.5 440. T 4 F (Keith C. Vaglienti) 438.49 424. T 2 F (Hampton Cafe) 72. 395. T 72. 392.28 160.27 393.61 R V ( ) 160.27 395. T 3 F (..........................................................................\ ............................) 168. 395. T ( ) 526. 395. T 2 F ( 6) 529.5 395. T 4 F (Garry Frank) 468.07 379. T 2 F (Winds) 72. 350. T 72. 347.28 110.91 348.61 R V ( ) 110.91 350. T 3 F (..........................................................................\ ........................................) 119. 350. T ( ) 519. 350. T 2 F ( 10) 522.5 350. T 4 F (Daniel Appelquist) 438.5 334. T 2 F (Fundamentally Switzerland) 72. 305. T 72. 302.28 238.07 303.61 R V ( ) 238.07 305. T 3 F (..........................................................................\ ...) 248.5 305. T ( ) 519. 305. T 2 F ( 16) 522.5 305. T 4 F (Barbara Weitbrecht) 427.62 289. T 2 F (A) 191.04 178. T 5 F (THENE) 201.15 178. T 6 F (, Copyright \251 1989 By Jim McCabe.) 243.16 178. T (This magazine may be archived and reproduced without charge under the \ condition that it ) 90.21 164. T (is left in its entirety. The individual works within are the sole pr\ operty of their respective ) 91.19 150. T (author\050s\051, and no further use of these works is permitted without th\ eir explicit consent. ) 98.2 136. T (Athene is published quasi-monthly by Jim McCabe, MCCABE@MTUS5.BITNET.) 104.81 122. T (This PostScript edition was created on a Sun workstation running version\ 1.3b of the ) 102.35 108. T 7 F (FrameMaker) 113.03 94. T 6 F ( desktop publishing software from Frame Technology Corporation.) 176.34 94. T 72. 81. 540. 198. R 0 H N -423. -612. 117. 108. 423. 612. 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T (Amateur Creative Writing) 230.8 621. T FMENDPAGE %%Page: "2" 2 FMBEGINPAGE 8 F 0 X (November 1989) 72. 748. T (Volume I, Issue 3) 72. 36. T (McCabe / Etc...) 474.18 748. T (Page 2) 511.95 36. T 6 F 2.15 (First, I want to thank everyone for wait-) 90. 639. P 2.13 (ing the extra week for this month\325s issue of) 72. 625. P 2.25 (Athene. I normally try to get the magazine) 72. 611. P 3.19 (out during the first weekend of the month,) 72. 597. P 1.11 (but school and work forced me to delay it by) 72. 583. P 1.26 (a week this time. I\325m confidant that Decem-) 72. 569. P 1.45 (ber\325s issue will be on time, even though it is) 72. 555. P (only a couple weeks away.) 72. 541. T 2.53 (Since the last issue, I polled the readers) 90. 527. P 2.55 (of the plain text edition of Athene for their) 72. 513. P 10.01 (opinion of the magazine\325s appearance.) 72. 499. P 3.34 (From that response, that version of Athene) 72. 485. P 2.53 (will no longer have justified paragraphs. It) 72. 471. P 3.05 (makes it easier to read on a display termi-) 72. 457. P 4.67 (nal, and it also makes it easier on those) 72. 443. P 3.62 (people who reformat Athene for their own) 72. 429. P 2.67 (printers. Thanks to everyone who respond-) 72. 415. P (ed!) 72. 401. T 3.95 (Getting feedback from the readers is a) 90. 387. P 5.01 (great experience, and I encourage you to) 72. 373. P 1.62 (contact me if you have comments relating to) 72. 359. P 2.04 (any aspect of Athene. I\325d like to make this) 72. 345. P 5.17 (magazine as responsive to ) 72. 331. P 7 F 5.17 (your) 221.34 331. P 6 F 5.17 ( needs as) 243.33 331. P 0.78 (possible. In fact, I\325m looking for a new logo,) 72. 317. P 1.71 (and I am open to suggestions from the read-) 72. 303. P (ers.) 72. 289. T 2.59 (Here we are in issue three, and yet two) 333. 639. P 2.61 (of this month\325s stories were submitted back) 315. 625. P 1.99 (before issue one! In fact, "Final Memories") 315. 611. P 4.64 (and "Fundamentally Switzerland" were the) 315. 597. P 4.63 (first two stories Athene ever received. I) 315. 583. P 3.82 (want to thank Keith and Barbara for their) 315. 569. P (great stories and patience.) 315. 555. T 3.51 (We also have an interesting story from) 333. 541. P 3.34 (the driving force behind ) 315. 527. P 5 F 3.34 (Quanta) 447. 527. P 6 F 3.34 (, Dan Ap-) 485.67 527. P 4.71 (pelquist. "Winds" has a unique narrative) 315. 513. P 5.53 (style that forces us to consider how we) 315. 499. P 4.3 (would react in extreme circumstances. "I) 315. 485. P 2.62 (considered first person but it wasn\325t power-) 315. 471. P 3.37 (ful enough," Dan says. "The reader could) 315. 457. P 4.05 (still say \325I\325d never do anything like that.\325) 315. 443. P 3.23 (With the second person narration style, the) 315. 429. P 5.5 (narrator is telling ) 315. 415. P 5 F 5.5 (you) 417.16 415. P 6 F 5.5 ( that ) 435.83 415. P 5 F 5.5 (you\325re) 470.84 415. P 6 F 5.5 ( doing) 504.16 415. P 3.34 (these things and that way you\325re forced to) 315. 401. P 2.43 (think about it more, and doubt whether you) 315. 387. P (couldn\325t be like that too.") 315. 373. T 4.21 (Also, after last month\325s excellent story) 333. 359. P 2.71 ("Solitaire," Garry Frank gives us yet anoth-) 315. 345. P (er good one with "Hampton Cafe.") 315. 331. T 3.86 (With these stories, I think that this is-) 333. 317. P (sue was well worth the wait. Thanks again,) 315. 303. T ( ) 333. 289. T 4 F (Jim) 519.78 260. T 72. 666. 540. 666. 2 L 1 H N 9 F (Etc...) 72. 710. T 4 F (By Jim McCabe) 72. 694. T 10 F (MCCABE@MTUS5.BITNET) 72. 680. T FMENDPAGE %%Page: "3" 3 FMBEGINPAGE 8 F 0 X (November 1989) 72. 748. T (Volume I, Issue 3) 72. 36. T (Vaglienti / Final Memories) 425.84 748. T (Page 3) 511.95 36. T 6 F 2.93 (I am tired and I hurt. What\325s the say-) 90. 639. P 1.96 (ing? Mother come take me home? Strange) 72. 625. P 1.19 (that I should die now when I am just coming) 72. 611. P 3.21 (to terms with what I am. Still, I do not) 72. 597. P 0.44 (think I would mind dying if only it didn\325t hurt) 72. 583. P (so much.) 72. 569. T (\245 \245 \245) 175.2 541. T 2.39 (Overhead I can feel the moon calling to) 90. 513. P 2.94 (me as I stretch my stiff limbs. I did not) 72. 499. P 1.75 (sleep well last night. The hunger seemed to) 72. 485. P 1.26 (gnaw at my bones and kept me from having) 72. 471. P 1.89 (a proper rest. I must do something to satis-) 72. 457. P (fy my curse but not yet, not yet.) 72. 443. T 0.51 (I finger my crucifix ruefully. He who vis-) 90. 429. P 3.72 (ited this damnation on me was destroyed) 72. 415. P 3.46 (by merely being in the same room as one) 72. 401. P 1.61 (but it seems to have no power over me. In) 72. 387. P 2.07 (truth I obtained this one in the hopes that it) 72. 373. P 3.3 (would kill me but such was not my fate.) 72. 359. P 5.34 (Perhaps it is because I have never been) 72. 345. P 1.84 (what mortals believe. I feel the beginnings) 72. 331. P 2.37 (of despair and know I must seek the night) 72. 317. P (and find release.) 72. 303. T 2.13 (I let change sweep over me and when it) 90. 289. P 4. (is done I bound up and out through the) 72. 275. P 1.5 (basement window. At the sight of the moon) 72. 261. P 0.85 (a keen howl wells up in my throat but I hold) 72. 247. P 3.6 (it back. This is neither the place nor the) 72. 233. P (time.) 72. 219. T 3.26 (It is but a short run to where my love) 90. 205. P 3.29 (lies buried, murdered by the foul creature) 72. 191. P 1.04 (that took me. Ah my love, you were the for-) 72. 177. P 2.12 (tunate one. Surely death can not be worse) 72. 163. P 4.8 (than what I must endure but endure it I) 72. 149. P 1.6 (must. Though I have tried to take what lit-) 72. 135. P 2.33 (tle there is of my life, it resists most hardi-) 72. 121. P 1.45 (ly. Neither sunlight nor holy signs nor run-) 72. 107. P 2.77 (ning water seem capable of destroying me) 72. 93. P 3.24 (and I cannot bring myself to employ more) 72. 79. P 1.48 (drastic measures. Surely this is Hell, to ab-) 315. 639. P 1.48 (hor one\325s self but not be able to do anything) 315. 625. P 2. (about it. Now my love I must leave. The) 315. 611. P 2.21 (hunger grows too strong and I fear the pain) 315. 597. P (of it might make me hurt someone.) 315. 583. T 2.14 (I head for the park. Not too long ago I) 333. 569. P 2.34 (caught a pair of rabbits there. Perhaps to-) 315. 555. P (night I shall have similar luck.) 315. 541. T 1.46 (I hear them first; the soft padding of ten-) 333. 527. P 1.89 (nis shoes and the sharp click of high heels.) 315. 513. P 1.51 (Then I scent them, one has a decidedly mas-) 315. 499. P 1.96 (culine smell while from the other wafts the) 315. 485. P 3.87 (delicate scent of some perfume. Before I) 315. 471. P 2.19 (see them I know what to expect; two kids,) 315. 457. P 4.24 (probably from the local college, out on a) 315. 443. P 2.59 (date, going for a romantic stroll by moon-) 315. 429. P 2.24 (light in the park. In short, fresh blood for) 315. 415. P (the likes of me.) 315. 401. T 3.61 (My pulse quickens with the thought of) 333. 387. P 2.46 (the hot, rich, red liquid coursing down my) 315. 373. P 1.14 (throat. I catch myself as I begin to edge for-) 315. 359. P 1.87 (ward. If I am not careful my instincts will) 315. 345. P 2.7 (get the better of me. It would be so easy,) 315. 331. P 2.1 (the humans never take any real precautions) 315. 317. P 4.23 (against such as I and they are easier to) 315. 303. P 1.82 (catch than the animals which are my normal) 315. 289. P 0.64 (fare but no, I will not give in to the hunger, I) 315. 275. P 1.97 (cannot. I hate what I am but I have to live) 315. 261. P 1.3 (with it and with myself. And so I ease my-) 315. 247. P 3.91 (self back into the shadows as the humans) 315. 233. P 0.79 (come round a hedge. I was right, just a cou-) 315. 219. P 1.97 (ple of college kids out to have a good time.) 315. 205. P 3.38 (Silently I wish them luck for I envy them) 315. 191. P (their innocence.) 315. 177. T 1.54 (Then I see the wino that is no wino. He) 333. 163. P 3.26 (wears the ragged clothes of a street bum.) 315. 149. P 2.51 (In one arm he cradles a bottle of Muscatel,) 315. 135. P 2.63 (of which he reeks. A battered hat shields) 315. 121. P 3.33 (his face from the street lights, hiding it in) 315. 107. P 1.89 (shadow. A good enough disguise to fool a) 315. 93. P 3.57 (human but not enough to trick my senses.) 315. 79. P 72. 666. 540. 666. 2 L 1 H N 9 F (Final Memories) 72. 710. T 72. 707.87 164.96 708.63 R V 4 F (By Keith C. Vaglienti) 72. 694. T 10 F (CCASTKV@GITNVE2.GATECH.EDU) 72. 680. T FMENDPAGE %%Page: "4" 4 FMBEGINPAGE 8 F 0 X (November 1989) 72. 748. T (Volume I, Issue 3) 72. 36. T (Vaglienti / Final Memories) 425.84 748. T (Page 4) 511.95 36. T 6 F 3.33 (Silently I laugh, where is the smell of old) 72. 711. P 3.5 (vomit and urine that normally accompany) 72. 697. P 0.67 (such as you? You cannot fool me, old friend,) 72. 683. P 1.67 (for you and I are brothers. I see the gleam) 72. 669. P 3.01 (of hunger in your shadowed eyes, the glis-) 72. 655. P 3.46 (tening tip of your tongue as you moisten) 72. 641. P 2.58 (your lips in anticipation. I know what you) 72. 627. P 1.14 (are feeling so intimately for I too just felt it.) 72. 613. P 1.41 (But you are one of the weak ones or worse,) 72. 599. P 3.21 (one of the ones that glories in such things) 72. 585. P (as what we are.) 72. 571. T 2.71 (He has been lying on the bench so still) 90. 557. P 1.3 (that the couple has not noticed him. Maybe) 72. 543. P 3.26 (they think he is asleep. Maybe they were) 72. 529. P 5.3 (so wrapped up in each other that they) 72. 515. P 4.67 (didn\325t see him. Whatever the case, they) 72. 501. P 2.5 (know he is there now as he lurches to his) 72. 487. P 3.72 (feet, hands reaching out to grab and hold.) 72. 473. P 1.71 (The boy, brave in his ignorance, shoves the) 72. 459. P 4.1 (girl back and moves between her and the) 72. 445. P 3.43 (wino. Undaunted the wino lashes out, his) 72. 431. P 1.27 (hand a blur, to smash aside the boy with in-) 72. 417. P 2.25 (human strength. The lad lies still where he) 72. 403. P 2.05 (falls, unconscious, possibly dead. Now the) 72. 389. P 1.48 (wino glides toward the girl, relishing the ter-) 72. 375. P 3.09 (ror which holds her paralyzed. He opens) 72. 361. P 2.24 (his mouth in a leer and she screams at the) 72. 347. P (sight of his fangs.) 72. 333. T 5.86 (I am the wind as, on shadow silent) 90. 319. P 2.34 (paws, I rush past her to hurl myself at the) 72. 305. P 2.67 (wino. My jaws snap at his throat but it is) 72. 291. P 2.19 (no longer there as he becomes mist. Then) 72. 277. P 2.41 (it is another wolf that faces me. We circle) 72. 263. P 1.67 (each other warily for a moment. I stop be-) 72. 249. P 3.25 (tween him and the girl. He hungrily eyes) 72. 235. P 3. (the boy, then changes again; this time his) 72. 221. P 2.2 (shape flows into that of a bat, and he flies) 72. 207. P 2.89 (away. I consider pursuing the abomination) 72. 193. P (but, no I must help the humans.) 72. 179. T 2.67 (\324\324Good boy,\325\325 comes the girl\325s voice. I) 90. 165. P 1.49 (turn to face her. She smells of fear but she) 72. 151. P 3.42 (is unwilling to leave the boy. She moves) 72. 137. P 4.33 (slowly towards him, trying not to spook) 72. 123. P 1.16 (me. She is brave like the boy. I change and) 72. 109. P 2.49 (it catches her by surprise. Before she can) 72. 95. P 2.91 (remember the legends, I trap her eyes with) 72. 81. P 3.3 (my own. I remake history. When I am) 315. 711. P 4.73 (done she remembers nothing of what has) 315. 697. P 1.59 (happened. I release her and turn to examine) 315. 683. P 0.92 (the boy. He still lives. With rest he will re-) 315. 669. P (cover.) 315. 655. T 1.76 (I hear the sound of running feet. People) 333. 641. P 2.25 (coming to investigate the girl\325s screams. I) 315. 627. P 2.19 (stand and nod at the girl, then fade into the) 315. 613. P (night.) 315. 599. T 4.41 (It is late and I still haven\325t eaten. I) 333. 585. P 2.04 (must do something soon or the hunger will) 315. 571. P 1.7 (consume me. But for now I am satisfied. I) 315. 557. P (am nosferatu and I am human.) 315. 543. T (\245 \245 \245) 418.2 515. T 2.08 (A lot of people are afraid of death but I) 333. 487. P 3.74 (am not. I came to realize early on that) 315. 473. P 5.67 (death is inevitable; nothing lives forever.) 315. 459. P 2.22 (Perhaps I shall see my love when I die. I) 315. 445. P (hope so.) 315. 431. T (\245 \245 \245) 418.2 403. T 1.34 (\324\324I love the night.\325\325 Lynn laughs and her) 333. 375. P 2.19 (eyes seem to sparkle in the moonlight. \324\324I) 315. 361. P 4.83 (don\325t know why. It just seems like the) 315. 347. P 1.6 (darkness sets my spirit free. I feel like I\325m) 315. 333. P 4.34 (bursting with energy. I want to run and) 315. 319. P 0.87 (jump and shout for joy.\325\325 Suddenly I am se-) 315. 305. P 1.16 (rious. \324\324Lately I feel that way a lot. When-) 315. 291. P (ever I\325m with you.\325\325) 315. 277. T 4.81 (\324\324You\325ve been watching too many old) 333. 263. P 2.17 (movies,\325\325 jibes Lynn as she gives my hand) 315. 249. P (a squeeze.) 315. 235. T 5.12 (I grimace and moan, \324\324The lady doth) 333. 221. P 2.49 (wound me deeply. I confess my love and) 315. 207. P (she laughs at me.\325\325) 315. 193. T 1.63 (\324\324Pardon me, kind sir. How may I make) 333. 179. P (amends?\325\325) 315. 165. T 3.34 (\324\324If you would dance with me it might) 333. 151. P (ease the pain some small degree.\325\325) 315. 137. T 5.28 (Lynn laughs, \324\324Here on the sidewalk?) 333. 123. P (With no music?\325\325) 315. 109. T 2.39 (\324\324Of course not,\325\325 I exclaim. \324\324What do) 333. 95. P 0.88 (you take me for? A fool? No, don\325t answer) 315. 81. P FMENDPAGE %%Page: "5" 5 FMBEGINPAGE 8 F 0 X (November 1989) 72. 748. T (Volume I, Issue 3) 72. 36. T (Vaglienti / Final Memories) 425.84 748. T (Page 5) 511.95 36. T 6 F 1.47 (that. I mean on yonder hill in the faery ring) 72. 711. P 2.21 (that crowns it. There we can dance to the) 72. 697. P (strains of an elvish band.\325\325) 72. 683. T 3.51 (\324\324Has anyone ever told you that you\325re) 90. 669. P (strange?\325\325) 72. 655. T 2.05 (\324\324Of course, many a time. I\325ll have you) 90. 641. P 1.63 (know that I work very hard to make people) 72. 627. P 3.17 (think I\325m strange.\325\325 We are young and in) 72. 613. P (love. The night is full of silver magic.) 72. 599. T 6.62 (Our waltz is interrupted by a dog\325s) 90. 585. P 3.93 (howl. Lynn shivers so I pull her close.) 72. 571. P 4.28 (From behind me comes a growling sound) 72. 557. P 2.41 (and Lynn suddenly stiffens. I turn to find) 72. 543. P 2.34 (myself facing a wolf. Once more it growls) 72. 529. P 2.71 (and then it takes a step forward. Pushing) 72. 515. P 2.34 (Lynn behind me I say, \324\324Just stay calm and) 72. 501. P 5.77 (don\325t make any sudden moves.\325\325 The) 72. 487. P 3.81 (wolf\325s muscles seem to bunch and then it) 72. 473. P 2.88 (leaps upon me. Startled I fall backwards.) 72. 459. P 4. (My head strikes something cold and hard.) 72. 445. P 5.41 (Unfriendly blackness consumes me. The) 72. 431. P (last thing I hear is Lynn screaming.) 72. 417. T (\245 \245 \245) 175.2 389. T 6.68 (When I awoke Lynn was dead, her) 90. 361. P 3.41 (throat torn away, and I was a vampire. I) 72. 347. P 3.63 (begin to laugh but it only makes the pain) 72. 333. P 3.07 (worse so I stop. Funny how the past al-) 315. 711. P 3.45 (ways returns to haunt you. As if my life) 315. 697. P 4.55 (was not already more horrid than I can) 315. 683. P 2.19 (bear. The kids in the park reminded me so) 315. 669. P 1.04 (much of Lynn and myself that I had to track) 315. 655. P 1.71 (down their attacker and destroy him as I did) 315. 641. P 1.57 (the other. I never thought I\325d die doing so.) 315. 627. P 1.71 (For a moment I gather my strength and then) 315. 613. P 2.21 (once more pull on the wooden shaft which) 315. 599. P 2.06 (pins me to the wall like an insect. It is to) 315. 585. P 3.33 (no avail. I look down at the pile of dust) 315. 571. P 2.49 (which is my murderer. He made the mis-) 315. 557. P 1.75 (take of coming close to taunt me. He never) 315. 543. P 1.26 (expected one of his own kind to be carrying) 315. 529. P 2.13 (holy water. Still, his is the last laugh. His) 315. 515. P 2.96 (death was relatively swift and less painful) 315. 501. P (than mine.) 315. 487. T 8. (Outside the window the day grows) 333. 473. P 0.97 (brighter. I have to smile. My last sight will) 315. 459. P 1.42 (be sunrise. The first light of morning touch-) 315. 445. P 2.34 (es me. It seems to soothe me as a numb-) 315. 431. P 1.91 (ness radiates through my body from its gen-) 315. 417. P 2.78 (tle caress. The air grows hazy with spar-) 315. 403. P 2.17 (kling motes of dust. Is my body crumbling) 315. 389. P 3. (away into nothing? I can\325t feel anything.) 315. 375. P (About me the world dissolves.) 315. 361. T 2.73 (Who\325s there? I can feel your presence.) 333. 347. P (Lynn? Lynn...) 315. 333. T FMENDPAGE %%Page: "6" 6 FMBEGINPAGE 8 F 0 X (November 1989) 72. 748. T (Volume I, Issue 3) 72. 36. T (Frank / Hampton Cafe) 442.5 748. T (Page 6) 511.95 36. T 6 F 1.3 (He was a small man, no taller than a boy) 90. 621. P 0.84 (of fourteen, but he carried himself with an air) 72. 607. P 4.17 (of contentment and virility that made him) 72. 593. P 1.44 (hard to forget. I do not know his name, and) 72. 579. P 1.11 (I do not ever wish to. I met him for the first) 72. 565. P 1.5 (and only time in a small cafe near Hampton,) 72. 551. P 1.19 (a place I would often escape to when I need-) 72. 537. P 1.97 (ed to be alone. Hampton was peaceful, and) 72. 523. P (the cafe even more so.) 72. 509. T 3.53 (It was not uncommon for me to spend) 90. 495. P 3.24 (hours of my time sipping coffee and twid-) 72. 481. P 1.5 (dling my spoon in a small, deserted booth in) 72. 467. P 2.71 (the south corner. It was a special place to) 72. 453. P 2.93 (me, a place I could go to be thoughtful or) 72. 439. P (dreamy. Or in this case, sorrowful.) 72. 425. T 2.1 (I had gone to Hampton on the afternoon) 90. 411. P 5.24 (of October 12, 1981, two days after the) 72. 397. P 2.71 (death of my brother, Matthew. I had gone) 72. 383. P 1.67 (to the funeral almost completely alone, since) 72. 369. P 1.38 (he and I were the last remaining members of) 72. 355. P 2.84 (our family, having been the only sons of a) 72. 341. P 1.93 (man who was an only child. That man, my) 72. 327. P 2.53 (father, had attained his own date of mourn-) 72. 313. P (ing in the cafe some years earlier.) 72. 299. T 3.67 (I invited none of my friends, not even) 90. 285. P 5.45 (Matthew\325s, and I wonder sometimes if I) 72. 271. P 1.26 (hadn\325t intentionally avoided informing every-) 72. 257. P 2.21 (one but a small handful of people about his) 72. 243. P 1.6 (death. I do not like to cause any more grief) 72. 229. P (in the world than I have to.) 72. 215. T 3.42 (I am not obsessed with death. I think) 90. 201. P 2.08 (that I may have been the only person at the) 72. 187. P 4.29 (funeral who truly accepted the concept of) 72. 173. P 5.79 (Matthew being dead, and the peace that) 72. 159. P 1.19 (such a thing should bring. All the same, this) 72. 145. P 2.48 (acceptance did not stifle my need to escape) 72. 131. P 2.84 (to the cafe, to my special table, sip coffee,) 72. 117. P (and think.) 72. 103. T 2.51 (The waitress gave me no more attention) 90. 89. P 3.81 (than she would give any other patron and) 72. 75. P 1.37 (did not recognize me. Nor did she make the) 315. 621. P 1.62 (connection between my face and the particu-) 315. 607. P 1.82 (lar table at which I was seated, the same ta-) 315. 593. P 5.15 (ble I had always selected for almost six) 315. 579. P 6.34 (years now. The coffee was black and) 315. 565. P 2.67 (strong, and I had to mix several packets of) 315. 551. P 1.97 (sugar with it to make it tolerable. It cooled) 315. 537. P 3.56 (in the stagnant cafe atmosphere, and when) 315. 523. P 4.9 (the steam had completely departed, it re-) 315. 509. P 2.81 (vealed the old man, standing less than sev-) 315. 495. P (en feet from my table, staring at my coffee.) 315. 481. T 3.53 (He was wearing an old but intact gray) 333. 467. P 3.3 (two piece suit. His stature was wide, and) 315. 453. P 2.09 (his shoulders broad, but he still had an aura) 315. 439. P 3.21 (of humility about him that I could not ex-) 315. 425. P 3.3 (plain. His face gave away his age, which) 315. 411. P 3.15 (was in the mid-seventies, I imagine, and it) 315. 397. P 7.34 (was clean-shaven, yet haggard, like the) 315. 383. P 3.12 (face of a man who has lost interest in ap-) 315. 369. P 5.25 (pearance. His shoes were clean, an ex-) 315. 355. P 3.08 (tremely odd thing to notice at that point, I) 315. 341. P 7.23 (know. My acute sense of observation) 315. 327. P 3.86 (sometimes gets the best of me. Covering) 315. 313. P 4.23 (his short, brownish-gray hair was a short-) 315. 299. P (brimmed hat of almost the same color.) 315. 285. T 1.92 (His eyes were like dark chips of ice, yet) 333. 271. P 3.44 (when he stared at me through the clearing) 315. 257. P 7.41 (steam, feelings of care and compassion) 315. 243. P (swamped over me.) 315. 229. T ("May I sit down?") 333. 215. T 1.52 (His voice was clear and soft. It took me) 333. 201. P (a little by surprise.) 315. 187. T 2.76 ("Yes, please do." I found myself saying) 333. 173. P 3.05 (before thinking about what I might be get-) 315. 159. P (ting into.) 315. 145. T 3.45 (He shuffled himself into the booth, sit-) 333. 131. P (ting across from me, nearer to the window.) 315. 117. T 3.64 ("Cold." He said, smiling and shrugging) 333. 103. P 8.03 (his shoulders, "That coffee looks quite) 315. 89. P (good.") 315. 75. T 72. 648. 540. 648. 2 L 1 H N 9 F (Hampton Cafe) 72. 710. T 72. 707.87 157.18 708.63 R V 4 F (By Garry Frank) 72. 694. T 10 F (CSTGLFPC@UIAMVS.BITNET) 72. 680. T 6 F (Copyright \251 1989 Garry Frank / Failsafe Productions) 72. 665. T FMENDPAGE %%Page: "7" 7 FMBEGINPAGE 8 F 0 X (November 1989) 72. 748. T (Volume I, Issue 3) 72. 36. T (Frank / Hampton Cafe) 442.5 748. T (Page 7) 511.95 36. T 6 F 1.89 (I paused for a second. The man did not) 90. 711. P 3.82 (have the appearance of a man stricken by) 72. 697. P (poverty.) 72. 683. T 2.13 ("Would you like some?" I was full will-) 90. 669. P 0.89 (ing to by him a cup of his own, if not to give) 72. 655. P 3.42 (him mine, which I seemed to had lost the) 72. 641. P (taste for.) 72. 627. T 2.91 ("No." He shrugged. "No, no, no... I am) 90. 613. P 2.26 (not in need of favors. I am simply making) 72. 599. P (small talk.") 72. 585. T 0.75 (I nodded, confused. I had an urge to sim-) 90. 571. P 2.52 (ply come out and ask him what it was that) 72. 557. P (he wanted.) 72. 543. T 3.26 ("Cold, yes. Quite cold. Very difficult) 90. 529. P (times.") 72. 515. T (I frowned.) 90. 501. T ("Do I know you from somewhere?") 90. 487. T 7.82 ("Only indirectly... In passing, so to) 90. 473. P (speak. I was a good friend of your brothers.") 72. 459. T 2.72 (I accepted this in good faith, not taking) 90. 445. P 3.13 (the time to stop and weed out the oddities) 72. 431. P (of his story.) 72. 417. T ("I see.") 90. 403. T 2.64 ("Very good friend indeed. I understand) 90. 389. P (you are now all that is left of the family line.") 72. 375. T ("Yes, you could say that.") 90. 361. T 3.62 (I thought back briefly on what the old) 90. 347. P 2.45 (man had said. Was a good friend, he used) 72. 333. P 4.51 (the word was, and I had never seen this) 72. 319. P 2.47 (man before in my life. I had only told six) 72. 305. P 3.39 (people about the death, only one of which) 72. 291. P 4.05 (was a good friend of Matthew\325s, and this) 72. 277. P (man was not one of them.) 72. 263. T 3.84 (The obituaries, I thought to myself, he) 90. 249. P 2.4 (just read about it in the papers. I came up) 72. 235. P 7.21 (with the comeback myself: there hasn\325t) 72. 221. P 1.68 (been an obituary report yet. A clerical error) 72. 207. P 4.95 (had caused the local newspaper to report) 72. 193. P 3.67 (the death two weeks after the event itself,) 72. 179. P (so where, thought I, did he find out?) 72. 165. T 3.06 (Again, I came to my own rescue, there) 90. 151. P 3.86 (must have been other reports. Other arti-) 72. 137. P 3.15 (cles in the news. This man had just been) 72. 123. P 3.96 (paying acute attention. Perhaps he was a) 72. 109. P 3.06 (consistent member of the church where the) 72. 95. P 3. (service was held, and saw it written in the) 72. 81. P (schedule pamphlet.) 315. 711. T 2.38 (He was, after all, a good friend of Mat-) 333. 697. P (thew\325s.) 315. 683. T (So why wasn\325t he at the funeral..?) 333. 669. T 1.72 ("Such a pity. His demise, I mean. That) 333. 655. P 3.67 (is, after all, the reason you are here, is it) 315. 641. P (not?") 315. 627. T ("I\325m sorry?") 333. 613. T 4.12 ("You have come here to grieve, so to) 333. 599. P (speak.") 315. 585. T 2.63 (My eyes were locked open. He contin-) 333. 571. P (ued to speak with remarkable calmness.) 315. 557. T 2.98 ("Do not be frightened. I am here as a) 333. 543. P (friend.") 315. 529. T 3.33 (My throat was getting slightly dry, and) 333. 515. P 2.67 (it clicked as I swallowed. I was genuinely) 315. 501. P (intrigued, if not scared.) 315. 487. T 4.69 ("Look, I\325m sorry, but I\325ve never seen) 333. 473. P 2.78 (you before in my life, and I knew most of) 315. 459. P (Matthew\325s close friends.") 315. 445. T 1.39 ("Are you saying that I\325m not who I say I) 333. 431. P (am?") 315. 417. T 3.91 ("I\325m saying that you haven\325t said who) 333. 403. P 2.49 (you are at all. Now please, my good man,) 315. 389. P (state your business or leave me in peace.") 315. 375. T ("I have a message.") 333. 361. T (I couldn\325t move.) 333. 347. T ("A message?") 333. 333. T ("From Matthew.") 333. 319. T 2.46 (It was then that all time seemed to stop) 333. 305. P 2.34 (in the Hampton Cafe. I found myself mes-) 315. 291. P 2.17 (merized by this old man, held in some kind) 315. 277. P 2.67 (of imaginary, supernatural grip. I began to) 315. 263. P 1.15 (breathe quickly, then stifled it, to conceal my) 315. 249. P (fear.) 315. 235. T ("I don\325t understand.") 333. 221. T ("I have a message from Matthew.") 333. 207. T ("Are you in charge of his will?") 333. 193. T (He chuckled.) 333. 179. T 2.38 ("No. No, not at all. This is not some-) 333. 165. P 2.13 (thing that he wanted to say to you. This is) 315. 151. P (something that he wants to say.") 315. 137. T 5.15 (There it was again. Has a message.) 333. 123. P 2.3 (Wants to say. The fear of this man, of the) 315. 109. P (unknown crept up slowly from my heart.) 315. 95. T ("Would you like to hear it?") 333. 81. T FMENDPAGE %%Page: "8" 8 FMBEGINPAGE 8 F 0 X (November 1989) 72. 748. T (Volume I, Issue 3) 72. 36. T (Frank / Hampton Cafe) 442.5 748. T (Page 8) 511.95 36. T 6 F (I paused.) 90. 711. T ("Yes." I whispered.) 90. 697. T 5.56 (For the next few seconds, a startling) 90. 683. P 5.11 (change came over the old man\325s face, a) 72. 669. P 1.86 (change that I will describe only once, some-) 72. 655. P 2.05 (thing which I have never been able to satis-) 72. 641. P 1. (factorily explain since. For the brief moment) 72. 627. P 2.91 (when the old man relayed his message, his) 72. 613. P 2.17 (eyes changed. His eyes and mouth took on) 72. 599. P 2.38 (a new form, perhaps only in my mind, per-) 72. 585. P 2.46 (haps not. His eyes turned dark brown, and) 72. 571. P 7.01 (they somehow glistened differently, with) 72. 557. P 3.45 (youthfulness. The eyes portrayed a differ-) 72. 543. P 5.1 (ent mind, and the mind that was behind) 72. 529. P 2.89 (them was a mind that I did and still could) 72. 515. P 5.01 (recognize at a moment\325s glance. It was) 72. 501. P 2.04 (Matthew. For a brief instant, the old man\325s) 72. 487. P (eyes became Matthew\325s. He said:) 72. 473. T 2.07 ("Thank you, Jonathan. For all you have) 90. 459. P 3. (given me. Please forgive the shortcomings) 72. 445. P 2.75 (of my youth, the pain of our days growing) 72. 431. P 0.97 (up, for someday you will be with me, and to-) 72. 417. P (gether we will be happy.") 72. 403. T 4.34 (Then his eyes faded, and the man sat) 90. 389. P (back in his cushioned seat.) 72. 375. T 3.91 ("He thought you should know that be-) 90. 361. P (fore you went on living.") 72. 347. T 2.26 (The old man slid to the end of the seat,) 90. 333. P (and moved to stand up.) 72. 319. T 3.76 ("Wait." I croaked silently. He seemed) 90. 305. P 1.78 (to take no notice. He stood, and walked to-) 72. 291. P 3.67 (ward the exit of the cafe. Just before he) 72. 277. P 3.3 (opened the door, he stopped, and I got up) 72. 263. P (enough strength to ask:) 72. 249. T ("Who are you?") 90. 235. T 2.59 (He nodded and stepped out the door. I) 90. 221. P 3.52 (sat in my own sweat for a long time, not) 72. 207. P 1.11 (knowing what to make of what I had just ex-) 72. 193. P 1.76 (perienced. I have not told anyone about my) 72. 179. P 4.84 (periodic expeditions to the cafe until just) 72. 165. P 2.08 (now. Not even Matthew. If this was some) 72. 151. P 3.86 (elaborate joke, how did he know to come) 72. 137. P 1.88 (here? Had he been shadowing me since the) 72. 123. P (funeral? Where did he get his information?) 72. 109. T 3.33 (Breaking the spell, I stood up violently) 90. 95. P 2.75 (and stepped toward the exit, just as he had) 72. 81. P 3.13 (done seconds ago. I threw open the door,) 315. 711. P 3.42 (and stepped out into the parking lot. The) 315. 697. P 2.63 (wind was cold, and I had left my jacket in) 315. 683. P 2.05 (the cafe, so I stood there, shivering, looking) 315. 669. P (earnestly for a trace of the old man.) 315. 655. T (I found none.) 333. 641. T 3.17 (There had been only one automobile in) 333. 627. P 2.07 (the lot, and it was mine. The only possible) 315. 613. P 4.84 (directions he could have gone walking \050I) 315. 599. P 3.73 (heard no motor\051 were well within sighting) 315. 585. P 4.84 (distances. It was as though he had just) 315. 571. P (vanished.) 315. 557. T 4.34 (Several explanations came to me later,) 333. 543. P 2.29 (ranging from the abstract \050I had merely lost) 315. 529. P 5.48 (track of time, and he had walked many) 315. 515. P 2.57 (blocks during my spell\051 to the common \050he) 315. 501. P 2.05 (had escaped on bicycle\051 to the silly \050he was) 315. 487. P (hidden under my car\051.) 315. 473. T 3. (Since none struck me at the time, I re-) 333. 459. P 4.29 (signed myself to re-enter the cafe and sit) 315. 445. P 4.34 (once again at my booth. I pondered the) 315. 431. P 2.34 (events which I now chronicle, then paid for) 315. 417. P (my coffee and left.) 315. 403. T 4.67 (It has been many years since my en-) 333. 375. P 4. (counter with the old man at the Hampton) 315. 361. P 3.42 (Cafe, and I am still as speechless about it) 315. 347. P 3.63 (as I was back then. What happened, you) 315. 333. P 2.22 (ask. I do not honestly know. Some elabo-) 315. 319. P 1.72 (rate prank? There had been too much detail) 315. 305. P 5.73 (which would have required so much re-) 315. 291. P 6.06 (search and money that the prank would) 315. 277. P 3.89 (have been worthless without a punch line,) 315. 263. P 2.26 (so to speak. And I have not been bothered) 315. 249. P (by laughing co-workers since.) 315. 235. T 3.95 (Was this old man somehow a messen-) 333. 221. P 3.13 (ger from wherever Matthew is now? I do) 315. 207. P 2.74 (not know. I am not even sure if I believe) 315. 193. P 3.01 (that myself, and I was the one who recog-) 315. 179. P 3.59 (nized his eyes. Did the event change my) 315. 165. P 1.81 (life, do you ask? I only wish it had. I still) 315. 151. P 1.71 (find myself as much of an agnostic as I was) 315. 137. P (many years ago.) 315. 123. T (I still have no answers.) 333. 109. T 2.38 (The only change it brought about in my) 333. 95. P 1.95 (personal philosophy is not one of conviction) 315. 81. P FMENDPAGE %%Page: "9" 9 FMBEGINPAGE 8 F 0 X (November 1989) 72. 748. T (Volume I, Issue 3) 72. 36. T (Frank / Hampton Cafe) 442.5 748. T (Page 9) 511.95 36. T 6 F 1.93 (in the afterlife, or in Heaven and Hell. The) 72. 711. P 4.85 (change is acceptance that there are many) 72. 697. P 0.93 (things in this life which we cannot explain. I) 72. 683. P 3.25 (accepted this with the same calm frame of) 72. 669. P 7.47 (mind with which I accepted Matthew\325s) 72. 655. P (death:) 72. 641. T 1.24 (There are things in this world which defy) 90. 627. P (logical explanation.) 72. 613. T 1.34 (There is so much we don\325t understand. I) 90. 599. P 4.09 (am convinced of that. There is so much) 72. 585. P (about this world that we do not understand.) 72. 571. T 2.3 (So now what? I visited the cafe a total) 90. 543. P 2.92 (of three times after the incident. Once for) 72. 529. P 1. (the birth of my son, once for the death of my) 72. 515. P 1.27 (wife, and once for the end of World War III.) 72. 501. P 1.72 (Very few events other than these have influ-) 315. 711. P (enced my life.) 315. 697. T 0.67 (I enjoy my life, but I am not afraid of los-) 333. 683. P (ing it.) 315. 669. T 2.05 (The dingy cafe four miles to the East of) 333. 655. P 2.28 (the small Missouri town of Hampton is still) 315. 641. P (standing. So am I.) 315. 627. T 0 F 3.13 (Garry is a Broadcasting and Film major attending) 315. 605. P 3.03 (the University of Iowa. He is an aspiring screen-) 315. 593. P 3.66 (writer and an accomplished playwright, with three) 315. 581. P 2.16 (of his full-length plays having been produced by the) 315. 569. P 3.29 (West Side Players, an alternative theatre organiza-) 315. 557. P 3.03 (tion at Iowa. He writes short fiction in his spare) 315. 545. P 2.57 (time, and watches too many movies. Garry\325s other) 315. 533. P 2.59 (intrests include reading, skiing, acting, "splitting at-) 315. 521. P (oms and graduating.") 315. 509. T 315. 503. 540. 503. 2 L 0 H N 315. 618. 540. 618. 2 L N FMENDPAGE %%Page: "10" 10 FMBEGINPAGE 8 F 0 X (November 1989) 72. 748. T (Volume I, Issue 3) 72. 36. T (Appelquist / Winds) 457.75 748. T (Page 10) 506.95 36. T 6 F 3. (Your name is Phil Miller. The time is) 90. 621. P 0.96 (21:34 on October 27, 2050. You are packing) 72. 607. P 4. (a state of the art Phased Plasma Pistol, a) 72. 593. P 4.26 (real beauty. You can feel its cold metal) 72. 579. P 1.88 (pushing up against the skin of your left side) 72. 565. P 2.54 (through the tight fitting radiation-proof cov-) 72. 551. P 3.01 (er-all. Feeling the piece there gives you a) 72. 537. P 6.9 (sense of security, a feeling that armies) 72. 523. P 1.15 (would fall under your fire. The fact that you) 72. 509. P 1.91 (are on massive amounts of speed, of course,) 72. 495. P (does wonders for your sense of euphoria.) 72. 481. T 1.96 (On the opposite side of your body, there) 90. 467. P 2.72 (is another object that makes you feel good.) 72. 453. P 2.17 (Although not as large as the pistol, you can) 72. 439. P 1.4 (still feel it\325s weight. It is a small iron bar, a) 72. 425. P 2.09 (one day pass into the free-neutral city. The) 72. 411. P 6.39 (city lies four hundred kilometers to the) 72. 397. P 3.2 (southwest of the base you are stationed at.) 72. 383. P 5.45 (Right now, you\325re driving down a fairly) 72. 369. P 6. (straight road, bounded on both sides by) 72. 355. P 3.47 (seemingly endless planes of glass-like resi-) 72. 341. P 3.17 (due, the only telltale that there ever was a) 72. 327. P 2.24 (fusion explosion here. The sight is familiar) 72. 313. P 2.25 (to you, so you do not contemplate how this) 72. 299. P 0.84 (area will be barren for millennia to come, nor) 72. 285. P 1.04 (of how you are only able to pass here due do) 72. 271. P 2.1 (the heavy shielding of your \32520 Chevy Sun-) 72. 257. P 1.06 (blazer. Your mind doesn\325t flicker back, even) 72. 243. P 2.21 (for a second to the millions who died when) 72. 229. P 1.71 (the great city that once stood here was anni-) 72. 215. P (hilated completely.) 72. 201. T 1.39 (The speedometer reads 207 km/hr. A re-) 90. 187. P 2.39 (spectable speed, but you\325d like to go faster.) 72. 173. P 2.34 (Your left hand planted firmly on the wheel,) 72. 159. P 3.15 (you toggle the velocity switch a few times) 72. 145. P 3.34 (until the green counter rises to 265. Nor-) 72. 131. P 3.29 (mally, you wouldn\325t be able to control the) 72. 117. P 3.58 (car at this speed, but the increased aware-) 72. 103. P 2. (ness and strength provided by the drug does) 72. 89. P 2.34 (a lot to help. The base won\325t notice a few) 72. 75. P 5.21 (patches missing from the barracks supply) 315. 621. P 1.5 (station. You think back, only for a moment,) 315. 607. P 1.91 (to all your poor compatriots who don\325t have) 315. 593. P 1.29 (a friend in the supply division; who can only) 315. 579. P 5.93 (experience what you\325re experiencing now) 315. 565. P 2.05 (while in action. Your thoughts quickly turn) 315. 551. P (to contempt.) 315. 537. T 2.31 ("Fuck \325em!" you mutter venomously un-) 333. 523. P 3.96 (der your breath. You raise the velocity to) 315. 509. P (296.) 315. 495. T 3.89 (Now, through the leaded glass of your) 333. 481. P 6.23 (windshield, you can see the towers and) 315. 467. P 7.01 (lights of the free-neutral city, and also) 315. 453. P 4.78 (something else of interest. Perched omi-) 315. 439. P 3.62 (nously over the lighted city is the hulking) 315. 425. P 1.63 (form of the carnival zeppelin. The zeppelin,) 315. 411. P 1.29 (now dark, will shine tonight with the intensi-) 315. 397. P 1.67 (ty of the sun. Even at this distance you can) 315. 383. P 4.14 (feel the members of the psycho-symphony) 315. 369. P 3. (tuning their instruments. Nothing mind ef-) 315. 355. P 3.48 (fecting now, but later... later... You reach) 315. 341. P 0.67 (back behind your neck, flick a switch on your) 315. 327. P 4.94 (brain implant, and the disturbances cease.) 315. 313. P 1.81 (It wouldn\325t do any good to have distractions) 315. 299. P 6.67 (now, not when every movement of the) 315. 285. P 1.61 (wheel is life or death. No.. As good as the) 315. 271. P 2.74 (carnival psycho-symphony is, you decide to) 315. 257. P 6.88 (forgo tonight\325s performance. You have) 315. 243. P (some other entertainment in mind.) 315. 229. T 5.1 (The towers are closer now, as is the) 333. 215. P 1.17 (looming hulk of the zeppelin. A blinking ra-) 315. 201. P 4.13 (dar dish icon on your dash tells you that) 315. 187. P 2.67 (you\325re about to enter into a speed patrolled) 315. 173. P 3.06 (area. Regretfully, you thumb the revert-le-) 315. 159. P 5.24 (gal button on the wheel and your speed) 315. 145. P 2.75 (drops down to 150. Even in your drugged) 315. 131. P 6.12 (state, you realize that the pistol pressed) 315. 117. P 2.84 (tightly against your armpit won\325t save your) 315. 103. P 3.15 (from the automatic guns that are the city\325s) 315. 89. P 2.72 (defenses. You\325ve seen city defenses in ac-) 315. 75. P 72. 648. 540. 648. 2 L 1 H N 9 F (Winds) 72. 710. T 72. 707.87 108.57 708.63 R V 4 F (By Daniel Appelquist) 72. 694. T 10 F (da1n@andrew.cmu.edu) 72. 680. T 6 F (Copyright \251 1989 Daniel Appelquist) 72. 665. T FMENDPAGE %%Page: "11" 11 FMBEGINPAGE 8 F 0 X (November 1989) 72. 748. T (Volume I, Issue 3) 72. 36. T (Appelquist / Winds) 457.75 748. T (Page 11) 506.95 36. T 6 F 4.17 (tion before. You\325re not about to let that) 72. 711. P 1.04 (happen to you; not when you\325ve got so much) 72. 697. P (to do.) 72. 683. T 2.57 (As you pull your vehicle in through the) 90. 669. P 6.41 (ramparts, your level of excitement rises.) 72. 655. P 2.29 (You can feel the blood course through your) 72. 641. P 1.48 (veins faster and faster, driven by your racing) 72. 627. P (heartbeat.) 72. 613. T 1.55 (You are in a field; a broad, green, gently) 90. 585. P 3.43 (sloping field; the kind they had before the) 72. 571. P 1.94 (terror. You are a child. The grass is thick,) 72. 557. P 1.1 (although not overgrown. Small portions of it) 72. 543. P 2.67 (break off and stick to your feet as you run) 72. 529. P 3.5 (through it. The sweet smell of flowers is) 72. 515. P 5.38 (near. You don\325t know which ones. It) 72. 501. P 3.13 (doesn\325t matter, the smell is good. As you) 72. 487. P 1.55 (run across the field, you start to bound, your) 72. 473. P 4.12 (bare feet contacting with the ground, then) 72. 459. P 4.38 (your entire body raising into the air with) 72. 445. P (each stride. How easy it is. And how futile.) 72. 431. T 2.52 ("Your pass sir? This is the last request) 90. 403. P 3.23 (I shall make. I repeat my assertion that I) 72. 389. P 1.53 (am prepared to use deadly force unless iden-) 72. 375. P (tification is certified.") 72. 361. T 4.06 (The voice of the gate computer brings) 90. 347. P 0.92 (you back from your reverie. You remove the) 72. 333. P 2.05 (iron bar from your right vest pocket and in-) 72. 319. P 5. (sert it into the slot next to the window.) 72. 305. P 2.49 (You\325re amazed that you were able to nego-) 72. 291. P 4.17 (tiate the car to its present position. You) 72. 277. P 1.48 (try, in vain to recapture your vision, but it is) 72. 263. P 3.17 (forgotten. You can think now only of the) 72. 249. P 2.81 (carnival\325s delights. No doubt there will be) 72. 235. P 2.23 (mutant death wrestling, perhaps a few burn-) 72. 221. P 2.46 (ings of recently seized technocrats, and cer-) 72. 207. P 4.78 (tainly there will be the famed sex-slaves.) 72. 193. P 0.8 (You reach down into your left hip pocket and) 72. 179. P (finger the coinage therein. There is enough.) 72. 165. T 3.1 (The light in front of you flashes green,) 90. 151. P 4.82 (and the gate opens. The auto-control of) 72. 137. P 2.05 (your car is engaged, removing you from the) 72. 123. P 2.17 (loop. At a creeping pace which angers you) 72. 109. P 3.13 (even more than the tone of that gate com-) 72. 95. P 1.96 (puter, you are drawn into the spacious park-) 72. 81. P (ing lot of the city.) 315. 711. T 2. (When you finally stop and get out, a fe-) 333. 697. P 4.09 (male voice gently reminds you "remember) 315. 683. P 4.14 (where you parked, please." Your hand in-) 315. 669. P 1.78 (stinctively moves to your gun, eagerly antic-) 315. 655. P 2.26 (ipating. It is only when the weapon is half) 315. 641. P 1.91 (drawn do you realize that the voice\325s source) 315. 627. P 2.64 (is the PA located at the top of a high pole) 315. 613. P 3.63 (some thirty meters from you. "Remember) 315. 599. P 2.92 (where you parked, please" she states again,) 315. 585. P 4.5 (softly. Fighting your nature, you sheathe) 315. 571. P 3.76 (the pistol, but the swirling energy in your) 315. 557. P 4.74 (blood stream remains undiminished. You) 315. 543. P (must consummate your feelings; soon.) 315. 529. T 2.95 (You enter the winding walkways of the) 333. 515. P 3.34 (free-neutral city, walking at what you con-) 315. 501. P 2.14 (sider to be a slow pace, so as not to broad-) 315. 487. P 3.21 (cast your condition. Still, you seem to be) 315. 473. P (passing out most of the other walkers.) 315. 459. T 4.13 (Perhaps it is the subliminal advertising) 333. 445. P 1.96 (boards hung above the pubs, or perhaps you) 315. 431. P 2.72 (were simply too excited to notice it before,) 315. 417. P 3.95 (but you suddenly feel parched beyond be-) 315. 403. P 2.92 (lief. You must have a drink. The noisiest,) 315. 389. P 4.06 (most garishly colored bar attracts your at-) 315. 375. P 3.23 (tention and you enter, anticipating the cool) 315. 361. P 3.34 (feeling of liquid passing down your throat.) 315. 347. P 1.29 (The place is crowded, hiding for the moment) 315. 333. P 4.41 (your conspicuousness; the wide open eyes) 315. 319. P (and red lips that are the mark of a soldier.) 315. 305. T 4.53 (You look towards the bar, and she is) 333. 291. P 1.8 (there. Just the same as she was all of those) 315. 277. P 2.23 (years ago, at the first carnival. There is no) 315. 263. P 1.96 (thought in your mind as to how she is here,) 315. 249. P 1.91 (or why she doesn\325t recognize you when you) 315. 235. P 2.78 (sit down next to her and offer her a drink.) 315. 221. P 4.28 (Your increased awareness does not extend) 315. 207. P 1.75 (to your inner being, and so the illusion lives) 315. 193. P (on.) 315. 179. T 2.13 ("I\325d be much obliged, stranger. Ooooh..) 333. 165. P 3.72 (Are you a soldier? How interesting! You) 315. 151. P 4.58 (must be very strong. And very wealthy,) 315. 137. P 3.88 (no? I\325m sure you have some coinage on) 315. 123. P (you, eh?") 315. 109. T 1.23 ("I\325ll have a bourbon and soda, and a beer) 333. 95. P 3.73 (for the lady," you state impassively at the) 315. 81. P FMENDPAGE %%Page: "12" 12 FMBEGINPAGE 8 F 0 X (November 1989) 72. 748. T (Volume I, Issue 3) 72. 36. T (Appelquist / Winds) 457.75 748. T (Page 12) 506.95 36. T 6 F 3.22 (bartender. "Coming right up, sir," he says) 72. 711. P 3.67 (as he turns around, revealing the series of) 72. 697. P 2.26 (raised switches on the back of his neck. A) 72. 683. P 2.72 (deserter, no doubt. You hate deserters, but) 72. 669. P 2. (you suffer him to live as long as he doesn\325t) 72. 655. P 1.95 (give you any lip. "Do you live here, or are) 72. 641. P 2.14 (you part of the carnival?" you ask politely,) 72. 627. P 3.91 (even though she is obviously of the latter) 72. 613. P 3.4 (persuasion. Her scant, ornate clothing and) 72. 599. P 1.77 (wealth of hair, a commodity for which other) 72. 585. P 4.23 (less fortunate women would kill, give her) 72. 571. P (away clearly.) 72. 557. T 2.83 ("I\325m a carnie worker... I\325m, uh.. off for) 90. 543. P 6.54 (the day though." You don\325t hear her.) 72. 529. P 3. (You\325re too busy looking her up and down.) 72. 515. P 4.14 (Her body has some inconsequential differ-) 72. 501. P 2.84 (ences to how you remember her, but all in) 72. 487. P 5.1 (all she appears the same. Large breasts) 72. 473. P 4.96 (heaving with the effort she must take to) 72. 459. P 3.01 (breathe this thickened air. Eyes dilated by) 72. 445. P 17.46 (depressants or pleasure heighteners.) 72. 431. P 3.28 (Smooth skin unblemished by even a single) 72. 417. P 1.79 (spot or bump. She\325s been modified, as they) 72. 403. P 1.57 (all have. It goes without saying. She is too) 72. 389. P (perfect, just as she always has been.) 72. 375. T 4.19 (You\325ve run into a section of the field) 90. 347. P 2.29 (where the grass is taller, thicker, more easi-) 72. 333. P 4.62 (ly concealing. Some of the long strands) 72. 319. P 1.34 (have a dry seed pod at the top, waiting to be) 72. 305. P 3.72 (blown away by the wind, to propagate, to) 72. 291. P 4.1 (spawn, to swarm. Bees buzz around you) 72. 277. P 4.76 (now, but you\325ve had your shots, so they) 72. 263. P 0.96 (don\325t come within a few feet of your heaving) 72. 249. P 1.78 (body. You ran hard and fast, and now your) 72. 235. P 2.34 (friends won\325t find you; for sure they won\325t,) 72. 221. P 2.62 (and then you\325ll win. You\325ll prove yourself) 72. 207. P 2.43 (superior. You squat down to provide your-) 72. 193. P 1.29 (self even more protection than before. Wait-) 72. 179. P 3. (ing, anticipating the moment you hope will) 72. 165. P 1.78 (never come, when your questing friends will) 72. 151. P 3.29 (come upon you with a shout and you will) 72. 137. P (taste your defeat.) 72. 123. T 0.93 (As you walk out of the bar with her, your) 90. 95. P 2.82 (excitement reaches a peak level. You start) 72. 81. P 4.06 (walking faster, faster, until she can barely) 315. 711. P 1.2 (keep up with you. "Why are you walking so) 315. 697. P 2.73 (fast? What\325s the hurry, honey?" You still) 315. 683. P 2.75 (don\325t hear her. To you, she has become a) 315. 669. P 3.42 (non-person; an object. As you pass a de-) 315. 655. P 10.1 (serted alleyway between two towering) 315. 641. P 2.83 (buildings, you push her in with all of your) 315. 627. P 5.95 (weight, following close behind. As her) 315. 613. P 5. (crumpling form hits the wet ground, you) 315. 599. P 1.13 (reach up, to your left side, grasping your pis-) 315. 585. P 2.58 (tol, pulling it out of its carefully fitted hol-) 315. 571. P 5.53 (ster, aiming it for her crying eyes, now) 315. 557. P 0.89 (turned full force on you and filled with a fear) 315. 543. P 3.73 (unequaled by any opponent you have ever) 315. 529. P 2.07 (met in battle. There is only time for her to) 315. 515. P 3.66 (scream a plaintive "Why?" How dare she?) 315. 501. P 2.77 (Why indeed? Doesn\325t she know? Doesn\325t) 315. 487. P 3.55 (she remember? With only a grim hate in) 315. 473. P 0.37 (your mind, you pull the trigger. The only evi-) 315. 459. P 1.19 (dence is a clean hole directly in the center of) 315. 445. P (her forehead. You always were a good shot.) 315. 431. T 1.29 (Kneeling over her dead form, you plant a) 333. 417. P 1.72 (kiss tenderly on her stiffening lips. "I loved) 315. 403. P 4.39 (you." Are the words yours? You don\325t) 315. 389. P 3.2 (know. You only feel the deep satisfaction) 315. 375. P 1.08 (that came from the kill. You raise your head) 315. 361. P 1.56 (to see the tops of the buildings and the huge) 315. 347. P 2.01 (hulking form of the zeppelin overhead, blot-) 315. 333. P 2.67 (ting out the stars, the sky. Soon the lights) 315. 319. P 3.53 (of the zeppelin will brighten the streets of) 315. 305. P 1.34 (the city. You take out a small phial, remove) 315. 291. P 1.96 (a new patch and apply it eagerly, discarding) 315. 277. P 1.01 (the old one. Already you can feel the excite-) 315. 263. P 2.24 (ment course through your veins, just as you) 315. 249. P 2.63 (can hear the blood rushing there even now,) 315. 235. P (pumped by a renewed purpose.) 315. 221. T 3.39 (By now your drugged mind has almost) 333. 207. P 5.4 (forgotten the existence of the corpse be-) 315. 193. P 3.05 (neath your feet. You must find her again,) 315. 179. P 2.08 (and kill her, and again. You will kill again) 315. 165. P (tonight.) 315. 151. T (\245 \245 \245) 418.2 123. T 4.05 (The time was twenty years ago. You) 333. 95. P 5.91 (were a trainee. Seventeen years old, a) 315. 81. P FMENDPAGE %%Page: "13" 13 FMBEGINPAGE 8 F 0 X (November 1989) 72. 748. T (Volume I, Issue 3) 72. 36. T (Appelquist / Winds) 457.75 748. T (Page 13) 506.95 36. T 6 F 1.75 (mere boy. But even then you had been car-) 72. 711. P 1.67 (rying a weapon when you rode into the city,) 72. 697. P 4.43 (a distant city, with your friends from the) 72. 683. P 6.28 (academy. Indeed, the academy required) 72. 669. P 1.63 (that all personnel on leave carry a firearm at) 72. 655. P 1.86 (all times. One never knew what scavenging) 72. 641. P 2.67 (scum one might find in the wildernesses of) 72. 627. P 1.92 (the wasted world. That city had been much) 72. 613. P 4.9 (like this one. Smaller, perhaps, but still) 72. 599. P 3.1 (much like this one. You remember seeing) 72. 585. P 2.53 (first the defense towers, and then the radia-) 72. 571. P 2.53 (tion dome that that city had required, being) 72. 557. P 1.15 (in an area of much higher risk, and of course) 72. 543. P 2.63 (there was the zeppelin. You remember sit-) 72. 529. P 1.26 (ting in awe in the main concourse of the city) 72. 515. P 5.95 (with thousands of others as the psycho-) 72. 501. P 3.56 (symphony played through their set, the ef-) 72. 487. P 3.62 (fects of the performance sending waves of) 72. 473. P 4.67 (strange, undefinable sensation though your) 72. 459. P 2.51 (body. "Better than sex," you had remarked) 72. 445. P 1.8 (to one of your friends afterward. Well, per-) 72. 431. P 1.92 (haps, perhaps not. Of course, you had been) 72. 417. P 3.2 (a virgin at the time, so the use of the ex-) 72. 403. P 3.73 (pression had been more comical than any-) 72. 389. P (thing else.) 72. 375. T 1.67 (She was at the city. Her name was Juli-) 90. 361. P 3.25 (ana. She told you she was not a prostitute) 72. 347. P 1.93 (of the carnival, merely a worker for it. Her) 72. 333. P 3.95 (job was mostly in setting up the carnival,) 72. 319. P 1.67 (and so she had some time off, time she usu-) 72. 305. P 2.48 (ally spent in whatever city the carnival was) 72. 291. P 3.34 (in, looking around, experiencing. She was) 72. 277. P 1.91 (young, and not unpretty, although not of the) 72. 263. P 3.06 (caliber required for the prostitutes and sex-) 72. 249. P 4.01 (slaves but to you she was perfect. What) 72. 235. P 3.91 (you and her shared that night was greater) 72. 221. P 2.09 (than any pleasure you have since had. You) 72. 207. P 5.14 (shared tenderness, you exposed your soul) 72. 193. P 0.97 (to her, and she to you. And for the first time) 72. 179. P 1.34 (in your life, you believed yourself to be hap-) 72. 165. P 1.71 (py. You cared for her, damn it! You cared) 72. 151. P 2.67 (for her in the few weeks that you were to-) 72. 137. P 3. (gether. You spent most of your time with) 72. 123. P 1.56 (her and when the call to return to the acade-) 72. 109. P 3.2 (my for classes and training came, you dis-) 72. 95. P (obeyed it.) 72. 81. T 2.17 (And then it had come. A subtle change) 333. 711. P 2.76 (in the way she acted towards you, the way) 315. 697. P 2.1 (she spoke to you. Almost unnoticeable, but) 315. 683. P 1.2 (you noticed it. You felt her love for you de-) 315. 669. P 4.91 (teriorate step by step, while you tried to) 315. 655. P 2.34 (wish away the hour you knew would come,) 315. 641. P 3.88 (tried to tell yourself it was just a passing) 315. 627. P 4.56 (phase. You remember the moment when) 315. 613. P 4.48 (you came back to the apartment she was) 315. 599. P 1.37 (renting. She told you that night that she had) 315. 585. P 2.38 (loved another man. A man of the carnival.) 315. 571. P 3.44 (The carnival was leaving, and so was she.) 315. 557. P 2.48 (She didn\325t want to see you any more. She) 315. 543. P 2.17 (was a wanderer, she didn\325t want to stay put) 315. 529. P 2.92 (for any length of time. Many other things) 315. 515. P 4.77 (were said, many more excuses. All you) 315. 501. P 3. (could think of was how she had used you,) 315. 487. P 5.22 (how horribly insensitive she was to you,) 315. 473. P 1.11 (how much you had given to her and how she) 315. 459. P 2.06 (was now repaying you, with her brutal fare-) 315. 445. P 3.86 (well. You remember running back to the) 315. 431. P 1.62 (academy, to lick your wounds, to nurse your) 315. 417. P 2.05 (hate. They reaccepted you. No reason was) 315. 403. P 2.43 (grave enough to give up a potential soldier.) 315. 389. P (And a soldier was what they got.) 315. 375. T 1.21 (The image of her in your mind is skewed) 333. 361. P 3.73 (now, distorted, enhanced by the images of) 315. 347. P 3.17 (other, lesser women. Women with expres-) 315. 333. P 2.72 (sions of blind terror frozen into their faces,) 315. 319. P 2.46 (just like the woman you even now leave in) 315. 305. P 2.91 (the alley. In a very real way, all of those) 315. 291. P (women are and were Juliana. All of them.) 315. 277. T (\245 \245 \245) 418.2 249. T 1.82 (The field has turned a deep auburn color) 333. 221. P 1.03 (now. Still the grass is thick, but many of the) 315. 207. P 1.89 (strands are dry and brittle. Now as you run) 315. 193. P 4.17 (back towards the school the strands break) 315. 179. P 5.61 (under your feet, sometimes causing pain.) 315. 165. P 1.38 (The sky, formerly a deep shade of blue, now) 315. 151. P 2.25 (appears gray. Huge black clouds move fast) 315. 137. P 2.24 (and silently over the darkened land. Strong) 315. 123. P 6.1 (winds have begun to blow in from the) 315. 109. P 2.51 (south. Already you can feel the first drops) 315. 95. P 0.88 (of the storm impacting on top of your tousled) 315. 81. P FMENDPAGE %%Page: "14" 14 FMBEGINPAGE 8 F 0 X (November 1989) 72. 748. T (Volume I, Issue 3) 72. 36. T (Appelquist / Winds) 457.75 748. T (Page 14) 506.95 36. T 6 F 1.92 (mop of hair. The other children are already) 72. 711. P 1.48 (there, waiting for you, calling to you, calling) 72. 697. P 3.79 (from safety, along with the worried teach-) 72. 683. P 1.82 (ers. "Hurry up, Phil!" they shout plaintive-) 72. 669. P 1.51 (ly. "The storm\325s coming! Get inside quick!") 72. 655. P 1.42 (Or maybe the voices come from inside. The) 72. 641. P (schoolhouse seems so very far away.) 72. 627. T 8.14 (You walk several meters down the) 90. 599. P 2.96 (street from where the opening to the alley-) 72. 585. P 3.75 (way lies when the lights come on. From) 72. 571. P 2.77 (above, from the huge form of the zeppelin,) 72. 557. P 1.83 (there is light; a bright white light, a magical) 72. 543. P 1.17 (light. You try to look up, but the zeppelin is) 72. 529. P 2.07 (too bright to look at directly. Like the sun.) 72. 515. P 2.49 (Like the truth. It leaves a shadow on your) 72. 501. P 8.8 (vision that never seems to completely) 72. 487. P 4.43 (clear. You feel a slight brushing against) 72. 473. P 4.33 (your mind, a signal that the Psycho-Sym-) 72. 459. P 1.54 (phony has started its epic concert. Still, you) 72. 445. P 6.62 (make no move to cut out your shield.) 72. 431. P 1.75 (You\325ve seen her now. There she is! Walk-) 72. 417. P 2.71 (ing out of that residence! This time you\325ll) 72. 403. P 2.92 (have her. This time she can\325t escape your) 72. 389. P (savage passions.) 72. 375. T 2.39 (Now another woman lies dead in a thir-) 90. 361. P 2.21 (ty-fourth floor hallway, slumped against one) 72. 347. P 1.03 (wall. This is the third for this night, and still) 72. 333. P 1.3 (it is the first ever. Again, the look of crazed) 72. 319. P 3.22 (terror on her face. Again, the clean burn-) 72. 305. P 1.1 (hole bisecting her frontal lobe perfectly. The) 72. 291. P 1.44 (effect is enhanced by the bright light stream-) 72. 277. P 2.95 (ing down through the picture window from) 72. 263. P 4.43 (the zeppelin, giving all objects in sight a) 72. 249. P (day-glow luminescence. Still, you love her.) 72. 235. T 2.11 (Skulking out of the residence, pistol still) 90. 221. P 2.96 (hot from the last shot, you glimpse, out of) 72. 207. P 2.34 (the corner of your eye, an ambulance drone) 72. 193. P 2.95 (carrying another one of this night\325s victims) 72. 179. P 3.51 (along with several other corpses you don\325t) 72. 165. P 4.06 (recognize. It appears you aren\325t the only) 72. 151. P 3.09 (one who\325s been busy this night. Far from) 72. 137. P 4.71 (it. It\325s the way it always is at carnival) 72. 123. P 1.34 (time. Some corner of your mind reaches out) 72. 109. P 3.39 (to these other murderers, leaving a trail of) 72. 95. P 2.3 (dead flesh just as you do. You feel, some-) 72. 81. P 1. (how, that you are all kin, a brotherhood. But) 315. 711. P 3.24 (this feeling is soon wiped clean from your) 315. 697. P 4.73 (mind by the all-pervasiveness of the new) 315. 683. P 2.59 (dose of the drug. You must kill again, for) 315. 669. P 1.43 (only in killing can your passions be consum-) 315. 655. P 1.49 (mated. Your carnal excitement reaches a fe-) 315. 641. P 2.04 (ver pitch. Not thinking of your own safety,) 315. 627. P 1.09 (only of your purpose, you reach for your pis-) 315. 613. P 3.67 (tol, looking out across the crowded square) 315. 599. P (for a target; any target.) 315. 585. T 2.22 ("Phil? Phil Miller?" The voice shatters) 333. 571. P 8.14 (your concentration like a brick thrown) 315. 557. P 4.73 (through a plate-glass window. You turn,) 315. 543. P 2.66 (hand still gripping the pistol in its shoulder) 315. 529. P 1.56 (holster. At first, you can\325t make out who or) 315. 515. P 2.09 (what... and then there she is. "It\325s Juliana.) 315. 501. P 2.84 (You do remember me, don\325t you? I know) 315. 487. P 2.56 (it\325s been a long time, but when I saw your) 315. 473. P 3.3 (name come up on the city pass list, I just) 315. 459. P (had to go looking for you. You all right?") 315. 445. T 2.82 (You\325re not. You\325re frozen in stark ter-) 333. 431. P 1.52 (ror. You can feel the blood drain from your) 315. 417. P 2.52 (face, your pupils dilate. It can\325t be! Your) 315. 403. P (grip on the pistol is greater than ever.) 315. 389. T 0.95 ("You OK Phil? Oh dear! I seem to have) 333. 375. P 3.21 (given you quite a shock! Maybe I should) 315. 361. P 3.96 (have left well enough alone... Want to sit) 315. 347. P (down or something?") 315. 333. T 2.8 (If you hear her at all, it is merely as a) 333. 319. P 3.39 (shadow, as all of those other women were) 315. 305. P 3.06 (merely shadows of this goddess that stands) 315. 291. P 0.47 (before you now. Juliana, how could I profane) 315. 277. P 4.3 (you so? The words only appear in your) 315. 263. P 1.64 (head, but to you they are real. You pull the) 315. 249. P (pistol slowly out of its holster.) 315. 235. T 1.34 (The storm is raging full force now. Rain) 333. 207. P 6.94 (batters at the schoolhouse windows and) 315. 193. P 1.9 (roof, propagating waves of sound that rever-) 315. 179. P 8.09 (berate throughout the cinderblock class-) 315. 165. P 3.42 (rooms. As much as you tell yourself that) 315. 151. P 4.61 (the building will stand under this punish-) 315. 137. P 2.82 (ment, and as much as the teachers reassure) 315. 123. P 1.08 (you, you can\325t help thinking that the world is) 315. 109. P 2.19 (on the verge of collapse. The wars in Asia) 315. 95. P 2.92 (and Africa seem to grow nearer every day.) 315. 81. P FMENDPAGE %%Page: "15" 15 FMBEGINPAGE 8 F 0 X (November 1989) 72. 748. T (Volume I, Issue 3) 72. 36. T (Appelquist / Winds) 457.75 748. T (Page 15) 506.95 36. T 6 F 1.73 (The blockades in South America are causing) 72. 711. P 4.12 (more and more controversy. The govern-) 72. 697. P 1.58 (ment, torn apart and dominated by huge cor-) 72. 683. P 2.45 (porations, holds no answer, no hope. Some-) 72. 669. P 1.42 (where in your mind, you realize that most of) 72. 655. P 2. (your thoughts now are in retrospect, looking) 72. 641. P 2.67 (back on that day with the point of view of) 72. 627. P 2.24 (someone who\325s been through it, but the im-) 72. 613. P 0.94 (age is still real. The blinding flash far on the) 72. 599. P 1.67 (horizon. The rush for the underground shel-) 72. 585. P 1.42 (ters. The horrible, horrible noise. These are) 72. 571. P 4.89 (real memories, no phantoms. The death.) 72. 557. P 1.54 (Only the death is unreal. It could not be re-) 72. 543. P 2.1 (alized by even the oldest, wisest minds, and) 72. 529. P (certainly it could not be realized by a child.) 72. 515. T 2.06 ("Phil, no! no!" She rushes at you but it) 90. 487. P 2.43 (is too late. Your enhanced motor functions) 72. 473. P 1.79 (bring your pistol to bear on your target with) 72. 459. P 3.25 (deadly accuracy, and in a split second, the) 72. 445. P 2.67 (weapon is fired, muzzle pointed squarely at) 72. 431. P 1.96 (your own forehead. Seemingly in slow mo-) 315. 711. P 1.17 (tion, you see the plasma bolt come racing to-) 315. 697. P 2.67 (wards you. Your last coherent vision is of) 315. 683. P 2.9 (Juliana\325s eyes, older eyes, wiser eyes, open) 315. 669. P 1.11 (eyes. Crying eyes. Crying for you or crying) 315. 655. P 1.41 (for the world that has come to this; for man-) 315. 641. P (kind?) 315. 627. T 6.22 (Still, the savage winds of the shock) 333. 599. P 3.58 (wave blow over the small school house, a) 315. 585. P (harbinger of an ever darkening future.) 315. 571. T 0 F 1.67 (Dan Appelquist is a Cognitive Science major at Car-) 315. 545. P 3.23 (negie Mellon University. He also takes classes in) 315. 533. P 3.02 (film studies in an attempt to broaden his horizons.) 315. 521. P 3.06 (In his spare time, he VP\325s the KGB, publishes his) 315. 509. P 1.77 (own magazine \050Quanta\051, takes care of his kitten Em-) 315. 497. P 4.63 (ma, and reads newsgroups of questionable merit.) 315. 485. P 3.26 (He wrote "Winds" after the breakup of a previous) 315. 473. P 3.46 (relationship. "If it sounds a bit depressing," Dan) 315. 461. P 2.93 (says, it is because he was "going through a ) 315. 449. P 11 F 2.93 (living) 516.65 449. P (hell) 315. 437. T 0 F (!") 330.56 437. T 315. 558. 540. 558. 2 L 0 H N 315. 430. 540. 430. 2 L N FMENDPAGE %%Page: "16" 16 FMBEGINPAGE 8 F 0 X (November 1989) 72. 748. T (Volume I, Issue 3) 72. 36. T (Weitbrecht / Fundamentally Switzerland) 365.28 748. T (Page 16) 506.95 36. T 6 F 1.67 (The black dress was not dirty, but Marg-) 90. 639. P 3.15 (aret dropped it down the cleaning chute as) 72. 625. P 3.17 (soon as she removed it. She climbed into) 72. 611. P 2.34 (the bathtub and soaked, water as hot as she) 72. 597. P 4.04 (could stand. At last she drained the tub,) 72. 583. P 5.75 (wrapped herself in her warmest bathrobe) 72. 569. P 1.67 (and made a pot of tea. When it was poured) 72. 555. P 6.17 (and steaming she opened her purse and) 72. 541. P (took out the funeral program.) 72. 527. T 3.29 (The cover was a tasteful photograph of) 90. 513. P 2.6 (stars over a quiet sea and a few lines from) 72. 499. P 3.03 ("home is the sailor." Inside was the order) 72. 485. P 1.38 (of service, a list of hymns, a short biography) 72. 471. P 2.56 (and a recent publicity photograph. Nothing) 72. 457. P 4.04 (in it seemed to have anything to do with) 72. 443. P (Paul. There was no mention of suicide.) 72. 429. T 5.28 (The telephone was ringing. Margaret) 90. 415. P 2.29 (crumpled the program and dropped it in the) 72. 401. P 1.76 (waste chute. She picked up the receiver be-) 72. 387. P (fore the third ring.) 72. 373. T 3.85 ("Yes?" she said. "Oh, Andrea, hello!") 90. 359. P 2.34 (She looked across the room at the calendar,) 72. 345. P 2.3 (where a date three weeks ahead was circled) 72. 331. P 2.94 (in black. "Yes, it was a lovely service ....) 72. 317. P 3.62 (Your roses were beautiful .... I thought so) 72. 303. P 4.08 (too .... No, I went alone. I\325m sorry you) 72. 289. P (couldn\325t get back in time. How is Japan?") 72. 275. T 4.35 (A longer pause. "No, I suppose they) 90. 261. P 4.86 (didn\325t. It happened on Wednesday. He) 72. 247. P 3.67 (was working on his new novel. The ma-) 72. 233. P 1.45 (chine was still on when they found him. He) 72. 219. P 3.67 (shot himself through the head. He hadn\325t) 72. 205. P 2.98 (even taken off his harness." Margaret was) 72. 191. P 3.34 (surprised how calmly she could relate this.) 72. 177. P 2.5 ("No, he didn\325t leave a note. There was no) 72. 163. P 1.74 (clue in the tape. No one knows why he did) 72. 149. P (it.") 72. 135. T 2.84 (Damn him, Margaret thought. I always) 90. 121. P 6.15 (hated his gun collection. And his war) 72. 107. P 3.78 (books-- "It was a new Constantin Falcon) 72. 93. P 2.11 (adventure. Something about gold and white) 72. 79. P 2.09 (slavery in the banana republics. He was on) 315. 639. P 7.65 (the second draft." She stiffened. "I) 315. 625. P 5.84 (wouldn\325t know, Andrea. I suppose you) 315. 611. P (could contact his attorney.") 315. 597. T 2.56 (Now she relaxed again, speaking as one) 333. 583. P 1.77 (professional to another. "Yes, I\325ll have it in) 315. 569. P 2.67 (the rough tape by the end of the month ....) 315. 555. P 2.06 (No, I can work on it. I lost a few days, of) 315. 541. P 2.87 (course .... No, I\325m fine now. In fact, the) 315. 527. P 1.56 (work should do me good." She smiled at the) 315. 513. P 2.48 (reply. "Yes, Andrea .... No, Andrea .... I\325ll) 315. 499. P (see you later, Andrea. Goodbye.") 315. 485. T 1.67 (Damn the bastard for killing himself, she) 333. 471. P 3.81 (thought, and the tears finally came. Why) 315. 457. P 2.89 (the hell should it hurt so much? It\325s been) 315. 443. P 1.6 (over a year since we split up. We just meet) 315. 429. P 1.96 (at authors\325 parties, chat over drinks. It\325s all) 315. 415. P (so fucking civilized.) 315. 401. T 3.12 (She cinched her robe tighter, picked up) 333. 387. P 2.26 (her tea and walked to the study. The com-) 315. 373. P 6.28 (posing machine took up nearly half the) 315. 359. P 2.74 (room. It was the one she had used for 23) 315. 345. P 3.11 (years, bulky with banks of flickering lights) 315. 331. P 3.42 (and trembling meters. She had to be half) 315. 317. P 3.34 (technician to operate it. But the new ma-) 315. 303. P (chines were less sensitive--) 315. 289. T 5.87 (She was starting self-hypnosis as she) 333. 275. P 6.01 (sat and pulled on the receiving harness.) 315. 261. P 4.4 (She pasted the pickups over the acupunc-) 315. 247. P 8.93 (ture meridians, tightened the headband,) 315. 233. P 5.01 (clipped the ground wires to her earposts.) 315. 219. P 2.62 (She smiled at her reflection in the window,) 315. 205. P 5.09 (strapped and metal-studded and umbilical-) 315. 191. P 3.47 (wired like a character in one of her space) 315. 177. P (fantasies.) 315. 163. T 4.33 (She was adjusting knobs, choosing the) 333. 149. P 1.63 (tape. She recited her mantras for this novel,) 315. 135. P 4.56 (entering the mood. "Fundamentally Swit-) 315. 121. P 4.61 (zerland. So small against the immensity.) 315. 107. P 3.23 (The high proud terror of the snows." She) 315. 93. P 1.91 (settled into the chair and played the familiar) 315. 79. P 72. 666. 540. 666. 2 L 1 H N 9 F (Fundamentally Switzerland) 72. 710. T 72. 707.87 231.88 708.63 R V 4 F (By Barbara Weitbrecht) 72. 694. T 10 F (IRMSS100@SIVM.BITNET) 72. 680. T FMENDPAGE %%Page: "17" 17 FMBEGINPAGE 8 F 0 X (November 1989) 72. 748. T (Volume I, Issue 3) 72. 36. T (Weitbrecht / Fundamentally Switzerland) 365.28 748. T (Page 17) 506.95 36. T 6 F 11.54 (switches, advancing the tape to the) 72. 711. P 4.86 (roughed-in chapter. "Margot flees to the) 72. 697. P 4.47 (pass. The pass -- the "col" -- is haven.) 72. 683. P 3.28 (Escape from Italy. Switzerland. Premoni-) 72. 669. P 0.68 (tion of the final terror." Should I record from) 72. 655. P 2.26 (the start? She decided to view for a while,) 72. 641. P (as if she were audience.) 72. 627. T 3.56 (Now, belted and strapped like a space-) 90. 613. P 9.34 (man she descends, counting downward) 72. 599. P 3. (through the three stages of sleep. She has) 72. 585. P 2.23 (reached eyelid catalepsy, she drains her arm) 72. 571. P 2. (of feeling, then fills it with light. Far away) 72. 557. P 2.14 (as in a dream she feels it levitate. When it) 72. 543. P 2.47 (reaches her face it drops and she enters the) 72. 529. P (story.) 72. 515. T 3.06 (Blue sky, cloudless and cold, dark with) 90. 487. P 4.61 (high altitudes. Featureless--a sudden pain) 72. 473. P 7.94 (at the sun, overexposed--drops back to) 72. 459. P 6.73 (blue and below, mountains. These are) 72. 445. P 5.81 (white mountains, sharp ice edges against) 72. 431. P 2.52 (the void. A sudden cold, as if wind blows) 72. 417. P 1.41 (from the ice. In the cold a subtle undertone,) 72. 403. P (a terror, a premonition or a nostalgia.) 72. 389. T 7.59 (Margaret, surprised, decides that last) 90. 375. P 2.53 (mood flicker must be removed. This novel) 72. 361. P (has nothing to do with nostalgia.) 72. 347. T 3.67 (The view drops from ice to rock, then) 90. 333. P 1.8 (down dark forest slopes. Below is the road,) 72. 319. P 3.45 (two lanes, old blacktop, white dashed line.) 72. 305. P 6.39 (It clings to the mountain in vertiginous) 72. 291. P 5.01 (switchbacks, fades into blue haze far be-) 72. 277. P 1.97 (low. On the road two cars crawl about two) 72. 263. P (turns apart, as if linked by invisible string.) 72. 249. T 7.88 (We descend rapidly toward the red) 90. 235. P 2.06 (Chevy convertible, white leather top open, a) 72. 221. P 1.09 (starlike reflection off the paint. A glance be-) 72. 207. P 2.17 (hind at the gray Mercedes, sharklike, impla-) 72. 193. P 2.23 (cable. Now we are in the car, a disembod-) 72. 179. P 3.63 (ied viewer in the passenger seat. Margot,) 72. 165. P 3.57 (who is driving, looks over her shoulder at) 72. 151. P 3.01 (the Mercedes two turns below. Fear flick-) 72. 137. P 1.67 (ers about her mouth. She controls the shud-) 72. 123. P 4.09 (der, tries to get more speed from the red) 72. 109. P 0.97 (convertible. The car skids on a tight turn. A) 72. 95. P 4.72 (quick glance at the blue depths below, a) 72. 81. P (shudder of fear.) 315. 711. T 2.75 (We pass an Italian mile-post. It is six-) 333. 697. P 8.2 (ty-five kilometers to the Swiss border.) 315. 683. P 5.6 (Margot\325s mouth silently forms the words) 315. 669. P 4.7 ("sixty-five kilometers." She looks up to-) 315. 655. P 3.87 (ward the col. \050Segue here--pass, col, Ra-) 315. 641. P 3.23 (muz, Switzerland.\051 Our gaze follows hers.) 315. 627. P 4.3 (We know that the top of the pass is the) 315. 613. P (Swiss border and safety.) 315. 599. T 3.95 (Our gaze lingers on the far snowfields) 333. 585. P 6.12 (after Margot\325s has returned to the road.) 315. 571. P 2.56 (The cold returns, now mixed with Margot\325s) 315. 557. P (fear. \050Is the nostalgia still there?\051) 315. 543. T 4.45 (Margaret decides to take control. Far) 333. 529. P 4.34 (away, in a dream of flickering lights and) 315. 515. P 2.45 (trembling needles, her wired hand moves to) 315. 501. P 2.8 (a switch, presses it. Tape reels revolve si-) 315. 487. P 4.95 (lently. The mountains heave, then stabi-) 315. 473. P 2.6 (lize. The landscape is the same. But now) 315. 459. P 1.96 (she is creating it, wandering invisible in cir-) 315. 445. P 2. (cuits of brainlike complexity half a mile be-) 315. 431. P 1.92 (low the publishing house. She feels the po-) 315. 417. P (tent joy of creation.) 315. 403. T 8.18 (Margaret sharpens a mountain peak.) 333. 389. P 4.21 (She defines the line of the road where it) 315. 375. P 8.54 (crosses the snowfields, gray on white.) 315. 361. P 1.96 (With the landscape in order she turns to her) 315. 347. P (heroine.) 315. 333. T 3.34 (Now that they are recording, Margot is) 333. 319. P 6.23 (aware of Margaret\325s presence. But she) 315. 305. P 3.6 (does not turn yet, still in character. "The) 315. 291. P 1.8 (woman menaced." Very good, thinks Marg-) 315. 277. P 2.29 (aret, studying her expression. Just the right) 315. 263. P 1.26 (touch of brave resolve over the fear. Margot) 315. 249. P 3.06 (reaches back and touches her hair where it) 315. 235. P 3.57 (is held by the clip, an almost unconscious) 315. 221. P 3.39 (gesture of vanity or bravado. She glances) 315. 207. P (back at the gray Mercedes. It is no closer.) 315. 193. T ("Good morning." says Margaret.) 333. 179. T 8.03 (Margot relaxes and smiles. "Good) 333. 165. P (morning, Margaret. Are you all right?") 315. 151. T 6.87 (Margaret frowns, says "Well enough.) 333. 137. P (Why do you ask?") 315. 123. T 2.75 (Margot looks at her strangely. "Andrea) 333. 109. P 2.63 (was here this morning. She left a note for) 315. 95. P (you in the glove compartment.") 315. 81. T FMENDPAGE %%Page: "18" 18 FMBEGINPAGE 8 F 0 X (November 1989) 72. 748. T (Volume I, Issue 3) 72. 36. T (Weitbrecht / Fundamentally Switzerland) 365.28 748. T (Page 18) 506.95 36. T 6 F (Margaret finds it:) 90. 711. T 4.68 (Great feel to the last chapter.) 108. 683. P 1.73 (Keep up the good work. We\325re) 108. 669. P 4. (all pulling for you, kid. Love,) 108. 655. P (Andrea.) 108. 641. T 3.71 (Margaret smiles. "Did you read this?") 90. 613. P 3.45 (Margot nods. "Someone I once loved has) 72. 599. P 3.71 (killed himself. Paul Constant. He was a) 72. 585. P (composer too.") 72. 571. T 6.28 ("He created Constantin Falcon, didn\325t) 90. 557. P (he?") 72. 543. T 0.81 ("Of course you remember him. I had for-) 90. 529. P 3.8 (gotten our joint story." Margaret blushed.) 72. 515. P 1.46 ("I had always sort of hoped we could do an-) 72. 501. P (other. That one was very popular.") 72. 487. T ("Well, I enjoyed it.") 90. 473. T 5.01 (Margaret stares at her character. My) 90. 459. P (god, she acts so real sometimes.) 72. 445. T 3.17 (She remembers their first and only col-) 90. 431. P 3.86 (laboration. In the first delights of mutual) 72. 417. P 4.12 (lust, they had created New Orleans broth-) 72. 403. P 4.4 (els, unspoiled Pacific islands, mad gallops) 72. 389. P 6.51 (over the Arabian desert under the lurid) 72. 375. P 2.84 (moon. When they finally settled on a plot) 72. 361. P 3.38 (they had edited out all the sex scenes and) 72. 347. P 1.39 (left only the romance. The emotional under-) 72. 333. P 2.34 (tones had required more skillful, profession-) 72. 319. P 4.34 (al editing before Andrea would release it.) 72. 305. P 3.7 ("We are NOT a porno house!" she stated,) 72. 291. P (tapping her pencil.) 72. 277. T 3.78 (\050"I\325ll write her into my next as Queen) 90. 263. P (Victoria," Paul had whispered.\051) 72. 249. T 3.47 ("I\325m glad Andrea dropped in. Margot,) 90. 235. P 3.26 (let\325s try to finish up the chase to the pass) 72. 221. P 2.04 (today. I think we can keep the main action) 72. 207. P 5.01 (and views we blocked in last week, and) 72. 193. P (work on emotions.") 72. 179. T 1.73 (Margot frowned. "I still think the action) 90. 165. P 3.15 (is a little weak. Maybe we could leave it) 72. 151. P 1.34 (open for improv, see what turns up. We can) 72. 137. P 5.15 (always use the backup tape if it doesn\325t) 72. 123. P (work.") 72. 109. T 4.82 ("Well, it is a little trite. Why not?") 90. 95. P 3.44 (Margaret trusts the part of herself that has) 72. 81. P 4.67 (created Margot, that is Margot. Paul al-) 315. 711. P 4.5 (ways kept the Falcon on a tight leash, a) 315. 697. P 4.07 (wooden puppet. \050"Hell, woman! All the) 315. 683. P 1.78 (people want is action! The other stuff is all) 315. 669. P (literature." Half ironically, half meaning it.\051) 315. 655. T 4.34 (Margot returns to the script, squeezing) 333. 641. P 2.2 (every ounce of power from the red convert-) 315. 627. P 5.41 (ible. Vertiginous views, spraying gravel,) 315. 613. P 5.43 (the smell of hot brakes. Margot\325s fear,) 315. 599. P 3.88 (more insistent, a hint of her thoughts. A) 315. 585. P 13.01 (memory image--golden sunset, Claude) 315. 571. P 2.96 (handing her the white packet by the Grand) 315. 557. P 2.78 (Canal. "They\325ll kill for this, love," he had) 315. 543. P 1.82 (said. Now they are trying. The road again,) 315. 529. P 1.93 (the pass still far away, white on blue. Near) 315. 515. P 2.77 (panic, then control. The high snows brood) 315. 501. P (over all, fundamentally Switzerland.) 315. 487. T 8.09 (Margaret notices the mountains sag-) 333. 473. P 2.21 (ging. That\325s a hazard of full recording, not) 315. 459. P 1.96 (depending on the tape. Your attention wan-) 315. 445. P 3.73 (ders, things change. Stream of conscious-) 315. 431. P 5.01 (ness takes over. Objects have emotional) 315. 417. P 1.82 (undertones. It can save a tired story or ruin) 315. 403. P 2.12 (it. She plumps the mountains up again, but) 315. 389. P 4.34 (the peaks seem softer, as if the ice were) 315. 375. P (melting.) 315. 361. T 4.15 (Another turn. The scream of tires on) 333. 347. P 2.73 (gravel echoes the silent scream in Margot\325s) 315. 333. P (head. Good effect. We\325ll keep it.) 315. 319. T (She hears Margot gasp.) 333. 305. T 2.87 (The gray Mercedes has crept up a hun-) 333. 291. P 2.92 (dred yards. There is now barely a switch-) 315. 277. P 1.96 (back between them. Too early! thinks Mar-) 315. 263. P 1.23 (garet. But let it be, maybe it will tighten the) 315. 249. P 2.62 (pacing. Margot pulls ahead slowly, regains) 315. 235. P 3.96 (the lost space. Another turn, a skid near) 315. 221. P 3.21 (the edge. Too close--we made it! Relief,) 315. 207. P 2.01 (then remembering, the fear again. The road) 315. 193. P 2.13 (turns up a glacial valley and the ground be-) 315. 179. P 5.23 (comes nearly level. Dense forest blocks) 315. 165. P (their view.) 315. 151. T ("The car is boiling over," says Margot.) 333. 123. T ("That\325s not in the script.") 333. 109. T 2.56 ("It\325s doing it anyway." The gauge nee-) 333. 95. P 1.75 (dle is well into the red zone. Margaret tries) 315. 81. P FMENDPAGE %%Page: "19" 19 FMBEGINPAGE 8 F 0 X (November 1989) 72. 748. T (Volume I, Issue 3) 72. 36. T (Weitbrecht / Fundamentally Switzerland) 365.28 748. T (Page 19) 506.95 36. T 6 F (to will it down.) 72. 711. T 7.96 ("I suppose the radiator would have) 90. 697. P 1.56 (boiled if we had been driving this hard," she) 72. 683. P 2.18 (says. "Damn it, I keep forgetting about old) 72. 669. P 2.52 (cars. Margot, I\325m going to make a fork in) 72. 655. P 1.97 (the road ahead. Take the left road. I\325ll get) 72. 641. P (the Mercedes to take the wrong fork.") 72. 627. T 4.34 (It is hackneyed, but she doesn\325t know) 90. 613. P 1.07 (what else to do. Margot can\325t flee on foot in) 72. 599. P 2.42 (this country. Nor can she have a shoot-out) 72. 585. P 3.42 (with the men in the gray Mercedes. That) 72. 571. P 1.44 (can\325t come until the end, five chapters away,) 72. 557. P 2.02 (in a speedboat on Lake Constance. "Maybe) 72. 543. P 2.16 (there can be a small dirt road over a differ-) 72. 529. P 4.36 (ent pass, known only to local farmers...?") 72. 515. P (\050Trite! You\325re getting old, Margaret!\051) 72. 501. T 2.39 (Or maybe I should give Margot a better) 90. 487. P 4.09 (car. It would mean retaping most of the) 72. 473. P 3.26 (chapter, but we could salvage a lot-- The) 72. 459. P 3.34 (intersecting road appears. The tires squeal) 72. 445. P 4.81 (as Margot swings suddenly to the left, a) 72. 431. P (quick decision.) 72. 417. T 5.21 (Good touch, thinks Margaret. Maybe) 90. 403. P (this will work out after all.) 72. 389. T 8.12 ("There\325s a gas station ahead," says) 90. 375. P 2.13 (Margot. "I\325m stopping." There is, indeed, a) 72. 361. P 9.28 (small building with a sign that says) 72. 347. P (PETROL, red letters on white.) 72. 333. T 4.78 (Is that right? Margaret wonders. She) 90. 319. P 4.12 (changes the word to GAZOLIN, then ES-) 72. 305. P 4.04 (SENCE, but it still looks wrong. I\325ll re-) 72. 291. P 3.46 (search it later, she decides. She pulls out) 72. 277. P 3.63 (her notebook \050and far away a second tape) 72. 263. P (revolves.\051) 72. 249. T 5.04 (Ask A. re: "gas" Ital. Switz.,) 108. 221. P (ca. 1967. Photos?) 108. 207. T 2.33 (Margot pulls up beside the pumps. The) 90. 179. P 2.28 (mechanic lifts the hood and begins spraying) 72. 165. P 2.4 (water on the erupting radiator. "Won\325t that) 72. 151. P (crack the engine block?") 72. 137. T 2.51 (Margot smiles. "Trust me. Let\325s go in) 90. 123. P (and have a cup of coffee.") 72. 109. T 2.94 (Margaret notices the little restaurant be-) 90. 95. P 1.67 (side the gas station. The white neon sign in) 72. 81. P 5.33 (the window spells CAFE ANTARCTICA.) 315. 711. P 3.44 (\050Antarctica?!\051 "Why not? I need time to) 315. 697. P (think.") 315. 683. T 4.78 (The two women sit near the window.) 333. 669. P 4.34 (Outside, trees sway in the wind from the) 315. 655. P 2.91 (pass. Above them the mountains look soft) 315. 641. P (and vulnerable, like ice cream.) 315. 627. T 2.53 (In the station lot, the mechanic is doing) 333. 613. P 7.17 (something to their engine with a large) 315. 599. P (wrench.) 315. 585. T 1.53 (Margaret hooks her arm over the back of) 333. 571. P 1.89 (the chair and looks around the cafe. "Don\325t) 315. 557. P 3.02 (they heat this place?" Her breath fogs the) 315. 543. P 2.8 (air. The walls are brushed steel, the white) 315. 529. P 4.14 (linoleum floor spotless as a hospital. On) 315. 515. P 2.63 (the tabletop, which is a mirror, are a trans-) 315. 501. P 1.6 (parent vase and one white rose. The sign in) 315. 487. P 2.39 (the window, seen from the rear, is reflected) 315. 473. P 2.75 (around it in puddles of white light. CAFE) 315. 459. P (ANTARCTICA, reversed and inverted.) 315. 445. T 7.07 (Why Antarctica? All that goddamn) 333. 431. P 4.01 (snow. I\325m freezing. What\325s my subcon-) 315. 417. P 2.43 (scious up to today? Margaret shivers, hugs) 315. 403. P 2.53 (herself. Margot silently offers her a sweat-) 315. 389. P (er.) 315. 375. T 6.34 (The waitress has come. Expression-) 333. 361. P 2.8 (less, white as a nurse, eyes hidden by mir-) 315. 347. P 2.53 (rored sunglasses. Her hair flames bright as) 315. 333. P 3.25 (a rainbow, a shaggy cut dyed orange, blue) 315. 319. P (and golden.) 315. 305. T 8.5 ("Two coffees, one black, one with) 333. 291. P 1.94 (cream." It is Margot who orders. Margaret) 315. 277. P 4.24 (stares at their reflections in the table top.) 315. 263. P 1.81 (Her heroine, dark and slim, smooths her im-) 315. 249. P 5.23 (maculate hair. Margaret\325s own image is) 315. 235. P 7.92 (large and blondish, visibly middle-aged.) 315. 221. P 4.48 (She feels worn out. Her shoulders ache.) 315. 207. P 2.49 (She cannot find her comb. She tries to re-) 315. 193. P 3.29 (capture the mood of the novel, repeats her) 315. 179. P 12.6 (mantras. "Fundamentally Switzerland.) 315. 165. P 3. (Facing the immensity alone. Riding like a) 315. 151. P 2.34 (falcon above fear. Death in the high proud) 315. 137. P 4.69 (snows." When she reopens her eyes the) 315. 123. P (coffee has come.) 315. 109. T 3.61 (Horribly, it comes in clear glass mugs.) 333. 95. P 4. (The steam rises above the cups and sinks) 315. 81. P FMENDPAGE %%Page: "20" 20 FMBEGINPAGE 8 F 0 X (November 1989) 72. 748. T (Volume I, Issue 3) 72. 36. T (Weitbrecht / Fundamentally Switzerland) 365.28 748. T (Page 20) 506.95 36. T 6 F 3.09 (into the depths of the mirrored table. The) 72. 711. P 5.5 (reflections of the ceiling lights look like) 72. 697. P 3.63 (stars. She sips slowly. Calm. Be calm.) 72. 683. P 2.88 (You are in control. This your world, your) 72. 669. P (self. Fundamentally--) 72. 655. T 8.33 (Outside, the mountains roll past in) 90. 641. P 2.29 (stately progression like waves on a peaceful) 72. 627. P 3.15 (sea. The trees sway in the wind like sea-) 72. 613. P 1.2 (weed. Warped reflections from the ice fields) 72. 599. P 2.38 (dancing on the walls are like the surface of) 72. 585. P 3.96 (water seen from beneath. As a drowning) 72. 571. P 5.09 (man might see it. Once again the cold) 72. 557. P 5.01 (washes over her, and with it the strange) 72. 543. P 2.23 (nostalgia. She knows what it is now. It is) 72. 529. P (depression, nostalgia for sleep.) 72. 515. T 2.42 (So this is what I had in mind, Margaret) 90. 501. P 3.17 (thinks. I had thought this novel would be) 72. 487. P 4.07 (fundamentally Switzerland. I wanted high) 72. 473. P 3.84 (proud mountains over pastures, domesticat-) 72. 459. P 1.39 (ed immensity. Images taken from the novel-) 72. 445. P 1.95 (ist Ramuz: cows climbing to fragile summer) 72. 431. P 1.96 (meadows, the threat of avalanche, fear over-) 72. 417. P 2.51 (come by stolid courage. Margot, exhausted) 72. 403. P 3.48 (by her pursuit from Italy, would meet this) 72. 389. P (hardy courage and make it her own.) 72. 375. T 2.24 (But instead it is becoming Antarctica. I) 90. 361. P 4.63 (hate Antarctica. The snow there is dead) 72. 347. P 2.93 (snow. It has been there since before there) 72. 333. P 2.53 (were men. The horror of frozen mountains) 72. 319. P 7.27 (under strange stars. Green witch-lights) 72. 305. P 4.62 (dancing in the night that lasts all winter.) 72. 291. P 2.57 (Blank white silence or wind howling in the) 72. 277. P 2.47 (dark. The sleep of a land with no hope of) 72. 263. P (waking.) 72. 249. T 4.78 (What the hell, perhaps I should scrap) 90. 235. P 2.2 (the whole thing and make an adventure sto-) 72. 221. P 1.23 (ry. One man alone on a snowfield with soli-) 72. 207. P 4.91 (tude and death. Wolves howl under the) 72. 193. P 3.39 (northern lights. He\325s already eaten all the) 72. 179. P 2.52 (sled dogs. Death by freezing. They say it) 72. 165. P (feels warm, sinking down to sleep.) 72. 151. T (I wonder how Paul--) 90. 137. T 3.34 (Goddamn it, I know depression when I) 90. 123. P (see it. Occupational hazard. Snap out of it!) 72. 109. T 6.5 (You\325re just tired, babe. Mistake to) 90. 95. P 2.86 (work today. Take the week off and fly to) 72. 81. P (Hawaii.) 315. 711. T (Or maybe--) 333. 697. T 3.58 (The cafe door opens. The young man) 333. 669. P 1.84 (who enters is, even before introductions, un-) 315. 655. P 2.42 (mistakably a reporter. He tips his hat back) 315. 641. P 2. (on his sandy hair, shakes out his plaid sport) 315. 627. P 1.71 (coat. "Wind\325s rising!" he announces. "Are) 315. 613. P (you Margaret Norris?") 315. 599. T 2.79 (Where\325d I get him? Margaret wonders.) 333. 585. P (He looks like something from a \325forties film.) 315. 571. T 2.83 ("Sorry, ma\325am. Of course I know who) 333. 557. P 3.84 (you are. I came here to meet you. But) 315. 543. P 4.84 (you\325re probably wondering if I\325m real or) 315. 529. P 2.74 (something you improv\325ed." He extends his) 315. 515. P 5.58 (hand. "Joe Jackson from the Chronicle.) 315. 501. P 2.07 (We\325re doing a feature on famous composers) 315. 487. P 1.9 (and I thought it would be great to do an in-) 315. 473. P (terview on-line, as it were...") 315. 459. T ("How the hell did you get into my novel?") 333. 445. T 1.6 (He smiles and pulls up a chair. "Coffee,) 333. 431. P 2.24 (black!" he shouts over his shoulder. "Oh, I) 315. 417. P 4.56 (have literary ambitions myself. Taking a) 315. 403. P 3.38 (composing class out at City College. I\325ve) 315. 389. P 4.29 (done a little computer stuff before and --) 315. 375. P 3.92 (well, I just hacked my way into your ac-) 315. 361. P (count. Hope you don\325t mind.") 315. 347. T 3.52 (His coffee has arrived. "Thanks, miss.) 333. 333. P 3.96 (Great hair. You see, ma\325am, I\325ve always) 315. 319. P 1.97 (been sort of a fan of yours. And I thought,) 315. 305. P 2.45 (Joe, this is your chance of a lifetime. You) 315. 291. P 2.76 (can actually be IN a Margaret Norris. See) 315. 277. P 2.34 (the master in action. Will you do an inter-) 315. 263. P (view?") 315. 249. T 3.38 (He\325s real all right. I couldn\325t possibly) 333. 235. P 2.75 (have invented this. "All right," she agrees.) 315. 221. P 2.97 ("But frankly I\325m having a lousy day. Just) 315. 207. P 1.85 (keep it short. And don\325t ever do this again,) 315. 193. P (or I\325ll call the cops.") 315. 179. T 2.27 ("Thanks, Ms. Norris!" Relieved. Not a) 333. 165. P 1.2 (bad kid, just a bit of a nerd. He turns on his) 315. 151. P 6.39 (tape recorder and sets it on the mirror) 315. 137. P (among the mugs.) 315. 123. T 5 F (Q.) 315. 95. T 6 F 4.29 (Ms. Norris, a lot of our viewers have) 333. 95. P 4.17 (asked us, and frankly I\325m curious too.) 333. 81. P FMENDPAGE %%Page: "21" 21 FMBEGINPAGE 8 F 0 X (November 1989) 72. 748. T (Volume I, Issue 3) 72. 36. T (Weitbrecht / Fundamentally Switzerland) 365.28 748. T (Page 21) 506.95 36. T 6 F (How do you put a dream on a disk?) 90. 711. T 5 F (A.) 72. 697. T 6 F 3.96 (That\325s a good question. You need an) 90. 697. P 2. (engineer to answer it for you. But basi-) 90. 683. P 2.78 (cally, and I\325m probably getting some of) 90. 669. P 2.34 (this wrong, the dream is never really on) 90. 655. P 3.13 (the disk. There\325s too much data. The) 90. 641. P 2.77 (disk just holds the addresses of the real) 90. 627. P 2.25 (images, which are stored in a very large) 90. 613. P 10.09 (computer owned by the publishing) 90. 599. P 3.67 (house. That\325s why you pay per view-) 90. 585. P (ing. You\325re using computer time.) 90. 571. T 5 F (Q) 72. 557. T 6 F (.) 81.34 557. T 1.46 (Where do you get ideas for all your nov-) 90. 557. P (els?) 90. 543. T 5 F (A) 72. 529. T 6 F (.) 80.66 529. T 0.88 (Well, I read a lot. Before composing ma-) 90. 529. P 3.51 (chines became so common I wanted to) 90. 515. P 2.76 (be a writer. The Margot Noel series is) 90. 501. P 3.73 (based on the spy and adventure novels) 90. 487. P 1.01 (of fifty years ago, which is when they are) 90. 473. P 3.62 (set. Beyond that, it\325s hard to describe) 90. 459. P 3.81 (how it happens. I work from dreams,) 90. 445. P 5.2 (sometimes, or waking fantasies. This) 90. 431. P 3.06 (novel started with a few isolated phras-) 90. 417. P 2.18 (es. "The high snows of fear" was one,) 90. 403. P 6.56 (and of course that became the title.) 90. 389. P 7.58 ("Snow" was also slang for cocaine,) 90. 375. P 1.33 (which is the pivot of the plot. \050...and the) 90. 361. P 3.34 (adventure genre tied me closer to Paul,) 90. 347. P 2.34 (let me be Margot, just as he as the Fal-) 90. 333. P 3.26 (con. But the rest of him was a bitter,) 90. 319. P 3.39 (balding little man who drank too much) 90. 305. P 3.89 (and collected guns. Who shot himself) 90. 291. P 3.77 (through the head three days ago. Just) 90. 277. P 1.8 (as the rest of me is a middle-aged writer) 90. 263. P 2.01 (manquee\325. We never forgave each other) 90. 249. P (that.\051) 90. 235. T 5 F (Q.) 72. 221. T 6 F 1.44 (Do you base your characters on real peo-) 90. 221. P (ple? They seem so real.) 90. 207. T 5 F (A.) 72. 193. T 6 F 1.3 (I don\325t think you can make them real un-) 90. 193. P 4.1 (less they are really part of yourself at) 90. 179. P 1.63 (some level. Actually, after a while char-) 90. 165. P 4.46 (acters seem to take on a life of their) 90. 151. P 3.8 (own. It\325s not just practice. They are) 90. 137. P 2.43 (partly stored in the computer. They get) 90. 123. P (more interesting as you work with them.) 90. 109. T 5 F (Q) 72. 95. T 6 F (.) 81.34 95. T 2.84 (Sounds spooky! Aren\325t you ever afraid) 90. 95. P (they\325ll take over?) 90. 81. T 5 F (A.) 315. 711. T 6 F 4.34 (Well, that\325s a common plot for horror) 333. 711. P 2.48 (fantasy, but it just doesn\325t happen. The) 333. 697. P 3.92 (composing computer is incredibly com-) 333. 683. P 1.46 (plex, but it doesn\325t create. It\325s more like) 333. 669. P 4.44 (a magic mirror from a fairy tale, that) 333. 655. P 7.87 (shows you your greatest hopes and) 333. 641. P 3.55 (fears. \050...as if that were any less dan-) 333. 627. P 3.08 (gerous. And here I am in a blue funk) 333. 613. P 2.5 (with my mountains melting. Damn, but) 333. 599. P (it\325s cold here.\051) 333. 585. T 4.56 ("Thanks for the interview, Ms. Norris.) 333. 557. P 3.05 (Say, I was wondering... but it\325s an awfully) 315. 543. P (big favor.") 315. 529. T ("What?") 333. 515. T 2.85 ("Well, like I said, I\325m studying to be a) 333. 501. P 1.01 (composer. And I noticed you\325re having a lit-) 315. 487. P 1.37 (tle trouble with the scenery today. Mind if I) 315. 473. P (fix it up a little bit?") 315. 459. T 1.35 (Margaret sighs. "Be my guest. I\325ve giv-) 333. 445. P (en up on taping today anyway.") 315. 431. T 4.4 (Beyond the window the mountains are) 333. 417. P 3.58 (boiling like clouds. The reporter stares at) 315. 403. P 1.56 (them. A snap like a shutter, and they freeze) 315. 389. P 3.94 (into postcard outlines, with the Matterhorn) 315. 375. P 2.6 (dead center. "Greetings from Zermatt" half) 315. 361. P (visible in the lower right-hand corner.) 315. 347. T 3.81 (Outside, the mechanic has been replac-) 333. 333. P 1.97 (ing parts in their engine. There are red and) 315. 319. P 3.39 (yellow rubber things and coiled black hos-) 315. 305. P 4.5 (es. He slams the hood down and walks) 315. 291. P (away.) 315. 277. T 3.62 ("Honestly, I don\325t think the Matterhorn) 333. 263. P (is visible from here.") 315. 249. T 4.02 (He shrugs. "It\325s Switzerland. They\325ll) 333. 235. P (never notice. Well, thanks again. Ciao!") 315. 221. T 4.95 (He climbs into his Porsche and starts) 333. 207. P 1.24 (the motor. Reporter, car and postcard moun-) 315. 193. P 1.92 (tains vanish in an almost audible click. Lo-) 315. 179. P (gout, tape off, power down.) 315. 165. T 2.72 (God, I feel awful, Margaret thinks. I\325ll) 333. 137. P 3.29 (have to erase the whole chapter, start over) 315. 123. P 2.63 (from the backup tape or even from Venice.) 315. 109. P 2.29 ("Margot dear," she says, "I really don\325t feel) 315. 95. P 3.92 (like working today. Shall we take a few) 315. 81. P FMENDPAGE %%Page: "22" 22 FMBEGINPAGE 8 F 0 X (November 1989) 72. 748. T (Volume I, Issue 3) 72. 36. T (Weitbrecht / Fundamentally Switzerland) 365.28 748. T (Page 22) 506.95 36. T 6 F 3.25 (days off and start over? Maybe where you) 72. 711. P (leave Claude in Venice.") 72. 697. T 5.02 (Margot pats her hand. "No problem.) 90. 683. P 3.77 (But we\325ve come so far today, perhaps we) 72. 669. P 2.81 (should walk through to the pass scene, just) 72. 655. P (to get the feel of it.") 72. 641. T 4.07 (Margaret hesitates, then agrees. A re-) 90. 627. P 1.82 (hearsal will make it easier later. If only the) 72. 613. P (mountains would stop heaving.) 72. 599. T 5.65 ("Stop," she whispers, and they freeze) 90. 585. P 3.76 (back into mountains. But they are wrong) 72. 571. P 3.61 (mountains, more like bedpillows. She sits) 72. 557. P 4.11 (while Margot pays the bill, fighting down) 72. 543. P 1.84 (feelings that come in waves, a wave of nau-) 72. 529. P 2.09 (sea, of memories of Paul, of cold, of weari-) 72. 515. P (ness, that terrible nostalgia for sleep.) 72. 501. T ("I\325m so tired," she says.) 90. 487. T 3.42 ("We\325ll be done soon." They leave the) 90. 473. P 2.8 (empty cafe. Their car is waiting for them.) 72. 459. P 5.12 (Margot takes the wheel again. Margaret) 72. 445. P 2.89 (lies back in the seat. She closes her eyes.) 72. 431. P (Remember Switzerland. Fundamentally....) 72. 417. T 1.67 (On the road again in the alpine air, Mar-) 90. 403. P 2.09 (garet finds she can think more clearly. The) 72. 389. P 1.74 (mountains are almost certainly proper moun-) 72. 375. P 1.48 (tains. They show no tendency to shift. Per-) 72. 361. P 3.05 (haps the break at the gas station was what) 72. 347. P 4.38 (the plot needs. A break from the panic.) 72. 333. P (What to use in place of the reporter?) 72. 319. T 1.96 (No matter, this is just a rehearsal. They) 90. 305. P 3.26 (will drive to the top of the pass and walk) 72. 291. P 5.45 (through the scene there. Then Margaret) 72. 277. P 2.2 (will go home and take a hot bath. A clean) 72. 263. P 3.23 (flannel nightgown lies across the bed, with) 72. 249. P 3.58 (clean sheets. In a distant dream Margaret) 72. 235. P 5.95 (senses her body waiting patiently at the) 72. 221. P 5.34 (composing machine, strapped and studded) 72. 207. P 1.37 (like a space explorer. She smiles at it. Hel-) 72. 193. P (lo body. I\325m coming home.) 72. 179. T 3.12 (They are well above the snowline now.) 90. 165. P 2.92 (Italy has vanished into blue mist. A mile-) 72. 151. P 5.39 (post passes. Three kilometers. Another) 72. 137. P 2.51 (switchback, and the col opens around them.) 72. 123. P 2.73 (Two granite peaks frame a glittering saddle) 72. 109. P 5.15 (of snow, slashed the road to the border.) 72. 95. P 3.09 (The sky is deep blue without clouds. The) 72. 81. P (high mountain wind smells of Switzerland.) 315. 711. T (Margot steps on the brakes.) 333. 683. T 2.91 (The gray Mercedes blocks the road. A) 333. 669. P 1.67 (tall man in a trenchcoat is leaning against it,) 315. 655. P 1.76 (waiting. The sun glares silver on something) 315. 641. P (in his hand. His hat is over his eyes.) 315. 627. T (The women get out of the convertible.) 333. 613. T 3.45 ("Go away," says Margaret. "Go away.) 333. 599. P (We are rehearsing.") 315. 585. T 1.45 (The man may have nodded. It is hard to) 333. 571. P (tell in the glare of the snow.) 315. 557. T 1.35 (Margot is walking toward him. "Careful,) 333. 543. P 6.58 (Margot. I\325m not sure he understands.") 315. 529. P 3.84 (Margot touches the man\325s sleeve and they) 315. 515. P 2.76 (embrace. As he turns in the kiss Margaret) 315. 501. P (can see his profile.) 315. 487. T 12.63 ("Constantin Falcon!" she exclaims.) 333. 473. P ("You\325re in the wrong novel!") 315. 459. T 1.67 (They turn to her together, their arms still) 333. 445. P 4.19 (touching, the gesture of old lovers. \050Our) 315. 431. P (gesture!\051 He raises his gun.) 315. 417. T (This has gone too far. I must wake up!) 333. 403. T 2.95 (Margaret flees across the snow that lies) 333. 389. P 1.34 (smooth and clean in all directions. It glitters) 315. 375. P 2.41 (and blinds in the sun. Red specks lie scat-) 315. 361. P 1.29 (tered over it like drops of blood. Butterflies,) 315. 347. P 4.42 (dead on the snow. She struggles to rise) 315. 333. P (through sleep.) 315. 319. T 2.19 (But it is so cold. Her body lies passive) 333. 305. P 2.24 (before the flickering lights. She can\325t seem) 315. 291. P 2.48 (to focus on awakening. She stumbles, falls) 315. 277. P (heavily in the snow.) 315. 263. T (They are standing over her.) 333. 249. T 2.94 ("Go away! You\325re just part of my de-) 333. 235. P 1.72 (pression! I shouldn\325t have been working to-) 315. 221. P 3.17 (day. I was upset about Paul. I just need) 315. 207. P 2.45 (some rest. You aren\325t real. You can\325t kill) 315. 193. P (me.") 315. 179. T 3.86 ("Why not?" asks the Falcon. "We al-) 333. 165. P (ready killed Paul.") 315. 151. T 4.67 (Margot brushes back a strand of hair.) 333. 137. P 5.01 (She smiles, revealing small, perfect teeth.) 315. 123. P (Like the teeth of a skull.) 315. 109. T 3.64 (The Falcon laughs. "Shall I shoot her) 333. 95. P (now, Margot?") 315. 81. T FMENDPAGE %%Page: "23" 23 FMBEGINPAGE 8 F 0 X (November 1989) 72. 748. T (Volume I, Issue 3) 72. 36. T (Weitbrecht / Fundamentally Switzerland) 365.28 748. T (Page 23) 506.95 36. T 6 F ("No, dear, she doesn\325t own a gun.") 90. 711. T 3.12 (Margaret crawls away. She must wake) 90. 697. P 0.91 (up. She must escape. If I can only reach the) 72. 683. P 4.08 (peak. It\325s the snow that\325s killing me. I) 72. 669. P 2.64 (have to reach the rocks. But the rocks are) 72. 655. P 1.97 (so far away. I can hardly see them through) 72. 641. P (the glare.) 72. 627. T 2.46 (Far and away on all sides the snow lies) 90. 613. P 4.34 (smooth as a bedsheet. The red disks lie) 72. 599. P 2.28 (scattered like stars, thicker now, more insis-) 72. 585. P (tent.) 72. 571. T (Behind her, she hears Margot\325s voice.) 90. 557. T ("Stand up, dear. Walk to the bathroom.") 90. 543. T 3.89 (She feels her distant body rise, unplug) 90. 529. P 3.38 (the cords, walk slowly across the floor. I) 72. 515. P 3.72 (must wake up! She struggles through the) 72. 501. P 3.84 (layers of sleep, but they lie heavy on her) 72. 487. P (like water.) 72. 473. T 1.63 (Far away, in a world not attached to her,) 90. 459. P 2.82 (she sees her hand open the medicine chest,) 72. 445. P 4.05 (remove the bottle of sleeping pills. Mar-) 72. 431. P 7.34 (got\325s voice floats directionless over the) 72. 417. P 4.27 (snow. "Pour a glass of water. Swallow) 72. 403. P (them all. All the pills.") 72. 389. T 2. (She sees it all happening, tiny and clear,) 90. 375. P 3.19 (as if through an icy lens which sits in the) 72. 361. P (back of her head and focuses her thoughts.) 72. 347. T 1.34 (This is not real. I can control this. I am) 90. 333. P (just in my mind.) 72. 319. T (And in the brainlike computer.) 90. 305. T 5.24 (No, that is ridiculous. They are not) 90. 291. P 2.67 (something outside. They are not robots, or) 72. 277. P (monsters. They are part of me.) 315. 711. T (But that is the worst of it.) 333. 697. T (I must wake up.) 333. 683. T 4.84 (She stretches her arm toward the dis-) 333. 669. P 2.79 (tant rocks, forces her mind upwards toward) 315. 655. P 1.8 (waking. The peak wavers and shrinks. Her) 315. 641. P 4.45 (hand almost merges with that other hand,) 315. 627. P 2.48 (which holds the bottle. They brush, almost) 315. 613. P (catch each other. Then the lens melts.) 315. 599. T 2.59 (She sags into the snow. It warm under) 333. 585. P 4.13 (her body. Far away, the other body sets) 315. 571. P 2.62 (down the empty bottle, walks slowly to the) 315. 557. P 4.91 (bedroom. There are clean sheets on the) 315. 543. P 3.72 (bed. The other Margaret crawls into bed,) 315. 529. P (turns over, hugs the pillow.) 315. 515. T 2.6 (So this is what it is like. I read some-) 333. 501. P 2.15 (where that death by freezing was like sleep,) 315. 487. P (and warm. Like the sleep after love.) 315. 473. T 2.3 (Lying here in the snow she can see that) 333. 459. P 4.95 (the red disks have become scattered rose) 315. 445. P 2.83 (petals. She touches one. It lies in a little) 315. 431. P (hollow in the snow, melted by sunlight.) 315. 417. T 3.42 (Where did I get roses? she thought. I) 333. 403. P (had meant them to be butterflies.) 315. 389. T 0 F 3.21 (Barbara Weitbrecht is a marine biologist by train-) 315. 365. P 1.95 (ing, a computer specialist by profession, and an art-) 315. 353. P 2.41 (ist and writer by avocation. She is currently living) 315. 341. P 3.25 (in Washington D.C., and working at the Smithhso-) 315. 329. P 4.76 (nion Institution, where she is trying to persuade) 315. 317. P 4.84 (Smithsonion employees to communicate with each) 315. 305. P 1.42 (other using PROFS. She would much rather be back) 315. 293. P (in San Francisco.) 315. 281. T 315. 378. 540. 378. 2 L 0 H N 315. 273. 540. 273. 2 L N FMENDPAGE %%Page: "24" 24 FMBEGINPAGE 8 F 0 X (November 1989) 72. 748. T (Volume I, Issue 3) 72. 36. T (Other Magazines of Interest) 419.75 748. T (Page 24) 506.95 36. T 451. 351. 106. 351. 72. 342. 451. 342. 4 Y 7 X V 0 H 0 X N 451. 333. 106. 333. 72. 342. 451. 342. 4 Y 3 X V 0 X N 451. 315. 451. 315. 451. 333. 485. 288. 485. 288. 468. 301.5 463. 315. 463. 315. 474. 301.5 463. 369. 463. 369. 463. 342. 485. 396. 485. 396. 474. 382.5 451. 369. 451. 369. 468. 382.5 451. 351. 451. 351. 451. 360. 451. 333. 7 J V N 463. 333. 529. 351. R 2 X V 0 X N 540. 360. 540. 360. 540. 342. 529. 360. 529. 360. 534.5 360. 529. 324. 529. 324. 529. 342. 540. 324. 540. 324. 534.5 324. 540. 342. 4 J V N -117. -315. 324. 72. 117. 315. BEGINPRINTCODE (DargonZine) /Helvetica-Bold /B 0 /LL 0 1 1 %%BeginDocument: bigtext.ps % % bigtext.ps - Jim McCabe % Combines the Frame routines BigFill.ps and BigLine.ps % % Quick syntax reference: % /line_shade exch def /thick exch def /text_shade exch def /start exch def /rotval exch def /mode exch def findfont /infont exch def /printme exch def /hframe exch def % left on stack by Maker /wframe exch def % ditto 0 0 moveto /scaler 12 def % avoid PS rounding problems infont scaler scalefont setfont /wfont wframe printme stringwidth pop div scaler mul def /hfont hframe (X) false charpath flattenpath pathbbox /temp exch def pop pop pop temp div scaler mul def mode /W eq {/hfont wfont def} if mode /H eq {/wfont hfont def} if infont [wfont 0 0 hfont 0 0] makefont setfont % % /home_me { newpath 0 0 moveto start /LR eq {wframe 0 moveto} if start /UL eq {0 hframe moveto} if start /UR eq {wframe hframe moveto} if } def % % First, draw the actual filled letters. % home_me rotval rotate text_shade setgray printme show % % Now, draw outlines on top of filled portion of letters. % rotval neg rotate home_me rotval rotate line_shade setgray thick setlinewidth printme false charpath stroke %%EndDocument ENDPRINTCODE 12 F (The Magazine of the Dargon Project) 72. 270. 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This request should contain your full userid \050loginid\ and) 194.4 129. P 1.85 (node, or a valid internet address\051 as well as your full \ name. Internet \050all non-BitNet) 72. 114. P 1.99 (sites\051 subscribers will receive their issues in Mail for\ mat. BitNet users have the op-) 72. 100. P 8.23 (tion of specifying the file transfer format you prefer \050ei\ ther DISK DUMP,) 72. 86. P (PUNCH/MAIL, or SENDFILE/NETDATA\051. Note: all electronic subs\ criptions are ) 72. 72. T 14 F (free!) 498.11 72. T 54. 405. 558. 405. 2 L 1 H N -155. -657. 313. 63. 155. 657. 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T 190. 621. 431. 621. 2 L 0 H N 190. 643. 431. 643. 2 L N 54. 54. 558. 738. R 1 H N FMENDPAGE %%Trailer %%Pages: 24 1 %%DocumentFonts: Times-Italic %%+ Times-Bold %%+ Times-Roman %%+ Times-BoldItalic %%+ Courier %%+ Helvetica-Bold %%+ Helvetica %%+ Helvetica-Oblique