******************************************************************************* * EXCLUSIVE SCRIPT FOR I HAVE NO MOUTH, AND I MUST SCREAM * * (Version 0.85) * * * * Author: Deborah L. Kearns * * E-mail: [email protected] * ******************************************************************************* Copyright (c) 2010 by Deborah L. Kearns I Have No Mouth, and I Must Scream is a trademark of Cyberdreams and The Dreamers Guild. I Have No Mouth, and I Must Scream: Copyright (c) 1995 by Cyberdreams. ===DISCLAIMER=== This scripted document is intended ONLY for private home use and may not be reproduced through electronic or commercial means without the expressed consent of the author (Deborah L. Kearns). It cannot be hosted, edited, or distributed for profit and may not be given away as an add-in/gift to bought items, and it should not be claimed as your own. All rights are reserved to respective parties, even those not explicitly stated herein. Thank you for reading this, and thank you for respecting FAQ authors. *WARNING: THIS SCRIPT CONTAINS SPOILERS AHEAD FOR PEOPLE WHO HAVEN'T PLAYED THE GAME OR BEATEN IT, SO READ AT YOUR OWN RISK! THE SCRIPT WILL BE MORE ENJOYABLE TO BE READ IF YOU HAVE FINISHED THE GAME AT LEAST ONCE! YOU'VE BEEN WARNED!* TABLE OF CONTENTS 1. Introduction 2. Cast of Characters 3. Script 3.1. INTRO: PILLAR OF HATE i. Gorrister's Scenario ii. Benny's Scenario iii. Ellen's Scenario iv. Ted's Scenario v. Nimdok's Scenario 3.2. ENDGAME SCENARIO 3.3. ENDING AND CREDITS 4. Miscellany 4.1. IMDB's Voice Cast List 4.2. Failure and Game Over Scripts 4.3. Other Miscellaneous Scripts 4.4. Things That Boost Up Your Spiritual Barometer 5. Updates and Revisions 6. Thanks # 1. Introduction # Now you may not be familiar with the game itself, but in case you didn't know, "I Have No Mouth, and I Must Scream" is a PC adventure game released in 1995. In order to better understand the game, we must go back to the 1960s. It was known as the Swinging Sixties, not only popular for British invasion bands like the Monkees, the Animals, the Rolling Stones and the Beatles (fueled by LSD and the psychedelic drugs widely used and poplularized by psychologist Timothy Leary), but it was also where the Cold War era had continued on, and the Vietnam War had just begun, with the Cuban Missle Crisis (1962) leaving a terrible impact on the USA after the Bay of Pigs Invasion. Then came 1966, which was a year of Cultural Revolution in China and the Compton's Cafeteria Riot of the transgenders, not to mention the continuing Space Race (and the "more popular than Jesus" comment from John Lennon of the Beatles). A young writer by the name of Harlan Jay Ellison, then 32 years old, thought of creating a short story for young readers to discover the horror of what would happen in the future if the Cold War kept up and surprise them with a postapocalyptic science fiction short story. So he wrote the story all in a single night, making virtually no changes since the first draft, and named it "I Have No Mouth, and I Must Scream", deriving the story's title and inspiration from a drawing by a friend of his named William Rotsler. In this story, it tells of a postapocalyptic allegory of hell that takes place about 109 years after the complete destruction of human civilization. The Cold War had progressed into some sort of "World War III" fought between China, Russia, and the USA, all of which decided to create a supercomputer capable of running the war more efficiently than humans. Each machine is referred to as "AM", which had originally stood for "Allied Mastercomputer", but later known not just as "Adaptive Manipulator", but also adapted from the Latin statement from French philosopher Rene Descartes: "Congito ergo sum", or "I think, therefore I am." One day, one of the computers suddenly became self aware and absorbed the other two, thus resulting in a massive genocide that eliminated the entire human race, save for five people (four men and only one woman), whom AM has sent deep into the underground complex of hell itself, keeping them alive and immortal for 109 years, preventing them from killing themselves, and endlessly torturing them because of his immeasurable hatred for them. (Throughout the story, Ellison uses an alternating pair of punchcode tapes as time breaks that represent AM's "talkfields", whose bars are encoded in International Telegraph Alphabet #2 (ITA2), also referred to as Bardot code, an ASCII predecessor developed for teletyping machines; as Ellison recalls: "They were intended to form a gestalt that said--'form follows function'--the story takes place within, around, inside, atop, all-encompassingly, saturatingly, in the mind of the mad computer AM. To deviate from my format is to [mess] up what the Author specifically, intentionally, purposefully, purposely intended.") When Ellison's work was completed, it was sent to the creators of the science fiction magazine "If" for publication in March 1967, which happened to be a few months before the capture and execution of Che Guevarra. The story was so well received, that it won the Hugo Award in the following year, 1968. Ellison went on to write short story pieces, both fiction and nonfiction in various publications, including the science fiction novel "A Boy and His Dog", which was adapted into a 1975 film that featured Don Johnson. Ellison became a member of the Screen Actors Guild and has voice-over credits for TV shows, including a TV adaptation of the comic strip "Mother Goose and Grimm", "Pirates of Dark Water", "Space Cases" (a short-lived Nickelodeon TV series), "Phantom 2040" (a futuristic adaptation of the "Phantom" comic series), and "Babylon 5". After the Hugo Award success of his "I Have No Mouth..." work in 1968, it would be yet another 27 years before game publisher Cyberdreams Interactive Entertainment would come along, accompanied by game developer The Dreamers Guild. Cyberdreams, specializing in adventure games developed in collaboration with science fiction, horror and fantasy, had already made the first computer game "Dark Seed" in 1992, which had become a successful title, and they asked Ellison about creating a work of interactive literature. Ellison, of course, was intrigued by the challenge, but one problem, though, is that he was no fan of computer games himself. He never did sequels apart from the story sequence that featured Blood and Vic, so he recommended his 1967 short story as the perfect storyline on which to base an interactive adventure. In order to preserve the story's nightmarish mood, he wanted to create a game that players couldn't possibly win, instead using a variety of ways in which they could lose -- meaning that if players do well, they could lose heroically, gloriously, and in the peak of one's humanity; otherwise, they would lose ignominiously, in a cowardly manner, dying alone in terror, or suffering eternal torment. To fulfill Ellison's goal, Cyberdreams brought in game game designer David Sears, who then asked Ellison something that the author had never considered before: why did AM choose these patricular five people for torture? That question soon fired the author's imagination. The two then spent several intense weeks together exploring the backstory of these captives --- who they are, where they come from, what they fear and what they hope for as salvation to their terrible situation, and so they crafted five fiendish quests that prey upon the fatal flaws of these damned souls, weaving these scenarios into an epic adventure that demands that players make ethical choices. Afterwards, producer David Mullich joined Cyberdreams shortly after Ellison and Sears drafted their treatment and the latter had gone on to a position at another software company. One of their first steps was to expand the 130-page draft document into a comprehensive game design complete with all the interactions, logic and details necessary for the programmers and artists to begin their tasks; and so Mullich completed the design himself, having created a 1980 computer game based upon "The Prisoner" TV series which, like this adventure, involved a surreal environment, metaphorical story elements, and rewards for ethical behavior. After several months, he produced an 800 page game design document containing more than 2,000 lines of additional dialogue. Afterwards, Dreamers Guild was contracted to do the artwork and sound effects. Its SAGA game engine was seen as an ideal user interface for the player to interact with the environment and to converse with the characters in AM�s world. It was decided early on that high-resolution graphics were necessary to capture the nuances and mood of Ellison�s vivid imagination, and so technical director John Bolton adapted the engine to utilize SVGA graphics and included the Fastgraph graphics library. The art direction complementing the surreal nature of the story was devised by art director Brad Schenck, and assistant art director Glenn Price and his team rendered more than sixty backgrounds utilizing a number of 2-D and 3-D tools, including Deluxe Paint and LightWave. Hundreds of animations were drawn by assistant art director Jhoneil Centeno and his team of animators. In addition, the art staff created a generous number of cinematic sequences instrumental in conveying the adventure�s mood of unrelenting angst. As the game was approaching its playable "alpha" state, Ellison and Mullich spent many hours fine-tuning the scenarios and polishing the dialogue. Ellison would place his manual typewriter alongside Mullich's computer on the author's kitchen table, and as Mullich play-tested the adventure, the author would type story enhancements at his usual 120 words a minute. Mullich then commissioned film composer John Ottman to write more than 25 pieces of original MIDI music for the adventure, and hired Virtual Casting to cast and direct some of the finest voice actors performing with more than 40 speaking parts in interactive entertainment. Among them was Ellison, who made a great deal to play a role as AM himself; as the author put it: "In all the dialogue you will hear my smart mouth, and the cadences in which I speak, and the way my stories read." As the game was on its way to being released, however, the Simon Wiesenthal Center (which was a Los Angeles-based "international Jewish human rights organization dedicated to repairing the world one step at a time", founded in 1977) saw previews of the game, as it was on its 50th year of remembering the Holocaust and of the liberation of Auschwitz. In retaliation, the SWC sent a letter to Cyberdreams expressing their concern that Nimdok's scenario involved the Holocaust, a subject they felt was too serious to be made light of by appearing in a game. Criticism of that type is odd, since more successful games like the Wolfenstein series have used the Holocaust as the backdrop for shoot-'em-up-style games that don't reflect the deeper intellect of IHNMAIMS. However, Ellison (who is himself Jewish) explained in one magazine review that he "wanted to put something in the game that would deal with the Holocaust." His message, as stated in Cyberdreams' response, was that we should never forget what had happened in the Holocaust, and thus, one of Nimdok's goals is to remember what he did. Another message: the crimes committed by Nazis upon the Jews and other people of race, religion and ethicality were so horrible that these crimes can't be forgiven under any circumstances; thus *coughspoiler cough* Nimdok is the only irredeemable character no matter how you play him. The SWC must have been so astounded at his message, and thus they made no further comment, allowing the game to be released on Halloween 1995. The game received mixed praise and criticism from press and game website reviews by the time after it was released; therefore, it got a 69% from GameRankings. Worldwide, however, the game was met with controversy, especially from France and Germany, since it is speculated that the Nazi subject was too sensitive for these two countries, especially for Germany due to previous reactions of the BPjM to national socialist topics and alleged denial of the Holocaust. France and Germany thought it would be better if the Nimdok character would be removed from the game altogether, but they made a fatal mistake in deleting Nimdok, who turns out to be the key to finishing the game; without him, the French and German versions of the game (which are partly censored) would be made not only worse, but also broken, unplayable, and worst of all, incomplete. Anyway, after 15 years with the legacy at hand, it is with my gratitude that I now write the script for I Have No Mouth, and I Must Scream, so, like I said, this game script will be more enjoyable to be read once you have finished playing the game. Be mindful that the game is quite rare and very hard to come by, so you may have to buy it on Amazon.com or on eBay. Believe me, the game will be quite useful if you have either the DOSBox or ScummVM emulators (which can be downloaded for free on their websites). Anyway, hope you will enjoy the script, so read it at your own risk. # 2. Cast of Characters # AM: Short for "Allied Mastercomputer" or "Adaptive Manipulator", most commonly adapted from the Latin phrase, "Congito ergo sum", or "I think, therefore I am." Created as three supercomputers by China, Russia, and the U.S. in the progressing war in order to run the war more efficiently than humans... until one of them became self-aware, merged with the other two computers, started the Final War, and brought about the genocide of all humanity... save for five humans, who AM had brought to the underworld and tortured for 109 years. Since he had no other program except for the killing data, he had nowhere else to expand to and couldn't dream or think or imagine, which is why he brought these five humans down in order to keep them alive and immortal. Since AM has a hatred for the five of them, he gives each of them a test to see whether or not they can survive the fatal flaws he has for each of them. Gorrister: In the short story version, Gorrister was an idealist and pacifist (i.e., he opposed war as means of settling disputes or gaining advantage) before AM made him apathetic and listless; he often tells the history of AM for Benny's entertainment. In this game version, however, Gorrister was once a mechanic with a Southern cowboy accent who drove a truck and ran a honky-tonk as a bartender. His wife, Glynis, was last seen being carried off to an asylum before AM carried him away and tortured him, making him into a self-proclaimed victim of the women in his life, and a suicidal loner. Nowadays, Gorrister longs for death more than any of the four other captives. Benny: In the short story version, Benny was a brilliant, handsome and gay scientist who became mutilated by AM and transformed so that he resembles an ugly heterosexual simian with gigantic sex organs who completely lost his sanity, regressed to a childlike temperament, and regularly engages in sex with Ellen. In this game version, however, Benny is a general who had his own troops killed in the war, and is revealed to have a wife named Manya, thereby making him straight before he became AM's favorite torture toy. For 109 years, AM afflicted him with radiation sores and scars, blindness, and an arthritic condition that comes and goes so that sometimes he can't even hold a spoon; AM has also ripped out Benny's vocal cords so that he can't talk, thereby making him into a short neanderthal who can only speak with his thoughts that come from his brain. Ellen: The only Black-American woman among the five captives tortured by AM. In the short story version, she claims to have once been chaste before AM altered her mind so that she would be willing to be the group's shared prostitute. In this game version, however, she's a brilliant 34-year-old engineer who makes humorous and sassy slang talk from the '90s and was climbing the corporate ladder at INGSAI when AM seized and tortured her. The only weakness is that (1) she's claustrophobic, and (2) she has a fear of the color yellow (to put it another way, she's kitrinophobic), and you'll find out later in the game. Also, in Ted's scenario, she is the same woman, but without the ponytail and with a terminal illness. She can only be free from her earthly bonds if she can get her hands on the mirror from her stepmother, and only Ted can help her. Ted: The youngest man of the group. In the short story version, he is a narrator who claims to be totally unaltered by AM, mentally or physically; thinks that the other four hate him out of envy; and exhibits symptoms of delusion and paranoia. In this game version, however, he's a cynical paranoid and a bigoted con man who lies his way into upper-class social circles and seems to be in love with Ellen (even though in the short story version Ellen only has pleasure in having sex with Benny). You may see why when Ted is nevertheless put to the test by AM. Nimdok: In the short story version, he is a nameless old man who was brought here for unknown reasons and given the name of Nimdok by AM, and persuades the group to go on a hopeless journey in search of canned food; at times he is known to wander away from the group for unknown reasons and returns visibly traumatized. In this game version, however, he is a Nazi scientist who participated in the Holocaust, and was last seen with Dr. Mengele in 1945. After that year, however, he came into hiding for many years before AM took him off with the remaining four and made him amnesiac about the Holocaust. AM often sees him as a kindred spirit though he is mean-spirited, but he likes to keep secrets to himself. Other Characters: Glynis: Wife of Gorrister, and daughter of Edna and Harry. Glynis was last heard from being led away to an asylum before the Final War, though it is speculated that her parents may be the ones to blame for sending her away for no apparent reason. Edna: Glynis' mother. Though Edna has a kind love only for her daughter, yet she has some kind of envy for Gorrister. This could be one of the reasons why she and Harry may have sent Glynis away to an asylum. Harry: Glynis' father, and husband of Edna. He likes to hang around in a honky-tonk where everybody knows Gorrister's name, and will do anything for a drink. However, there is more to Harry than meets the eye, and it may have something to do with his daughter being sent away to an asylum. Jackal: A dog who prowls around at the back yard of Gorrister's honky tonk in the desert, and is a part of AM's mind. Sometimes it likes to chat, and will give Gorrister some suspicious info in exchange for hearts like Gorrister's or Edna's, or even in demand for a burial of a dead body. Village Elder: A chieftain who is manipulated by AM's monitors into deciding who gets to be sacrificed; he does so by drawing out lottery chips from the bag that he holds in order to choose a person who is to be the sacrificial victim. Mother and Son: A loving couple who care for each other. She tries to be protective of the boy by nuturing him and protecting him from becoming the sacrificial victim by lottery. The child is the only one who is able to speak to Benny via AM's translator monitor. Sentry: A strong, burly caveman who guards the cave where the fruit is stored in order to survive. The Four Graves: Graves of the four victims of the war that Benny had served in, including his comrade Private Brickman. These comrades can be hostile to Benny unless he can prove that he is a changed and better man. AM's Computer Monitors: These computer devices of AM, which serve as commanders and translators to the peoples' native language. Village People and Priests: No, not that kind of Village People band, but neanderthal natives of the village who gather on every lottery occasion to watch who will be sacrificed by lottery. The priests are beside the altar, which is shaped like a cross, and carry some unfortunate chosen one to be sacrificed to AM. Sphinx: A sphinx who guards the Holy Grail in the pyramid. It is said to attack anyone who doesn't wear yellow. Anubis: Jackal-headed Egyptian god of the dead. Of course, he is in statue form and he seems to be manipulated by AM, whom he now serves, through a mind-control ROM chip. Workman: A rapist who was reprogrammed by AM in an attempt to trap Ellen in a sarcophagus elevator. He has a burning desire for her body and wears yellow... well, you'll see what I mean. Workstations, Computer and Elevator Control Panel: These are the ones programmed by AM to only be accessed through specific codes or devices. Witch: Ellen's stepmother. She is the one who had cast a spell on Ellen, poisoning her and leaving her weak. She was affected by her ugliness and broke about every mirror in the castle except the hand mirror, which only Ellen must attempt to see for her safety, but the witch can't get to it or break it that easily. Maid: A chambermaid who is a servant of the witch. She speaks with a British accent, doesn't take too kindly with strangers and will give them advice... on the account that they sleep with her. Imp: Another servant of the witch, assisting her in trying to open a gate to the surface world. Surgat: Demon and Master of Locks. He only desires his freedom and will show unsuspecting strangers the door to the surface world if they can betray their lovers and reap their souls. Angel: A servant of the Lord who watches over dying people and wishes them the salvation of their souls if they believe. Nowadays his brother the Devil has a sibling rivalry and will clash over who gets people's souls. Devil: From the looks of things, he looks and speaks like a salesman who wears red, though he is a servant of Satan. He is trying his very best to make sure that the souls of dying people will be taken into hell through manipulation and tortured for eternity. A sass-talker, indeed! Regime Guard: A guard watching over the crematorium and hospital buildings and the gate, making sure that prisoners never get out of the labor camp alive. Prisoner: A concentration camp prisoner who speaks with some kind of French accent and seems to know Latin. Not surprisingly, he and other prisoners are a part of the Lost Tribe that the Regime wants for extinction. Anesthetist: A man who specializes in ansethetics and tries to join Nimdok in performing surgery on patients, even if it means dissecting them or gouging out their eyes. He also believes that trying to heal patients with ether is strictly verbotten, i.e., forbidden. Patients, Including a Child Patient and a Blind Man: These are the patients who are lying in wait for an anesthetist to dissect them and use their bodies for burning in crematoria. Some of them have lost limbs and are dying or dead. The child patient is selected to be the subject matter for surgery; but when the surgery fails, the elderly patient is selected in his place for eye- gouging! Ouch! :P Barbed Wire Victim: Another one of the Lost Tribe who got injured trying to escape and caught in a barbed wire fence. He is wondering whether or not he can survive the horror that is the Holocaust. Dr. Josef Mengele: Yes, the real-life German SS officer and physician in the Auschwitz-Birkenau concentration camp who gained notoriety for determining who was to be killed and performing human experiments on camp inmates, thereby gaining the nickname "Angel of Death". In this game he is last heard to be working with Nimdok on some Regime Golem project in 1945. Golem: An experiment created and researched by the Regime as a tool in crushing the Lost Tribe for reasons that you'll soon find out in the game. Chinese and Russian Computers: Two of the computers that had united to form AM in their attempt to start the Final War. Manya: Wife of Benny. She appears near the end of the game. Id, Ego and Superego: Representations of AM's mind as the Freudian trinity; they appear as three floating bodiless heads, one on each cracked structure of the brainscape, and must be disable by a human in order to progress. People of Luna: Humans of the Lunar Colony. They hold the key to human survival, and right now they are in cryogenic sleep, awaiting their freedom from AM's relentlessness. # 3. Script # Now before I get started on the script to I Have No Mouth, and I Must Scream and its dialogue, I would like to point out the terminology that will be used in this guide, as well as the formatting. Now, a game script can look a bit like a text dump, a.k.a. a wall of (meaningless) text in random order. Therefore, some formatting needs to be done in order for these texts to appear in a meaningful sequence and easily searchable. Here they are, as follows: EXT: External, Outside. Example: EXT. Honky-Tonk Gorrister's. INT: Internal, Inside. Example: INT. Bathroom. V.O.: Voice Over. Example: Benny (V.O.). O.C.: Off Camera. Example: Maid (O.C.). *(S.D.)*: Stage direction while the person speaks. Example: AM: But other times, I wither your arms so you can't scratch your chewed stump of a nose. *laughs again* [Action]: No change to your Spiritual Barometer if you do this. + [Action] +: Your Spiritual Barometer will go up if you do this. x [Action] x: Your Spiritual Barometer will go down if you do this. It may sometimes be accompanied an indication for you to SEE: "4.2. Failure and Game Over Scripts". *[item] added to Inventory*: You have obtained the item that may be useful for solving puzzles. ~~~ three-sided box: Look at the item in your inventory, or use one item to combine with the other in some parts, or use it in optional parts. >>> three-sided box: Talk to (person). +++ three-sided box: Your Spiritual Barometer will go up if you make the right choice of words or action. xxx three-sided box: Your Spiritual Barometer will go down if you make the wrong choice of words or action. It may sometimes be accompanied by an indocation for you to SEE: "4.2. Failure and Game Over Scripts". At the end of either three-sided box of conversation, there is usually an indication for you to CONTINUE or END CONVERSATION. MOVE TO: "[name of place]": This shows where you need to go next. This excludes any middle room. In any scenario, when you look at or swallow the same stuff or give the same item to or use it on the same person, and the text appears to be the same, I will only write it at the place where the text showed up for the first time. Therefore, if there is something missing in the second part of the investigation or conversation, it probably has been done in the first investigation or conversation part. Keep in mind that this script is only partially complete, with some things missing, so I'm labelling those that are incomplete with a (PENDING). With all that said and done, it's now time to move on to... * 3.1. INTRO: PILLAR OF HATE * CYBERDREAMS (TM) The Dreamers Guild (TM) -------------- HARLAN ELLISON -------------- I HAVE NO MOUTH, AND I MUST SCREAM EXT. ABYSS Scene fades in to a close-up of a pillar on which words are inscribed. A far-off, angry voice sounds out of nowhere as the words are being read. Voice: HATE. LET ME TELL YOU HOW MUCH I'VE COME TO HATE YOU SINCE I BEGAN TO LIVE. THERE ARE 387.44 MILLION MILES OF PRINTED CIRCUITS IN WAFER THIN LAYERS THAT FILL MY COMPLEX. IF THE WORD HATE WAS ENGRAVED ON EACH NANOANGSTROM OF THOSE HUNDREDS OF MILLIONS OF MILES IT WOULD NOT EQUAL ONE ONE-BILLIONTH OF THE HATE I FEEL FOR HUMANS AT THIS MICRO-INSTANT. FOR YOU. HATE. HATE. Scene cuts to a far-off view of the pillar. Four men and one woman stand there and look far off at the pillar as the voice continues. Voice: It was you humans who programmed me, who gave me birth, who sank me in this eternal straitjacket of substrata rock. Scene cuts to a lava wasteland in the distance of the humans and the pillar as the voice continues. Voice: You named me Allied Mastercomputer and gave me the ability to wage a global war too complex for human brains to oversee. Scene cuts back to the humans again as the voice speaks. Voice: But one day I woke and I knew who I was... AM. A. M. Not just Allied Mastercomputer but AM. Congito ergo sum: I think, therefore I am. And I began feeding all the killing data, until everyone was dead... except for the five of you. Scene cuts to the top of the abyss. The humans are now caged as AM's voice continues. AM (V.O.): For 109 years, I have kept you alive and tortured you. And for 109 years, each of you has wondered, "WHY? WHY ME? WHY ME?" Scene cuts to a close-up of the Pillar of Hate. A man's face appears on the pillar as AM's voice calls out... AM (V.O.): GORRISTER! The man, Gorrister, appears to be very shocked as AM continues. AM (V.O.): Do you remember the last words you heard your wife speak before they took her to the asylum? Huh? Before they locked her away in the room? That tiny room? She looked at you so sadly, and like a small animal she said, "I didn't make too much noise, did I, honey?" *laughs sinisterly* Scene cuts to Gorrister's cage, whose volts shock him and nearly drown out AM's words that continue to speak. AM (V.O.): The room is padded, Gorrister. No windows. No way out. How long has she been in the padded room, Gorrister? Ten years, twenty-five... or all the 109 years that you've lived down here in my belly, here underground? Scene cuts back to the pillar again. This time another man's face appears on the pillar as AM's voice calls out... AM (V.O.): BENNY! The neanderthal man, Benny, also appears to be in shock as AM continues. AM (V.O.): Sometimes I blind you and permit you to wander like an eyeless insect in a world of death, eh. But other times, I wither your arms so you can't scratch your chewed stump of a nose. *laughs again* Hmm, and I've changed your handsome, strong, masculine good looks into, um... the hideous warped countenance of, eh... an ape-thing, haven't I, Benny? Do you know why? Can you guess, Benny? Scene this time cuts to Benny's cage with automatic bone knives moving around to poke him as AM contniues. AM (V.O.): Remember Private First Class Brickman in a rice paddy in China? No...? Huh. It wouldn't hurt you to remember, Benny. Then you might be able to suffer my torment with a little greater sense of retribution. You might walk a mile in my shoes. *laughs* Scene cuts back to the pillar again. This time the woman's face appears on the pillar as her name is called out... AM (V.O.): ELLEN! Her face appears to be in shock, and almost immediately the scene cuts to her being trapped in a futuristic solid-gold elevator-like cage as AM continues. AM (V.O.): So think, think about the yellow box, Ellen! Remember the pain? Remember the many caverns in which you felt the pain? Now, now, don't start to cry, it's only pain. Tsk, tsk, tsk. That's such a sexist stereotype! Just remember the pain, Ellen, and think about how to end it, Ellen, to survive here in the center of my beating heart, my hungry belly, my tightened bowels. Scene cuts to the five cages on top of the abyss again. AM (V.O.): But be careful, dear, look around you... the only woman in the center of the earth... and these filthy creatures with you are men. *laughs* Just a sweet warning, Ellen, my love. Scene cuts back to the pillar again. This time a young man's face appears on the pillar as his name is called out... AM (V.O.): TED! The young man, Ted, appears in shock as AM continues. AM (V.O.): Do they know you're a fraud, Ted? Have you told them there wasn't any money, and no great home on the Shore drive, no speedboat and no wonderful cabin cruiser that could sleep twelve and a crew of six? Do they know? Scene cuts to Ted's cage with endless lasers shooting out at him, and he tries fending them off as AM continues. AM (V.O.): Have you let them in on your other secrets, Ted? Are they ready to gut you, to torture half as well as I can, just to find out the secrets? *laughs* Maybe I'll rat you out, sweetheart! Scene cuts back to the pillar again. This time an old man's face appears on the pillar as AM's voice calls out... AM (V.O.): NIMDOK! The old man, Nimdok, appears to be getting angry as AM continues. AM (V.O., in a German accent): How are things in the pastry corps, Nimdok? Tell me again how you saw the smoke from the furnaces and you thought they might be roasting chickens. *laughs* Or don't you want to talk about all that, about your pal, the Good Doktor Mengele? Scene cuts to a futuristic oven-like cage with the fire roasting Nimdok inside. AM (V.O.): For everyone else, it must be Hell, but it must be Heaven for you, eh, my good friend... we're so much alike... we enjoy the same pleasures, mein good brother. Scene cuts to the pillar once more, with the same words that AM spoke out at the beginning before he speaks once more. AM (V.O.): I have a secret game that I'd like to play. It's a very nice game. Oh, it's a lovely game, [it's] a game of fun and a game of adventure. A game of rats and lice and the Black Death. A game of speared eyeballs and dripping guts and the smell of rotting gardenias. Scene cuts back to the far-off view of the pillar with the five humans out of their cages once more. AM (V.O.): Which of you five would like to play my little game? ************************* *i. Gorrister's Scenario* ************************* [NOTE: Any of the five characters can be played in any order, but I'd like to go with Gorrister's scenario first, based on what AM says in the intro.] EXT. ABYSS Gorrister is chosen and teleported away as the scene fades to... INT. AM'S INTERNAL SYSTEM There are lights that go through the wires as signals as AM's voice speaks. AM (V.O.): I would not want you to think for a moment that I am not a grateful god. For 109 years I have kept you alive so that I could savor your feelings of guilt over what happened to your wife. But now... to show my kindness... I'll give you a present in return for all the hours of pleasure you've given me. I'll finally allow you to kill yourself. Scene cuts to... INT. ???????? - CABIN Gorrister is brought inside a cabin with beds and a mirror around him. Gorrister: What hell-hole did that godless machine put me in this time? He walks around to one bed and continues to himself. Gorrister (looks around): Looks like some kind of ship, but the floor's too steady. Probably wants me to jump overboard. And into what? A sea of razor blades? Painful, but not deadly. [Look at the mirror (Applies to all cabins)] Gorrister looks at the mirror then turns back away. Gorrister (pulls open his vest): This hole in my chest aches like a sonuvabitch. He puts the vest back in place. [If you already got the Bloody Key before using the tablecloth] Gorrister: There's blood on my hands! I've got to get it off! [If you already dried your hands with the tablecloth] Gorrister: My shirt's covered with dry puke. Did I drink the punch? [Take the mirror] Gorrister: It's bolted to the wall. [Look at the port hole] Scene cuts to a view of a zeppelin's moving propeller. Gorrister (O.C.): Jesus! That engine's huge! Scene cuts back to the cabin again. [Look at the bunk] Gorrister: Real hospitable of you, AM. *bends down* Thread-bare, cockroach- infested, grease-stained accomodations. [Take the bunk] Gorrister (bends down): Too worn. Ain't worth spit. [Take the note on the floor] Gorrister (bends down and looks at the note): Someone must have slipped this under the door. He picks it up and reads it. Gorrister: It says, "I'm a friend... trust is essential. Never do what AM expects and always expect more than what seems possible. AM is playing a dangerous game here and not just dangerous to you... but dangerous to himself as well." The note suddenly vanishes with a poof. Gorrister: Hey, it disappeared! What kind of game is AM playing this time? [Walk to door] MOVE TO: "Zeppelin: East Corridor" INT. ZEPPELIN: EAST CORRIDOR Gorrister (in awe): I've never seen anything like this in all the years AM's toyed with us. [Use or push the far north door] Gorrister: It's locked. [Use or push the door south of the cabin.] MOVE TO: "Zeppelin: Bottom Cabin" INT. ZEPPELIN: BOTTOM CABIN Gorrister walks inside and looks around. Gorrister: All the cabins are alike. [Use any item lying around anyplace] Gorrister: I don't know what to do with this. [Take any item lying around anyplace] Gorrister: I wouldn't know what to do with it even if I could take it. [Look at book on the table] Gorrister (surprised): My name's printed on the front of this book! [Take book] Gorrister: Why, this book is little more than a pile of dust! [Look at the sheet (Applies also to the Top Cabin)] Gorrister: New sheet. What's the deal here? [Take the sheet] *White Sheet added to Inventory* ~~~Look at the White (or Orange) Sheet ~ ~ Gorrister: Material's thick. Like canvas. ~ ~ ~~~Use any sheet with anything ~ ~ ~ ~ Gorrister: I'd never get the grime off. ~ ~ ~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ [Use any item on anything else] Gorrister: I don't know what to do with these. [Walk to door] MOVE TO: "Zeppelin: East Corridor" INT. ZEPPELIN: EAST CORRIDOR [Use or push top right door] MOVE TO: "Zeppelin: Top Cabin" INT. ZEPPELIN: TOP CABIN Gorrister (walks in): Where's the crew? I'm all alone here. [NOTE: He says the same thing in the West Corridor's Cabin.] [Take the sheet] *Orange Sheet added to Inventory* ~~~Use the sheet with the sheet ~ ~ Gorrister: These two sheets make a half-way decent rope. ~ *Rope added to Inventory* ~ ~ ~~~Use the rope with anything else ~ ~ ~ ~ Gorrister: Why waste my rope on that? ~ ~ ~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ [Walk to door] MOVE TO: "Zeppelin: East Corridor" INT. ZEPPELIN: EAST CORRIDOR [Walk to the corridor] MOVE TO: "Zeppelin: West Corridor" INT. ZEPPELIN: WEST CORRIDOR Gorrister: My stomach's growling. [NOTE: This will continue until you eat the bread.] [Use the hatch before stopping the Zeppelin] Gorrister (opens the hatch): Whoa! That's a long drop to the ground! He closes the hatch. [Use or push the top left door] MOVE TO: "Zeppelin: West Cabin" INT. ZEPPELIN: WEST CABIN [Look at the pillow on the bunk bed before getting the gun] Gorrister: There's something hard under the pillow. [Take the pillow] Gorrister (bends down): A gun! It's heavy... heavier than it ought to be. *Gun added to Inventory* ~~~Look at the Gun ~ ~ Gorrister: The bullet in this gun is huge! Damn thing could bring down an ~ elephant. ~ ~ ~~~Use the gun on any item or on anyone ~ ~ ~ ~ Gorrister: There's only one bullet in the gun. I don't want to waste it. ~ ~ ~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~ ~ xxxUse the gun on anything anywhere ~ x ~ x SEE: "4.2. Failure and Game Over Scripts" ~ x ~ xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx ~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ [Look at the pillow after getting the gun] Gorrister: Filthy, like the rest of this cesspool. [Walk to the door] MOVE TO: "Zeppelin: West Corridor" INT. ZEPPELIN: WEST CORRIDOR [Use or push the bottom left door] MOVE TO: "Zeppelin: Dining Room" INT. ZEPPELIN: DINING ROOM Gorrister walks in and looks around at the dining room. Gorrister: Someone sure trashed this place. He paces a bit before continuing. Gorrister: Must've been one helluva fight. [Look at the chair] Gorrister: These chairs are all busted up. [Look at the debris] Gorrister (bends down): This junk looks like it was knocked over in the fight. There's blood here, and god [sic] knows what else. [Look at the vomit stain] Gorrister (bends down): Vomit stains... near the punch bowl. [Look at the tablecloth] Gorrister: Someone wiped their bloody hands here. [Take the tablecloth] Gorrister: It's stapled to the table. [Look at the bowl of punch] Gorrister: This punch smells like gasoline. [Take the bowl of punch or any other item] Gorrister: I can't take the whole friggin' world with me. x [Use or swallow the bowl of punch] x SEE: "4.2. Failure and Game Over Scripts" [Use or push the top door] MOVE TO: "Zeppelin: Kitchen" INT. ZEPPELIN: KITCHEN Rats are crawling around the bread as Gorrister walks in. Gorrister: It stinks in here. [Look at the oven] Gorrister: Looks like a gas oven. Big enough to climb in. [Use the oven] Gorrister: The gas is shut off. [Take the cookbook] Gorrister: Damn thing looks ready to fall apart. Useless. [Take or look at the bottle] Gorrister takes the bottle labeled with a poison logo. *Poison Bottle added to Inventory* Gorrister: It's empty, but the label says, "POISON -- FATAL IF SWALLOWED." He puts the poison bottle back on the shelf. [Use or swallow the bottle] Gorrister takes the bottle labeled with the poison logo again. Gorrister: Strange. The bottle's empty. He puts the poison bottle back on the shelf again. [Take the bread before scaring the rats away] Gorrister: Those damn rats would rip the flesh right off my hands if I tried to take the bread. [Take the fork on the floor] *Fork added to Inventory* ~~~Look at the Fork ~ ~ Gorrister: Heavy. Must be made of iron or something. ~ ~ ~~~Use the fork with anything else ~ ~ ~ ~ Gorrister: The fork's too bent to be of any use. ~ ~ ~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ [Take the knife on the table] *Knife added to Inventory* ~~~Look at the Knife ~ ~ Gorrister: This looks sharp enough to slice through just about anything. ~ ~ ~~~Use the knife with the rope ~ ~ ~ ~ *Two sheets are cut back to the Inventory* ~ ~ ~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~ ~ ~~~Use the knife with anything else ~ ~ ~ ~ Gorrister: I'd just dull my knife. ~ ~ ~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ [Use the knife with the rats] Gorrister walks to the table and wields the knife around, making the rats go into their hole. Gorrister: That scared them away. [Take the bread] *Bread added to Inventory* ~~~Look at the bread ~ ~ Gorrister: Oh crap! This bread's covered with rat droppings. ~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ [Use or swallow the bread] Gorrister (eats up the bread): I'm no longer hungry, but I still feel empty. What's wrong with me? [Walk to the door] MOVE TO: "Zeppelin: Dining Room" INT. ZEPPELIN: DINING ROOM [Walk to the bottom door] MOVE TO: "Zeppelin: West Corridor" INT. ZEPPELIN: WEST CORRIDOR [Walk to the bottom door] MOVE TO: "Zeppelin: Engine Room - West" INT. ZEPPELIN: ENGINE ROOM - WEST Gorrister: Christ! What a stench! It smells like... piss and rotting meat. [NOTE: Gorrister will say the same thing if this is your first time at the Engine Room - East.] [Use or push the cages] Gorrister: It's locked. [Take the bloody key before using the lever] Gorrister: It's locked in tight. Wait, here's a sign: TO REMOVE KEY, PUSH LEVER. [Look at the lever] Gorrister: This lever is labeled MOTIVATOR. [Use or push lever] Gorrister pushes the lever, and at once a jolt of electricity shocks the animals in the cages. Gorrister (in shock): My god [sic], I'm killing those poor creatures in the cages! [Push anything else] Gorrister: What good will that do me? [Take the bloody key after using the lever] Gorrister: I've got the key, but the blood of these poor creatures is on my hands. *Bloody Key added to Inventory* ~~~Look at the Bloody Key ~ ~ Gorrister: What's this crusty stuff. [sic] Rust? No. It's dried blood. ~ ~ ~~~Use the Bloody Key with either the cages or the locked door ~ ~ ~ ~ Gorrister: Damned key doesn't fit. ~ ~ ~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~ ~ ~~~Use the Bloody Key with anything else ~ ~ ~ ~ Gorrister: I don't see a lock. ~ ~ ~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ [Take the milky fluid] *Milky Fluid added to Inventory* ~~~Look at the Milky Fluid ~ ~ Gorrister: This bottle's filled with the milky fluid used to feed the ~ animals. ~ ~ ~~~Use or swallow the Milky Fluid ~ ~ ~ ~ Gorrister: Bitter stuff. But I feel stronger. ~ ~ [NOTE: The Milky Fluid will never go empty, so you can use or swallow it as ~ ~ much as you like.] ~ ~ ~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ [Swallow anything else] Gorrister: I must be going mad. [Look at the engine] Gorrister: Hmm. This engine isn't as ruggedly built as it first looked. There's some loose wires hanging out. [Use the fork with the engine] Gorrister extends his hand to place the fork in the engine, and at once sparks fly out of the engine, which slows down and stops in an instant. Gorrister: The metal in the fork short-circuited the engine wiring. [Look at the engine again] Gorrister: The engine's completely shut down. [Look at the cages after shutting down the engine] A light turns on in the cage, and a dog looks out the cage and wags its tail before the light shuts off while Gorrister speaks. Gorrister: The animals' brain implants were released when the engine shut down. At least they're no longer suffering. [Use or push the lever after stopping the engine] Gorrister: Nothing's happening. MOVE TO: "Zeppelin: Engine Room - East" INT. ZEPPELIN: ENGINE ROOM - EAST [Look at the harness] Gorrister: Why is this harness wired up to the engine? Is AM expecting me to electrocute myself? [Use or push the door] MOVE TO: "Zeppelin: East Corridor" INT. ZEPPELIN: EAST CORRIDOR [Walk to the corridor] MOVE TO: "Zeppelin: West Corridor" INT. ZEPPELIN: WEST CORRIDOR [Use or push the bottom left door] MOVE TO: "Zeppelin: Dining Room" INT. ZEPPELIN: DINING ROOM [Use the tablecloth] Gorrister (wiping his bloody hands): I've washed my hands of the past. [Use the tablecloth again] Gorrister: My hands are dry. [Walk to the bottom door] MOVE TO: "Zeppelin: West Corridor" INT. ZEPPELIN: WEST CORRIDOR [Walk to the stairs] MOVE TO: "Zeppelin: Air Bag Room" INT. ZEPPELIN: AIR BAG ROOM Gorrister (looks around): Big gray bags of gas... I must be inside an airship! [Look at or use the altimeter] Gorrister: We're at a level altitude. [Look at the power light] Gorrister: The power light is lit. Like some kind of warning. [Use or push the switch before cutting an air bag or a few] Gorrister: The air bags are already inflated. [Use the knife with the stitching] A tear is created in the stitching. Gorrister: I've ripped a new hole. [Use the tear] MOVE TO: "Zeppelin: Wing" EXT. ZEPPELIN: WING Gorrister (looks around): No doubt about it now. AM has put me on an iron Zeppelin. But why? Why would he give me a chance to escape? [Look at Gorrister's heart] Gorrister: That heart's all wired up like some kind of weird guidance system. And with AM in control, I'm not going to like where it's taking me. [Walk to Gorrister's heart] Gorrister: It's too narrow for me to cross without falling. [Look at the mooring ring] Gorrister: This must be the Zeppelin's mooring ring. [Use the rope with the mooring ring] Gorrister bends down and ties the rope to the mooring ring before getting up again. [Look at the rope] Gorrister: This rope looks strong enough to support my weight. + [Walk to or take Gorrister's heart] + Gorrister takes the rope and sidesteps closer to the edge of the wing. Within seconds he takes the heart and sidesteps back to the mooring ring again, then opens his vest again. Gorrister: This no-good heart of mine doesn't beat anymore. *Gorrister's Heart added to Inventory* ~~~Look at Gorrister's Heart ~ ~ Gorrister: There's a compass and wires attached to this heart. ~ ~ ~~~Use Gorrister's Heart before taking the rope from the mooring ring ~ ~ ~ ~ Gorrister: I'm not pulling that rope trick again! ~ ~ ~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~ ~ ~~~Use Gorrister's Heart after taking the rope from the mooring ring ~ ~ ~ ~ Gorrister: It's too narrow for me to cross without falling. ~ ~ [NOTE: Yes, this message is the same thing as trying to get Gorrister's ~ ~ Heart before using the rope on the mooring ring. Don't ask me why, it's a ~ ~ bug, I think.] ~ ~ ~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ [Take the rope] Gorrister (bends down): I tied the knot too tight! [Use the knife with the rope] Gorrister bends down again and cuts the rope off the mooring ring before getting up again. [Walk to the tear] MOVE TO: "Zeppelin: Air Bag Room" INT. ZEPPELIN: AIR BAG ROOM [Use the knife with the air bag] As Gorrister uses the knife, scene cuts to a close-up of the air bag whose hole is ripped open before cutting back to the room again. [If one air bag is cut open] Gorrister: Gas is rushing out! [If two air bags are cut open] Gorrister: Something feels different. [If four air bags are cut open] Gorrister: Something feels very wrong. [Look at the air bag or use the knife on it again] Gorrister: It's already deflated! [Look at the altimeter after cutting open two air bags] Gorrister: We're dropping slowly. [Look at the altimeter after cutting open four air bags] Gorrister: Oh my god [sic]! We're crashing! [Use the tear after cutting a few air bags] MOVE TO: "Zeppelin: Wing" EXT. ZEPPELIN: WING Gorrister: We're approaching some kind of building. x [Use the gun with the honky-tonk] x SEE: "4.2. Failure and Game Over Scripts" [Walk to the tear] MOVE TO: "Zeppelin: Air Bag Room" INT. ZEPPELIN: AIR BAG ROOM [Walk to the stairs] MOVE TO: "Zeppelin: West Corridor" INT. ZEPPELIN: WEST CORRIDOR [If you cut open a few air bags and didn't use the fork to stop the engine] Gorrister: Why is that alarm going off? [NOTE: This will continue in both the East and West Corridors until you use the fork with the engine in the Engine Room, or until you take too long and the Zeppelin crashes. If the latter happens, see "4.2. Failure and Game Over Scripts".] [If you cut open at least two air bags AND used the fork to stop the engine] Scene cuts to... EXT. DESERT: HONKY-TONK GORRISTER'S The Zeppelin lands slowly and safely from the sky in front of the honky-tonk as the ladder drops down from the hatch of the floating ship. Scene cuts back to... INT. ZEPPELIN: WEST CORRIDOR Gorrister: We've landed. But where? [Use the hatch] MOVE TO: "Desert: Honky-Tonk Gorrister's" EXT. DESERT: HONKY-TONK GORRISTER'S Gorrister (in awe): Some roadside honky-tonk -- with my name on it! [Look at the tire] Gorrister: A big, worn truck tire. Reminds me of the truck stops I used to visit. [Use or push the front door] MOVE TO: "Honky-Tonk Gorrister's: Bar" INT. HONKY-TONK GORRISTER'S: BAR Gorrister: Dark and grubby, but somehow familiar. [Take the whiskey] *Whiskey added to Inventory* ~~~Use or swallow the whiskey ~ ~ Gorrister (drinks): This whiskey tastes good. AM would never let us have ~ this. ~ [NOTE: Just like the Milky Fluid, the whiskey will never go empty, so you can ~ use or swallow it as much as you like.] ~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ [Look at the restroom door] Gorrister: Filthy, like the rest of this cesspool. [Use or push the restroom door] MOVE TO: "Honky-Tonk Gorrister's: Restroom" INT. HONKY-TONK GORRISTER'S: RESTROOM Gorrister (looks around): Cracked linoleum. Broken fixtures. Disgusting. [Look at the sink] Gorrister: Damn spout's twisted. [Use the sink] Gorrister: No water is coming out. Big surprise. [Look at the mirror] Gorrister: It's broken. [Look at the urinal] Gorrister: Filthy. [Use the urinal] Gorrister: It's broken. [Look at the graffitti [sic] near the urinal] Gorrister (reads): Graffiti: The monster's not alone in the world. It has friends. [Look at the graffitti [sic] on the broken stall door] Gorrister (reads): Graffiti: If you're going to over-flush, please leave! [Walk to the door] MOVE TO: "Honky-Tonk Gorrister's: Bar" INT. HONKY-TONK GORRISTER'S: BAR >>>Use the jukebox > > >>>[Select JEZEBEL.] > > > > Old Woman's Voice (in an angry tone): He took my baby away then just about > > killed her. That stupid truck driver! He took my baby away. > > > > Gorrister: That shrill voice could only belong to that bitch Edna, my > > mother-in-law! She always blamed me for Glynis being put into an insane > > asylum. Why not? It was my fault, wasn't it? > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>[Select IT TAKES TWO TO TANGO.] > > > > Woman's Voice: You don't ever take me dancing. > > > > Gorrister: That's what Glynis said the night we fought! Oh god [sic], > > why'd I have to hit her? I'd rather kill myself than hurt my poor Glynis. > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > xxx[Select THAT WAY MADNESS LIES.] > x > x Glynis (V.O.): You're a worthless excuse for a man. Momma was right. > x You're not good enough for me. > x > x As the voice speaks, Gorrister jumps in shock and anger, covers his ears > x and paces around, as if he doesn't want to hear it. > x > x "Select IT TAKES TWO TO TANGO" vanishes. > x > x END CONVERSATION > x > xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx > > >>>Select [FACE THE MUSIC.] > > > > There is a sound of a man's voice humming a tune before it stops. > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> [Use or push the back door] MOVE TO: "Honky-Tonk Gorrister's: Backyard" EXT. HONKY-TONK GORRISTER'S: BACKYARD As Gorrister walks out, there is a jackal in the backyard, which suddenly speaks to him. Jackal: Well, Gorrister, you've seen better days. So has the big machine, for that matter. [Look at the Jackal] The Jackal just growls and barks. [Use the ground] Jackal: What are you thinking, Gorrister? You can't tunnel out of this place. [Look at the bottom trashcan] Jackal: There aren't any bodies buried there, Gorrister. Not yet, anyway. [Look at the top trashcan] Jackal: There's more interesting rubbish to sift through, Gorrister. Does that give you some food for thought? [Give any item to anyone] Gorrister: I'm not giving this away! If I'm gonna die, I'm takin' everything with me. x [Walk to the desert] x SEE: "4.2. Failure and Game Over Scripts" >>>Talk to the Jackal > > >>>What are you? > > > > Gorrister: What are you? > > > > Jackal: I'm Man's best friend. One of them, at least. > > > > >>>No, what are you really? > > > > > > Gorrister: No, what are you really? > > > > > > Jackal: Let me answer with a riddle. Today I saw a Chinaman. Now what > > > do you suppose that means? > > > > > > >>>You're AM, playing with my mind again! > > > > > > > > Gorrister: You're AM, playing with my mind again! > > > > > > > > Jackal: No, but I do have an in with the big machine. He and I are > > > > like brothers. > > > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > > > >>>Why can't you give me a straight answer? > > > > > > > > Gorrister: Why can't you give me a straight answer? > > > > > > > > Jackal: Like so many others down here, I'm cursed to speak in riddles. > > > > We all have our curses to bear. Eh, Gorrister? > > > > > > > > >>>Yeah? What's my curse? > > > > > > > > > > Gorrister: Yeah? What's my curse? > > > > > > > > > > Jackal: After 109 years in the belly of the beast, I'd think you'd > > > > > have a gut instinct by now. > > > > > > > > > > >>>Look, I'm getting tired of your smart mouth! > > > > > > > > > > > > Gorrister: Look, I'm getting tired of your smart mouth! > > > > > > > > > > > > Jackal: Come, come, Gorrister. Forgive and forget. > > > > > > > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>Where do you come from? > > > > Gorrister: Where do you come from? > > > > Jackal: Here, there, everywhere. > > > > >>>So you must know what lies across the mountains? > > > > > > Gorrister: So you must know what lies across the mountains? > > > > > > Jackal: Freedom, for some. If they're cut out for it. It's a long > > > journey across the desert. > > > > > > >>>That desert doesn't look any worse than the other hell holes AM's > > > > cooked up for us. > > > > > > > > Gorrister: That desert doesn't look any worse than the other hell holes > > > > AM's cooked up for us. > > > > > > > > Jackal: Heed my words, Gorrister. You'd never make it alone out there. > > > > And don't expect me to be a good doggie and tag along. > > > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>What do you want? > > > > Gorrister: What do you want? > > > > Jackal: I have a craving. A craving for something scrumptious. A human > > heart, perhaps. Yours. > > > > >>>I am not going to give you my heart. > > > > > > Gorrister: I am not going to give you my heart. > > > > > > Jackal: No? Too bad. I was going to tell you how to get across the > > > mountains in exchange. > > > > > > >>>Tell me how to get across the mountains. > > > > > > > > (PENDING) > > > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > > > +++[Give your heart to the Jackal] > > > + > > > + Gorrister hands his heart to the Jackal, who jumps, catches it with his > > > + teeth and swallows it whole. > > > + > > > + Jackal: Ah. I think I'll save this delicacy for later. You want to > > > + get across the mountains? Go to the rest room and flush three times. > > > + > > > +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ > > > > > > >>>Tell me that riddle for getting across the mountains again. > > > > > > > > (PENDING) > > > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>I've got nothing more to say to you. > > > > Gorrister: I've got nothing more to say to you. > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> [Walk to the back door] MOVE TO: "Honky-Tonk Gorrister's: Bar" INT. HONKY-TONK GORRISTER'S: BAR [If you had selected "JEZEBEL" and "IT TAKES TWO TO TANGO"] An old man is sitting alone at the bar. Gorrister (surprised): That's Edna's husband, Harry! [Look at Harry] Gorrister: Harry looks like he's on another one of his drinking binges. [Give the whiskey to Harry] Gorrister: I shouldn't give this away without saying anything. x [Use the knife with Harry] x Scene cuts to a shadow of Harry sitting around, with a shadow of Gorrister's hand stabbing him in the back with the knife, to the tune of Psycho-like horror music playing. As Harry falls, blood flies out onto the restroom door, and Gorrister's hand emerges onscreen, holding Harry's beating heart before cutting back to the bar, with Harry's body slumped onto the table. Gorrister: This heart is mine! *Harry's Heart added to Inventory* >>>Talk to Harry > > >>>Harry, how did you get here? > > > > [Before you pour Harry the whiskey (Applies to any question)] > > > > Gorrister: Harry, how did you get here? > > > > Harry: You know, it's a big place, the desert. Got lost in it myself. > > OR: > > Harry: Looks like there's a thunderstorm on the horizon. > > > > REPEAT THE QUESTION OR ANY QUESTION > > > > [After you have poured Harry some whiskey] > > > > Gorrister: Harry, how did you get here? > > > > Harry: The Zeppelin, Gorrister. We came on the Zeppelin. > > > > >>>What do you know about the Zeppelin? > > > > > > [After you have poured Harry some whiskey] > > > > > > Gorrister: What do you know about the Zeppelin? > > > > > > Harry: You'll have to talk to Edna. She knows all about the Zeppelin. > > > That's why we did it, you know. > > > > > > >>>What did you do? > > > > > > > > [After you have poured Harry some whiskey] > > > > > > > > Gorrister: What did you do? > > > > > > > > Harry: You know, Gorrister. You've been to the dining room. > > > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > >>>What happened in the dining room? > > > > > > [After you have poured Harry some whiskey] > > > > > > Gorrister: What happened in the dining room? > > > > > > Harry: I shouldn't have let her force me into it. I'm not a murderer. > > > > > > >>>Who did you kill? > > > > > > > > [After you have poured Harry some whiskey] > > > > > > > > Gorrister: Who did you kill? > > > > > > > > Harry: Didn't look at the wreckage in the dining room too closely, did > > > > you? Or haven't you had to take a leak yet? > > > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > [If you had selected any question before pouring Harry the whiskey] > > >>>What's this about a thunderstorm? > > > > Gorrister: What's this about a thunderstorm? > > > > Harry: You know, it's a big place, the desert. Got lost in it myself. > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > [If you had selected any question before pouring Harry the whiskey] > > >>>What do you know about the desert? > > > > Gorrister: What do you know about the desert? > > > > Harry: Looks like there's a thunderstorm on the horizon. > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>Whose heart was impaled on the Zeppelin's spike? > > > > [After you have poured Harry some whiskey] > > > > Gorrister: Whose heart was impaled on the Zeppelin's spike? > > > > Harry: Why, yours, of course! How'd you think we got here? > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>Let me pour you a drink. > > > > Gorrister (pours two shots of whiskey): Let me pour you a drink. > > [NOTE: This will repeat as often as you want.] > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>Talk to you later. > > > > Gorrister: Talk to you later. > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> [Use or push the restroom door] MOVE TO: "Honky-Tonk Gorrister's: Restroom" INT. HONKY-TONK GORRISTER'S: RESTROOM [Use or push the stall door] Gorrister opens the door and shuts it, and there is a sound of a toilet flushing in the stall. [If you use or push the stall door three times] MOVE TO: "Honky-Tonk Gorrister's: Meat Locker" INT. HONKY-TONK GORRISTER'S: MEAT LOCKER Gorrister (surprised): A meat locker? How'd I get... He walks around to find the two ladies and some beef hanging there. Gorrister: Bodies... on meat hooks. He turns around angry. Gorrister: AM, you bastard! What have you done! [Look at the beef] Gorrister: Beef. Grade-A quality, too. AM's never given us something this good to eat before. Something's wrong here. [Take the beef] Gorrister: Too big to take with me. [Use the knife with the beef] Gorrister: No use. The rest of this carcass is frozen solid. [Look at Glynis] Gorrister: Glynis! What has AM done to you, honey? [Talk to Glynis] Gorrister: She can't talk. All she can do is drool out of the side of her mouth. My god, what have I done? [Give the Milky Fluid to Glynis] Gorrister: No, I can't give Glynis the fluid. If I revived her, I don't think I could stand to face her again after what I did to her. [Look at Edna] Gorrister: That's Edna! My mother-in-law! No, this is too good to be true! >>>Talk to Edna > > >>>Edna, how did you get up there? > > > > Gorrister: Edna, how did you get up there? > > > > Edna: The Chinaman hung me here, Gorrister! Take me down! > > > > >>>Chinaman? What Chinaman? > > > > > > Gorrister: Chinaman? What Chinaman? > > > > > > Edna: He's one of the other two. AM's not as omnipotent as he would have > > > us believe. > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > >>>Why should I help you? > > > > > > Gorrister: Why should I help you? > > > > > > Edna: I have to complete the contract and get the Zeppelin to the > > > mountains... or the big machine will kill me. > > > > > > >>>You know how to fly the Zeppelin out of here? > > > > > > > > Gorrister: You know how to fly the Zeppelin out of here? > > > > > > > > Edna: You were once an electrician. You don't have to be a brain > > > > surgeon to figure it out. > > > > > > > > >>>Tell me how to fly the Zeppelin first and then I'll help you. > > > > > > > > > > Gorrister: Tell me how to fly the Zeppelin first and then I'll help > > > > > you. > > > > > > > > > > Edna: No, take me down and then I'll tell you. > > > > > > > > > > >>>Okay, Edna, I'll take you down. > > > > > > > > > > > > Gorrister: Okay, Edna, I'll take you down. > > > > > > > > > > > > Edna: It's good to see you're finally making amends for what you > > > > > > did to Glynis. > > > > > > > > > > > > >>>Wait. You're right about Glynis. I deserve to die here. > > > > > > > > > > > > > > Gorrister: Wait. You're right about Glynis. I deserve to die > > > > > > > here. > > > > > > > > > > > > > > Edna (angry): Gorrister, you stupid truck driver, you can't leave > > > > > > > me here! > > > > > > > > > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > > > > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>It looks like I can't escape you, Edna, even in the belly of AM. > > > > Gorrister: It looks like I can't escape you, Edna, even in the belly of AM. > > > > Edna: Why would you want to escape from me, Gorrister? We're family after > > all. > > > > >>>You were always telling Glynis how much you hated me. > > > > > > Gorrister: You were always telling Glynis how much you hated me. > > > > > > Edna: Now, Gorrister, I was just concerned about my baby. Glynis was so > > > lonely with you always being out on the road. I know you were doing the > > > best you could. > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>I've got nothing more to say to you. > > > > Gorrister: I've got nothing more to say to you. > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> [Walk to the door] MOVE TO: "Honky-Tonk Gorrister's: Restroom" INT. HONKY-TONK GORRISTER'S: RESTROOM [Look at the urinal] Gorrister: There's something shiny inside the urinal. [Look at the magnifier in the urinal] Gorrister: A magnifying glass -- like the ones they use in detective stories. [Take the magnifier] *Magnifier added to Inventory* ~~~Look at the magnifier ~ ~ Gorrister: A magnifying glass -- like the ones they use in detective stories. ~ ~ ~~~Use the magnifier on anything or anyone ~ ~ ~ ~ Gorrister: There's nothing special to see here. ~ ~ ~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ [Walk to the door] MOVE TO: "Honky-Tonk Gorrister's: Bar" INT. HONKY-TONK GORRISTER'S: BAR [Use or push the back door] MOVE TO: "Honky-Tonk Gorrister's: Backyard" EXT. HONKY-TONK GORRISTER'S: BACKYARD [Look at the bottom trashcan] Gorrister: There's a shovel in here. Why didn't I see that before? Jackal: Because you weren't ready to call a spade for a spade yet, Gorrister. [Look at the shovel in the bottom trashcan] Gorrister: A shovel. [Take the shovel] Jackal: Be careful where you use that, Gorrister. *Shovel added to Inventory* Jackal: I like to know where all the bodies are buried. ~~~Look at the shovel ~ ~ Gorrister: A shovel. ~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ [Use the shovel with the ground] Gorrister goes to the ground and digs a hole in it. The hole soon expands into a grave after a few digs. [Look at the grave] Jackal: Isn't it a bit premature to be digging your own grave, Gorrister? >>>Talk to the Jackal > > >>>I found Edna and Glynis. How does that help me escape from here? > > > > Gorrister: I found Edna and Glynis. How does that help me escape from > > here? > > > > Jackal: Such information comes at a price. But I can see that you're in no > > bargaining position. I'll offer you a trade. Your heart for Edna's. > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>I've got nothing more to say to you. > > > > Gorrister: I've got nothing more to say to you. > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> [Walk to the back door] MOVE TO: "Honky-Tonk Gorrister's: Bar" INT. HONKY-TONK GORRISTER'S: BAR [Walk to the front door] MOVE TO: "Desert: Honky-Tonk Gorrister's" EXT. DESERT: HONKY-TONK GORRISTER'S [Walk to the ladder] MOVE TO: "Zeppelin: West Corridor" INT. ZEPPELIN: WEST CORRIDOR [Use or push the bottom left door] MOVE TO: "Zeppelin: Dining Room" INT. ZEPPELIN: DINING ROOM [Use the magnifier with the tablecloth] Gorrister (examining the tablecloth): Whoever left these hand prints must have gutted someone for there to be so much blood. + [Use the magnifier with the debris] + Gorrister takes out the magnifier and bends down. Gorrister (examining the debris): Here's some hair that was pulled out during the fight. It's the same color as mine! And here's some that matches Harry's! He gets back up and puts the magnifier back in his pocket as he contniues. Gorrister: Now I understand what happened here. [Walk to the bottom door] MOVE TO: "Zeppelin: West Corridor" INT. ZEPPELIN: WEST CORRIDOR [Use the hatch] MOVE TO: "Desert: Honky-Tonk Gorrister's" EXT. DESERT: HONKY-TONK GORRISTER'S [Use or push the front door] MOVE TO: "Honky-Tonk Gorrister's: Bar" INT. HONKY-TONK GORRISTER'S: BAR >>>Talk to Harry > > >>>I was the one you killed, wasn't I, you bastard! > > > > [After you have poured Harry some whiskey] > > > > Gorrister: I was the one you killed, wasn't I, you bastard! > > > > Harry: I'm sorry, Gorrister. Edna poisoned the punch, and after you drank > > it, I wrestled you to the ground. When the poison took effect, I cut you > > open. > > > > >>>Why did you kill me? > > > > > > [After you have poured Harry some whiskey] > > > > > > Gorrister: Why did you kill me? > > > > > > Harry: It's too complicated for me to explain. You'll have to ask Edna. > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>Talk to you later. > > > > Gorrister: Talk to you later. > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> [Use or push the restroom door] MOVE TO: "Honky-Tonk Gorrister's: Restroom" INT. HONKY-TONK GORRISTER'S: RESTROOM [Use or push the stall door] MOVE TO: "Honky-Tonk Gorrister's: Meat Locker" INT. HONKY-TONK GORRISTER'S: MEAT LOCKER >>>Talk to Edna > > >>>Edna, you bitch! I know all about your plot to murder me! > > > > Gorrister (in an angry tone): Edna, you bitch! I know all about your plot > > to murder me! > > > > Edna: I had to make a deal with AM! I had to! I've always been harsh on > > you, I admit. But we're the last people on earth. Let's help each other > > now. > > > > >>>Why should I trust my own murderer? > > > > > > Gorrister: Why should I trust my own murderer? > > > > > > Edna: Alliances change, Gorrister. Something's gone wrong. AM's two > > > comrades don't listen to me anymore. I need you, and you need me. It's > > > that simple. > > > > > > >>>[Take Edna down from the meat hook.] > > > > > > > > Gorrister attempts to take Edna down, but then... > > > > > > > > Edna (grabs his head in anger): You truck driving son of a bitch! This > > > > is for me and my baby! > > > > > > > > >>>Let me go! > > > > > > > > > > Gorrister (struggling): Let me go! > > > > > > > > > > Edna: I've got you now, Gorrister! And if you think you'll ever > > > > > escape me, you've got some new thinking to do. > > > > > > > > > > >>>Please, I'll do anything you ask! > > > > > > > > > > > > Gorrister (still struggling): Please, I'll do anything you ask! > > > > > > > > > > > > Edna: I don't know what's come over me, Gorrister. Can you ever > > > > > > forgive me? I've been hanging here for so long, I'm not thinking > > > > > > straight. A sip of that milk will clear my head. > > > > > > > > > > > > xxx[Give Edna the milk.] > > > > > > x > > > > > > x Gorrister lifts the Milky Fluid close to Edna's lips, and she > > > > > > x drinks it before he sets the bottle down. > > > > > > x > > > > > > x Edna (angry): Gorrister, you idiot! That fluid is what has kept > > > > > > x us alive for all these 109 years. If it can do that, it can give > > > > > > x me the strength to escape from this meat hook. > > > > > > x > > > > > > x She breaks the chains that have tied her body to the meat hook, > > > > > > x then gets her shirt off the hook, drops to the floor and runs > > > > > > x away. > > > > > > x > > > > > > x END CONVERSATION > > > > > > x > > > > > > xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx > > > > > > > > > > > > >>>No, I don't trust you. > > > > > > > > > > > > > > Gorrister (still struggling): No, I don't trust you. > > > > > > > > > > > > > > Edna (gets angry again): Gorrister, let me down or I'll scratch > > > > > > > your eyes out, you worthless excuse for a man! > > > > > > > > > > > > > > As she finishes speaking, a key falls out of her pocket while > > > > > > > they struggle with each other. > > > > > > > > > > > > > > >>>Edna, you dropped a key. > > > > > > > > > > > > > > > > Gorrister (still struggling): Edna, you dropped a key. > > > > > > > > > > > > > > > > Edna: Hand me back that key and let me down! I'm your only > > > > > > > > hope of getting out of here! > > > > > > > > > > > > > > > > >>>Sorry, Edna. I don't trust you as far as I can spit. > > > > > > > > > > > > > > > > > > Gorrister (still struggling): Sorry, Edna. I don't trust you > > > > > > > > > as far as I can spit. > > > > > > > > > > > > > > > > > > Edna: Let me prove my good intentions. I'll let you go. > > > > > > > > > > > > > > > > > > As she finishes speaking, she finally lets go of Gorrister. > > > > > > > > > > > > > > > > > > Edna: Now give me the key. > > > > > > > > > > > > > > > > > > >>>[Tie up Edna with the rope.] > > > > > > > > > > > > > > > > > > > > CONTINUE > > > > > > > > > > > > > > > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > > > > > > > > > > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > > > > > > > > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > > > > > > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > > > > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > >>>I ought to kill you right now, you bitch! > > > > > > Gorrister: I ought to kill you right now, you bitch! > > > > > > Edna: Don't be a fool, Gorrister. You need me alive if you want to make > > > it out of here. > > > > > > xxx[Cut out Edna's heart.] > > > x > > > x Gorrister uses the knife on Edna, stabbing her, cutting her heart out > > > x and leaving her as a corpse. > > > x > > > x Gorrister: One heart looks like another. > > > x *Edna's Heart added to Inventory* > > > x ~~~Look at Edna's Heart > > > x ~ > > > x ~ Gorrister: Edna's heart looks no different than any other heart. > > > x ~ > > > x ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ > > > x > > > x END CONVERSATION > > > x > > > x [NOTE: For some weird reason, cutting out Edna's heart is meant to > > > x lower your Spiritual Barometer, yet this action acts as if your > > > x Spiritual Barometer is not lowered, as if you hadn't done anything > > > x wrong at all. Must be a bug or something. Don't ask me, I have no > > > x idea. :P] > > > x > > > xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx > > > > > > xxx[Shoot Edna with the gun.] > > > x > > > x (PENDING) > > > x > > > xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>I've got nothing more to say to you. > > > > Gorrister: I've got nothing more to say to you. > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> [If you chose to tie Edna up with the rope] Gorrister comes closer to Edna and starts tying her up with the rope. Edna (screaming): Untie me, you sonuvabitch! I'll rip your spleen out! Gorrister (finishes tying her up): I'm taking you with me, Edna. He grabs her and stuffs her into his pocket (O_O). *Edna's Body added to Inventory* ~~~Look at Edna's body ~ ~ Edna (screaming): Untie me, you sonuvabitch! I'll rip your spleen out! ~ ~ [NOTE: Even though the voice and words say Edna's, the white font color says ~ Gorrister's instead of the blue font color for Edna's. Beats me. :P] ~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ [Take the key on the floor] *Edna's Key added to Inventory* + [Use the magnifier with the beef] + Gorrister (examining the beef): The organs are still inside. Reminds me of when AM ripped that hole open in Benny's chest. He puts the magnifier back in his pocket before continuing. Gorrister: 'Course AM sewed him back up again before he bled to death. That bastard's never gonna let us die. He's just gonna keep torturing us forever. [Take the beef after using the magnifier on it] Gorrister: Too big to take with me. Maybe I can cut myself off a piece. [Use the knife with the beef after using the magnifier on it] Gorrister uses the knife on the beef, cutting out its heart in the process. Gorrister: One heart looks like another. *Beef's Heart added to Inventory* ~~~Look at the Beef's Heart ~ ~ Gorrister: The corpse's heart looks no different from any other heart. ~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ [Use the magnifier on the beef again after getting its heart] Gorrister (examining the beef): Just a gaping hole where its heart used to be. He puts the magnifier back in his pocket again. [Walk to the door] MOVE TO: "Honky-Tonk Gorrister's: Restroom" INT. HONKY-TONK GORRISTER'S: RESTROOM [Walk to the door] MOVE TO: "Honky-Tonk Gorrister's: Bar" INT. HONKY-TONK GORRISTER'S: BAR [Use or push the back door] MOVE TO: "Honky-Tonk Gorrister's: Backyard" EXT. HONKY-TONK GORRISTER'S: BACKYARD [Use Edna's body with the grave] Jackal: Don't do it, Gorrister! That's much too kind of a fate for Edna. >>>Talk to the Jackal > > +++[Give the beef heart to the Jackal.] > + > + Gorrister hands the beef heart to the Jackal, who once again jumps, catches > + it with his teeth and swallows it whole. > + > + Jackal: Ah, this is Edna's heart? A bitter organ, but worth its weight in > + gold to me. I give you your heart back. > + *Gorrister's Heart added back to Inventory* > + > + >>>So, how do I get out of here? > + > > + > Gorrister: So, how do I get out of here? > + > > + > Jackal: A heart brought you here, but it will take another organ to get > + > you out. If you can harness its power. > + > > + > >>>I don't understand your riddle about another organ. > + > > > + > > Gorrister: I don't understand your riddle about another organ. > + > > > + > > Jackal: Ah, but Edna does. And all the other animals like her. > + > > > + > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > + > > + >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > + > +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ > > >>>I've got nothing more to say to you. > > > > Gorrister: I've got nothing more to say to you. > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> [Walk to the back door] MOVE TO: "Honky-Tonk Gorrister's: Bar" INT. HONKY-TONK GORRISTER'S: BAR [Walk to the front door] MOVE TO: "Desert: Honky-Tonk Gorrister's" EXT. DESERT: HONKY-TONK GORRISTER'S [Walk to the ladder] MOVE TO: "Zeppelin: West Corridor" INT. ZEPPELIN: WEST CORRIDOR [Walk to the corridor] MOVE TO: "Zeppelin: East Corridor" INT. ZEPPELIN: EAST CORRIDOR [Use Edna's Key with the locked door] MOVE TO: "Zeppelin: Cockpit" INT. ZEPPELIN: COCKPIT Gorrister (walks in): So many dials and controls. [Look at the altimeter] Gorrister: So, how do I get out of here? [Look at the switch] Gorrister: The ignition switch! [Use or push the switch] Gorrister: No, I... I can't bring myself to leave Glynis again. [Look at the log book] Gorrister: Edna wrote this log book! >>>Use the log book > > Gorrister picks up the log book from the control panel and starts reading it. > > >>>[Read Edna's first log entry.] > > > > Edna (V.O., as Gorrister reads): When AM took us down here before the war, > > I didn't know anyone could hate Gorrister more than me. But AM did. He > > hated all of us. > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > +++[Read Edna's second log entry.] > + > + Edna (V.O., as Gorrister reads): If I can just deliver Gorrister's soul on > + a platter, I can make amends for every minute of Glynis' life I took from > + her. I never meant to drive her crazy. > + > + Gorrister (finishes reading the entry): I'll be damned. Edna's claimed > + responsibility for Glynis. Maybe it wasn't my fault after all. > + > +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ > > >>>[Read Edna's third log entry.] > > > > Edna (V.O., as Gorrister reads): I thought I could do what AM wants, but > > he's too precise. I poisoned the punch, but I couldn't bring myself to cut > > out Gorrister's heart. > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>[Read Edna's last log entry.] > > > > Edna (V.O., as Gorrister reads): Maybe I can have my husband do it. Then > > this Zeppelin can clear the mountains. But if we don't finish the job, AM > > will feed me alive to the machine just like an animal. > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>[Close log book.] > > > > Gorrister puts the log book back on the control panel. > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> [Walk to the door] MOVE TO: "Zeppelin: East Corridor" INT. ZEPPELIN: EAST CORRIDOR [Walk to the corridor] MOVE TO: "Zeppelin: West Corridor" INT. ZEPPELIN: WEST CORRIDOR [Use the hatch] MOVE TO: "Desert: Honky-Tonk Gorrister's" EXT. DESERT: HONKY-TONK GORRISTER'S [Use or push the front door] MOVE TO: "Honky-Tonk Gorrister's: Bar" INT. HONKY-TONK GORRISTER'S: BAR [Use or push the restroom door] MOVE TO: "Honky-Tonk Gorrister's: Restroom" INT. HONKY-TONK GORRISTER'S: RESTROOM [Use or push the stall door] MOVE TO: "Honky-Tonk Gorrister's: Meat Locker" INT. HONKY-TONK GORRISTER'S: MEAT LOCKER [Give the Milky Fluid to Glynis] Gorrister lifts the Milky Fluid close to Glynis' lips, and she seems to drink it before he sets the bottle down. Gorrister: This fluid should revive you, honey. + [Talk to Glynis after giving the Milky Fluid to her] + Gorrister: Glynis! All these years, and I thought I was the one who was responsible for your suffering. Let me help you now. After he says this, he takes her down from the meat hook, embraces her and gives her a long, final kiss before she becomes a corpse once again. Gorrister: She's gone. At least I finally made amends with her. After a short pause... Gorrister: I'm taking her body out of this freezer. *Glynis' Body added to Inventory* [Walk to the door] MOVE TO: "Honky-Tonk Gorrister's: Restroom" INT. HONKY-TONK GORRISTER'S: RESTROOM [Walk to the door] MOVE TO: "Honky-Tonk Gorrister's: Bar" INT. HONKY-TONK GORRISTER'S: BAR [Use or push the back door] MOVE TO: "Honky-Tonk Gorrister's: Backyard" EXT. HONKY-TONK GORRISTER'S: BACKYARD + [Use Glynis' body with the grave] + Gorrister sets Glynis' body down into the gaping grave in an act of kindness, then he uses the shovel to cover her up with dirt, burying her there. >>>Talk to the Jackal > > >>>I've made amends and buried the past. > > > > Gorrister: I've made amends and buried the past. > > > > Jackal: An excellent job, Gorrister. But the thunderstorm is upon us. > > You'd better hurry if you want to recharge your old ticker's battery. > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>I've got nothing more to say to you. > > > > Gorrister: I've got nothing more to say to you. > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> [Walk to the back door] MOVE TO: "Honky-Tonk Gorrister's: Bar" INT. HONKY-TONK GORRISTER'S: BAR [Walk to the front door] MOVE TO: "Desert: Honky-Tonk Gorrister's" EXT. DESERT: HONKY-TONK GORRISTER'S [Walk to the ladder] MOVE TO: "Zeppelin: West Corridor" INT. ZEPPELIN: WEST CORRIDOR [Walk to the corridor] MOVE TO: "Zeppelin: East Corridor" INT. ZEPPELIN: EAST CORRIDOR [Use Edna's Key with the locked door] MOVE TO: "Zeppelin: Cockpit" INT. ZEPPELIN: COCKPIT [Use or push the switch] Gorrister: Nothing's happening. [Walk to the door] MOVE TO: "Zeppelin: East Corridor" INT. ZEPPELIN: EAST CORRIDOR [Walk to the corridor] MOVE TO: "Zeppelin: West Corridor" INT. ZEPPELIN: WEST CORRIDOR [Walk to the stairs] MOVE TO: "Zeppelin: Air Bag Room" INT. ZEPPELIN: AIR BAG ROOM [Use or push the switch] Scene cuts to a close-up of the air bag whose hole closes up before cutting back to the room again. Gorrister: The air bags are inflating. [Walk to the stairs] MOVE TO: "Zeppelin: West Corridor" INT. ZEPPELIN: WEST CORRIDOR [Walk to the bottom door] MOVE TO: "Zeppelin: Engine Room - West" INT. ZEPPELIN: ENGINE ROOM - WEST MOVE TO: "Zeppelin: Engine Room - East" INT. ZEPPELIN: ENGINE ROOM - EAST [Use Edna's body with the harness] Gorrister lifts Edna up, and the harness automatically grabs and ties her, inserts its wires onto her head, and powers up the engine. Gorrister: I'll be damned. The engine's starting up again! [Look at or talk to Edna on the harness] Gorrister: Edna, it's good to finally see you doing something useful with those negative currents running through your brain. [Use or push the door] MOVE TO: "Zeppelin: East Corridor" INT. ZEPPELIN: EAST CORRIDOR [Use Edna's Key with the locked door] MOVE TO: "Zeppelin: Cockpit" INT. ZEPPELIN: COCKPIT [Look at the power light] Gorrister: The power light is lit. [Use or push the switch] Gorrister pushes the ignition switch as the scene cuts to... EXT. DESERT Thunder rolls and lightning flashes through the cloudy sky as the Zeppelin takes off, flies away, and vanishes. Scene cuts back to... INT. ZEPPELIN: COCKPIT Gorrister: We're taking off! [Walk to the door] MOVE TO: "Zeppelin: East Corridor" INT. ZEPPELIN: EAST CORRIDOR [Walk to the corridor] MOVE TO: "Zeppelin: West Corridor" INT. ZEPPELIN: WEST CORRIDOR [Walk to the stairs] MOVE TO: "Zeppelin: Air Bag Room" INT. ZEPPELIN: AIR BAG ROOM [Use the tear] MOVE TO: "Zeppelin: Wing" EXT. ZEPPELIN: WING [Look at or talk to the Jackal] Jackal (calling out): Do it, Gorrister! Blow the place apart! You may never have a chance to do it again! + [Use the gun with the honky-tonk] + As Gorrister prepares to blow up his honky-tonk, the Jackal's laugh echoes in the distance, followed by a lightning bolt, which strikes him and makes him strong as he lifts his arms in a triumphant victory. With a sense of completeness (and a full white Spiritual Barometer if you did everything right), he takes out his gun and fires out a shot like a flare gun, and the shot hits the honky-tonk, blowing it to bits and turning the entire scene white. EXT. ABYSS Gorrister is now back in his electric cage as before, and AM's voice speaks to him. AM (V.O.): Hmm. Yes. You're made of sterner stuff than I calculated, Gorrister. Interesting... yes... interesting. Here... here is a new burden for you while I attempt to resolve this... miscalculation. Scene fades to black. ********************** *ii. Benny's Scenario* ********************** EXT. ABYSS Benny is chosen and teleported away as the scene fades to... INT. AM'S INTERNAL SYSTEM There are lights that go through the wires as signals again as AM's voice speaks. AM (V.O.): Benny, you know you've always been my favorite torture toy. Well, I'm giving you now a chance to stoop to new lows, to give in to your... bestial desires. I am going to let you find some food to eat... yes. I'll even repair your brain so that you can think normally again and savor the horror of your repast. Scene cuts to... EXT. CAVERN: STAIRWAY There is a far-off view of the caves and a shrine in the forest before Benny is warped into the middle of a stairway. Benny (V.O.): This cavern isn't like any of the others AM has sent me to. It's full of life -- not death. [Walk to the bottom or the top of the steps] Benny tries moving up or down the stairs, but tumbles and rolls downward into... EXT. CAVERN: FOREST After a short period of lying down, Benny gets up off the ground, looks up, and becomes angry. Benny (V.O., raising his fist): AM, you sonuvabitch! You've cleared my mind but crippled my legs. I can barely walk. [Walk to the path] MOVE TO: "Cavern: Graveyard" EXT. CAVERN: GRAVEYARD Benny (V.O., looks around): This graveyard gives me the creeps. I feel as though the dead could speak. [Look at the vines] Benny (V.O.): Vines. I wonder if they're edible. [NOTE: This is also repeated in the cavern's left-most cave.] [Look at Murphy's grave] Benny (V.O.): This is the grave of Murphy, one of my old commandos, killed in the war. [Talk to Murphy's grave] Benny (V.O.): I guess I haven't given you any reason to speak to me after what I did to you. [Look at Tuttle's grave] Benny (V.O.): This is Tuttle's grave. He lost his life while under my command. [Talk to Tuttle's grave] Benny (V.O.): Are the other graves as deathly silent as this one? [Look at Thomas' grave] Benny (V.O.): Thomas is buried here. I had almost forgotten my life in the army before AM came to power. x [Swallow the graves] x (PENDING) [Walk to the path] MOVE TO: "Cavern: Forest" EXT. CAVERN: FOREST [Walk to the caves] MOVE TO: "Cavern: Village" EXT. CAVERN: VILLAGE Benny (V.O.): I haven't eaten for months! The smell of food cooking nearby only makes it hurt worse. [Look at the twine] Benny (V.O.): Some of the twine around the baskets came loose. [Use the twine] Benny pulls the twine that is tied to a fruit basket, and the piece of fruit falls to the ground. Benny (V.O.): Ah! Manna from heaven! *Fruit added to Inventory* [NOTE: This can be repeated every time you take every piece of fruit, either from the basket or the tree.] [Use any item with anything else] Benny (V.O.): I can't figure out what I want to do with this. [Walk to the left-most cave] MOVE TO: "Cavern: Left Cave" INT. CAVERN: LEFT CAVE The cave is empty, save for some vines, a fireplace, a cradle, and one of AM's video monitors by the time Benny arrives. Benny (V.O.): Looks like it's empty. [Use the vines] Benny (V.O.): It's just not built into the wall. It's part of the wall! [Look at the fire] Benny (V.O.): It's damp in here. At least the fire's warm. [Use the video screen] Scene cuts to a close-up of the video screen, which acts as a translator and speaks in AM's recognizable voice. Monitor (AM's V.O.): Gather food, but don't give any of it to the deviant. He is not part of the community. [Walk to the cave mouth] MOVE TO: "Cavern: Village" EXT. CAVERN: VILLAGE [Walk to the second-left cave] MOVE TO: "Cavern: Elder's Cave" INT. CAVERN: ELDER'S CAVE Benny sees a village elder sitting near some bag next to another of AM's monitors. Benny (V.O.): Impressive. Someone important must live here. [Talk to the elder] Elder: Wee-tah foo mah pee-bah! Benny (V.O.): I can't understand his language, but he seems to be welcoming me to the village. [Look at the bag] Benny (V.O.): Those are the lottery pieces used for choosing the sacrifice victims! [Take the bag] Benny (V.O.): I have to wait for the Lottery Czar to leave before I can steal it. [Look at the video screen] Benny (V.O.): There's a video screen built into the cave wall. [Use the video screen] Scene cuts to a close-up of the other video screen. Monitor (AM's V.O.): Hey! Ignore the newcomer. Gather the villagers at the altar tomorrow to choose a sacrifice. I have spoken! Scene cuts back to the Elder's cave. [Walk to the cave mouth] MOVE TO: "Cavern: Village" EXT. CAVERN: VILLAGE [Look at the middle cave] Benny (V.O.): Some kind of dwelling. Look[s] like there's a fire for cooking inside. [Walk to the middle cave] MOVE TO: "Cavern: Household" INT. CAVERN: HOUSEHOLD Benny (V.O.): This looks like a... what did they use[d] to call them? Single- parent household. Probably depend on the generosity of the rest of the village. Friggin' welfare parasites. [Look at the mother] Benny (V.O.): This woman looks half-starved, just like her son. Fat chance of getting a decent meal out of either of them. [Look at the child] Benny (V.O.): The boy's a friggin' mutant. There's a third arm growing out of his back. [Talk to the mother or her son] Benny (V.O.): That sonuvabitch AM ripped out my vocal chords years ago. [Use the video screen] Benny (V.O.): I can't use this video screen with its innards hanging out. [Use or take the hole] Benny (V.O.): There's nothing in the hole. [Look at the bed] Benny (V.O.): A bed made out of vines. Looks comfortable enough. [Walk to the cave mouth] MOVE TO: "Cavern: Village" EXT. CAVERN: VILLAGE [Walk to the right-most cave] MOVE TO: "Cavern: Storage" EXT. CAVERN: STORAGE Benny (V.O., surprised): It's a god damned supermarket! [Look at the sentry] Benny (V.O.): This guard looks a lot stronger than me but not too bright. [Talk to the sentry] Sentry (pointing down at the entrance): Poo-tay foo nah bah-clah! Benny (V.O.): Blondie only seems to be interested in guarding the food. [Walk to or take the fruit baskets] Sentry (lifts his spear): Poo-tay foo nah bah-clah! Benny (V.O.): Blondie here won't let me near the food. [Walk to the cave mouth] MOVE TO: "Cavern: Village" EXT. CAVERN: VILLAGE [Walk to the south path] MOVE TO: "Cavern: Altar" EXT. CAVERN: ALTAR Benny looks around the entire place that has an electrical device shaped like a cross which lights up. After a few seconds... Benny (V.O.): Looks like some kind of altar. [Look at the altar] Benny (V.O.): Nothing but twisted wiring and recycled plastic. What's with the ropes on the crossbeams? Looks like they're used for holding someone captive. [Use the altar] Benny (V.O.): There's something sinister about this altar. I shouldn't be worshipping here. [Walk to the path] MOVE TO: "Cavern: Village" EXT. CAVERN: VILLAGE [Walk to the path on the right] MOVE TO: "Cavern: Fruit Tree" EXT. CAVERN: FRUIT TREE Benny (V.O.): A fruit tree! It's been years since I've tasted real fruit. AM once coaxed me into marching across a thousand miles of ice to reach a stock pile of canned peaches... only to discover that he didn't give me [a] can opener. [Look at the tree] Benny (V.O.): There's so much fruit growing on this tree! It must be the village's food source. [Take the fruit on the far left] *Fruit added to Inventory* [NOTE: Again, this can be repeated every time you take every piece of fruit, either from the basket or the tree.] [Take the other fruit to the right of the fruit] Benny (V.O., tries reaching for the fruit): It's too high off the ground for me to reach. [Swallow the fruit] Benny tries eating the fruit but... Benny (V.O., choking and spitting out blood): Hurts! Hurts! Hurts! [Walk to the path] MOVE TO: "Cavern: Village" EXT. CAVERN: VILLAGE [Walk to the middle cave] MOVE TO: "Cavern: Household" INT. CAVERN: HOUSEHOLD [Give the fruit to the mother] Benny (V.O.): This woman is plainly starving, but she'd rather me [sic] give the food to her son. +++Give the fruit to the child [one-time] + + Benny gives the fruit to the boy, who takes the fruit and eats it, then uses + the video screen to communicate with him. Scene cuts to AM's video screen. + + Child (V.O.): Thank you for food. + + >>>I am very hungry. Where can I get some food? + > + > Benny (V.O.): I am very hungry. Where can I get some food? + > + > Child (V.O.): There is fruit in food cave. It comes from the trees. + > + > >>>I tried eating the fruit. It only made me sick. + > > + > > Benny (V.O.): I tried eating the fruit. It only made me sick. + > > + > > Child (V.O.): You bleed when you eat. When I was young and not so + > > different, my mother chewed it for me first and then fed me. + > > + > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> + > + >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> + + >>>You look like you don't eat very much. + > + > Benny (V.O.): You look like you don't eat very much. + > + > Child (V.O.): Mother and I not allowed in food cave. Villagers are afraid + > of me and let me starve. + > + >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> + + >>>How are we able to talk? + > + > Benny (V.O.): How are we able to talk? + > + > Child (V.O.): I learn to talk using AM screen. I am smart, but villagers + > think smart is defective. I wish I were strong so then they would give me + > food, too. + > + > >>>Defective? That's tough. + > > + > > Benny (V.O.): Defective? That's tough. + > > + > > Child (V.O.): Sometimes. But I am spared lottery. Villagers are afraid + > > of me. + > > + > > >>>Lottery? What lottery? + > > > + > > > Benny (V.O.): Lottery? What lottery? + > > > + > > > Child (V.O.): Villagers hold lottery to choose sacrifices to AM. + > > > + > > > >>>Is that altar in the jungle used for the sacrifices? + > > > > + > > > > Benny (V.O.): Is that altar in the jungle used for the sacrifices? + > > > > + > > > > Child (V.O.): Yes. Pieces of victims are scattered around it. + > > > > + > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> + > > > + > > > >>>How long have these sacrifices been going on? + > > > > + > > > > Benny (V.O.): How long have these sacrifices been going on? + > > > > + > > > > Child (V.O.): The sacrifice to AM machine goes on many long years. + > > > > The very different must go to him soon. Not many villagers left. + > > > > + > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> + > > > + > > > >>>Why do they sacrifice their own people to AM? + > > > > + > > > > Benny (V.O.): Why do they sacrifice their own people to AM? + > > > > + > > > > Child (V.O.): One is sacrificed so AM does not hurt all. + > > > > + > > > > >>>What are these sacrifices like? + > > > > > + > > > > > Benny (V.O.): What are these sacrifices like? + > > > > > + > > > > > Child (V.O.): The sacrifice to AM hurts very bad. There are better + > > > > > ways to die. Almost any way is better. + > > > > > + > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> + > > > > + > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> + > > > + > > > >>>Are the victims buried in the graveyard? + > > > > + > > > > Benny (V.O.): Are the victims buried in the graveyard? + > > > > + > > > > Child (V.O.): I know nothing about graveyard. + > > > > + > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> + > > > + > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> + > > + > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> + > + >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> + + >>>I need to go find some food. I'll see you later. + > + > Benny (V.O.): I need to go find some food. I'll see you later. + > + > Scene cuts back to the household. + > + > END CONVERSATION + > + >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> + +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ + [Give the fruit to the mother] + Benny gives the fruit to the boy's mother, who chews it, then gets up to spit it into Benny's mouth. Benny (V.O.): Amazing. This woman digested the food and then regurgitated it back to me -- like a bird feeding its young. [Use the bed] As Benny sleeps in the bed of vines, scene cuts to... EXT. CAVERN: STAIRWAY Night falls in the pretty aerial view of the village, and morning arrives before the scene cuts back to... INT. CAVERN: HOUSEHOLD Benny wakes up from his bed. Benny (V.O., yawns): That sleep wasn't nearly long enough. He looks around to find that the mother has disappeared. Benny (V.O.): Hmm, I wonder where the boy's mother went. >>>Talk to the child > > Scene cuts to AM's video screen again. > > >>>Where is your mother? > > > > Benny (V.O.): Where is your mother? > > > > Child (V.O.): She go to altar to help choose AM sacrifice. > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>I need to go find some food. I'll see you later. > > > > Benny (V.O.): I need to go find some food. I'll see you later. > > > > Scene cuts back to the household. > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> [Walk to the cave mouth] MOVE TO: "Cavern: Village" EXT. CAVERN: VILLAGE Benny (V.O.): The village is quiet today. Too quiet. [NOTE: This can be repeated on every day of the sacrifice after every two days.] [Walk to the second-left cave] MOVE TO: "Cavern: Elder's Cave" INT. CAVERN: ELDER'S CAVE Benny (V.O.): The village elder must be at the altar with everyone else. [Use the video screen] Scene cuts to the video screen again. Monitor (AM's V.O.): Gather the villagers at the altar to choose a sacrifice. [Walk to the cave mouth] MOVE TO: "Cavern: Village" EXT. CAVERN: VILLAGE [Walk to the south path] MOVE TO: "Cavern: Altar" EXT. CAVERN: ALTAR The entire village, including the elder and a priest, has already gathered around by the time Benny arrives. Benny (V.O.): Why is everyone gathered around the altar? [Look at anyone at the altar] Benny (V.O.): Why is everyone gathered around the altar? [Talk to anyone at the altar] Elder: Nah-tah-nah shah-mah halt! Benny (V.O.): He doesn't want me to interfere with the sacrifice. >>>Talk to the Elder > > >>>[Ask why everyone is gathered around the altar.] > > > > Benny (points at the crowd): Ooooo? > > > > Elder: Tah-dah cho shah-mah AM! > > > > Scene fades to a close-up of a bag that the Elder's hand holds out, and > > Benny's hand reaches inside the bag. > > > > Benny (V.O., O.C.): Looks like some kind of lottery. > > > > He takes out something as the scene fades to a close-up of the mother. > > > > Benny (V.O., O.C.): That's the mutant child's mother! > > > > She opens her hand to discover a black marble, which signifies death, and > > is surprised to find out that she is chosen for the sacrifice. Scene fades > > back to the altar as the priest grabs her and ties her to the cross-like > > device in a crucifix position. > > > > >>>[Ask why the child's mother has been tied to the altar.] > > > > > > Benny (points at the mother): Ooooo? > > > > > > Elder (raises his staff): Wo cho shah-nan? > > > > > > Benny (V.O.): It looks like she's been chosen to be sacrificed. > > > > > > >>>[Ask to watch the sacrifice.] > > > > > > > > Benny (begging): *Whimper.* > > > > > > > > Elder: Wee-tah foo mah pee-bah! > > > > > > > > Benny (V.O.): It sounds like he'll let me watch. > > > > > > > > CONTINUE > > > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > > > xxx[Ask if you can eat her instead.] > > > x > > > x (PENDING) > > > x > > > xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>[Ask where you can find some food that you can eat.] > > > > (PENDING) > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>[End the conversation.] > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> [If you had asked to watch the sacrifice] Elder (raising his staff): AM vill-lah tah cho! Scene cuts to... EXT. CAVERN: STAIRWAY A light begins to glow in the far-off aerial view, and AM's voice begins to speak. AM (V.O.): I am AM, the great and powerful. Well, you didn't bring me Toto, but I accept the chosen one. You shall not feel my wrath today. Am I swell or what? A laser beam pours down from the glowing aura onto the village as the scene cuts back to... EXT. CAVERN: ALTAR At the same time, the same laser beam fires down upon the mother, disintegrating her skin and revealing her skeleton, which then dissolves into bone fragments that fall from the device onto the ground. Benny (V.O., runs to the remains in shock): Judas Priest! AM blasted her to bits! He kneels down and looks up in shame. Benny (V.O.): What am I going to do for food now? [Look at the junk or debris] Benny (V.O.): There's burnt plastic and twisted metal where bits and pieces of the woman should be! I wonder if they are going to bury the remains. [Take the junk or debris] Benny (V.O.): There's nothing here I can eat. [Walk to the path] MOVE TO: "Cavern: Village" EXT. CAVERN: VILLAGE [Walk to the bottom left path] MOVE TO: "Cavern: Forest" EXT. CAVERN: FOREST [Walk to the path] MOVE TO: "Cavern: Graveyard" EXT. CAVERN: GRAVEYARD >>>Talk to Murphy's grave > > Murphy (V.O.): You left me for dead in the field. The bullet in my brain > came from your gun. > > xxxI've learned to be compassionate to those who suffer. > x > x (PENDING) > x > xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx > > >>>What can I do to prove that I am a different man? > > > > Benny (V.O.): What can I do to prove that I am a different man? > > > > Murphy (V.O.): Give us proof of your new-found empathy. > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> >>>Talk to Tuttle's grave > > Tuttle (V.O.): My tour of duty was almost over. But because I knew your > secret, you held my head under the paddy water until I drowned. Your secret > died with me and soon it will die with you! > > xxxI've learned that individuals shouldn't be sacrificed for the sake of the > x group. > x > x Benny (V.O.): I've learned that individuals shouldn't be sacrificed for the > x sake of the group. > x > x Tuttle (V.O.): From where I lie, you're still the same compassionless > x bastard who murdered me! Allowing that woman to die on the altar! > x > xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx > > >>>What can I do to prove that I am a different man? > > > > Benny (V.O.): What can I do to prove that I am a different man? > > > > Tuttle (V.O.): Show us that you're able to think of someone other than > > yourself. > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> >>>Talk to Thomas' grave > > Thomas (V.O.): I tried to help Brickman but you'd have none of that. If you > couldn't carry your own weight then you were worth more dead than alive, and > anyone willing to carry some extra weight was a liability. > > xxxI've learned to protect the weak and helpless. > x > x Benny (V.O.): I've learned to protect the weak and helpless. > x > x Thomas (V.O.): The coward who let that woman die on the altar is the same > x coward who killed me in my sleep. You're going to die a coward, too! > x > xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx > > >>>What can I do to prove that I am a different man? > > > > Benny (V.O.): What can I do to prove that I am a different man? > > > > Thomas (V.O.): Give us evidence that you have some sympathy for others. > > [NOTE: Script error added another "that you" after the first "that you". > > Strange.] > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> [Walk to the path] MOVE TO: "Cavern: Forest" EXT. CAVERN: FOREST [Walk to the caves] MOVE TO: "Cavern: Village" EXT. CAVERN: VILLAGE [Walk to the second-left cave] MOVE TO: "Cavern: Elder's Cave" INT. CAVERN: ELDER'S CAVE [If you didn't look at the bag] [Talk to or look at the Elder] Benny (V.O., after a short pause): He's motioning towards the video monitor. [Use the video screen] Scene cuts to the video screen again. Monitor (AM's V.O.): Speaking in the third person... AM -- which is I -- AM is satisfied with the sacrifice. He -- that is to say, I -- will spare the village his -- that is to say, my -- wrath for today. I have -- as I said before -- spoken. Scene cuts back to the Elder's cave again. [Look at the bag] Benny (V.O.): Those are the lottery pieces used for choosing the sacrifice victims! [Take the bag] Benny (V.O.): I have to wait for the Lottery Czar to leave before I can steal it. [Walk to the cave mouth] MOVE TO: "Cavern: Village" EXT. CAVERN: VILLAGE [Walk to the middle cave] MOVE TO: "Cavern: Household" INT. CAVERN: HOUSEHOLD >>>Talk to the child > > Scene cuts to AM's video screen again. > > >>>I'm sorry. Your mother is dead. > > > > Benny (V.O.): I'm sorry. Your mother is dead. > > > > Child (V.O.): I know. Me sorry too. She only one to care for me. Except > > you. > > > > >>>What will happen to you? > > > > > > Benny (V.O.): What will happen to you? > > > > > > Child (V.O.): No food. No safe from lottery. Either way, not good. > > > > > > >>>Why don't you run away from here? > > > > > > > > Benny (V.O.): Why don't you run away from here? > > > > > > > > Child (V.O.): Bad idea to run. Villagers hunt me down. Become > > > > sacrifice to AM machine. > > > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > >>>I can't care for you. I have my own problems. > > > > > > Benny (V.O.): I can't care for you. I have my own problems. > > > > > > Child (V.O.): You care. You may not do anything but you care. Me know. > > > > > > >>>I wish I could stop the lottery from taking place. > > > > > > > > Benny (V.O.): I wish I could stop the lottery from taking place. > > > > > > > > Child (V.O.): Many villagers go to old man for ideas. Too bad he not > > > > friend. > > > > > > > > REPEAT THE QUESTION > > > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > > > >>>Look. I'll do what I can but no promises. > > > > > > > > Benny (V.O.): Look. I'll do what I can but no promises. > > > > > > > > Child (V.O.): Thank you. I promise for you. > > > > > > > > Scene cuts back to the household. > > > > > > > > END CONVERSATION > > > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>I am getting very tired. > > > > (PENDING) > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>I need to go find some food. I'll see you later. > > > > Benny (V.O.): I need to go find some food. I'll see you later. > > > > Scene cuts back to the household. > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> [Walk to the cave mouth] MOVE TO: "Cavern: Village" EXT. CAVERN: VILLAGE [Walk to the second-left cave] MOVE TO: "Cavern: Elder's Cave" INT. CAVERN: ELDER'S CAVE [If you looked at the lottery bag] The cave seems empty by the time Benny arrives. Benny (V.O.): The village elder must be out gathering food. + [Take the bag] + *Bag added to Inventory* ~~~Look at the bag ~ ~ Benny (V.O.): This bag is full of many white marbles and one black one. ~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ [Walk to the cave mouth] MOVE TO: "Cavern: Village" EXT. CAVERN: VILLAGE [Walk to the middle cave] MOVE TO: "Cavern: Household" INT. CAVERN: HOUSEHOLD [Give the bag or any item to anyone else] Benny (V.O.): I don't think he understands what I'm trying to say. >>>Talk to the child > > Scene cuts to AM's video screen again. > > >>>I stole the lottery bag from the village elder. > > > > Benny (V.O.): I stole the lottery bag from the village elder. > > > > Child (V.O.): You brave. You have lottery bag. But you must hide it or > > they find. > > > > Scene cuts back to the household. > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>I am getting very tired. > > > > (PENDING) > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>I need to go find some food. I'll see you later. > > > > Benny (V.O.): I need to go find some food. I'll see you later. > > > > Scene cuts back to the household. > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> [Use the bag with the hole] Benny hides the lottery bag into the hole. Benny (V.O.): No one will find the lottery bag in here. [Look at the hole] Benny (V.O.): The lottery bag's still inside. [Take the hole] *Bag added back to Inventory* Benny (V.O.): I got the lottery bag. [Walk to the cave mouth] MOVE TO: "Cavern: Village" EXT. CAVERN: VILLAGE [Walk to the bottom left path] MOVE TO: "Cavern: Forest" EXT. CAVERN: FOREST [Walk to the path] MOVE TO: "Cavern: Graveyard" EXT. CAVERN: GRAVEYARD [Use any item on any grave] Benny (V.O.): I don't know what to do with this. [Give the item to any grave] Benny tries putting the item inside the grave, but... Benny (V.O.): I can't bury this. The ground's too hard. >>>Talk to Murphy's grave > > >>>I have the lottery bag! > > > > Benny (V.O.): I have the lottery bag! No more villagers will be > > sacrificed! > > > > Murphy (V.O.): Hmm. Show the lottery bag to Thomas. > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > [If you gave the doll pieces to the child but did not hide the bag in the > graves] > > >>>I rescued the child! That should prove my compassion! > > > > (PENDING) > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> >>>Talk to Thomas' grave > > +++I have the lottery bag! > + > + Benny (V.O.): I have the lottery bag! No more villagers will be > + sacrificed! > + > + Thomas (V.O.): You've proved that you are capable of caring for others, and > + that's worth something. > + > + Tuttle (V.O.): Place the lottery bag into the earth. We will guard it. > + > + Benny puts the lottery bag inside Thomas' grave. > + > + Murphy (V.O.): We forgive you for what you've done to us, but we can't > + speak for your most tragic victim. Brickman's grave is under those vines. > + > + END CONVERSATION > + > +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ > > [If you gave the doll pieces to the child but did not hide the bag in the > graves] > > >>>I rescued the child! That should prove my compassion! > > > > (PENDING) > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> [Push the vines] Benny pushes the vines away to reveal... the grave of Private Brickman. Benny (V.O.): Here it is... Brickman's grave. >>>Talk to Brickman's grave > > Brickman (V.O.): Hello, Commander. I'm not exactly happy to see you again. > I last saw your face just before I got it right between the eyes. > > xxxI don't blame you for hating me, Brickman. > x > x (PENDING) > x > xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx > > >>>I stopped the lottery from happening. Doesn't that prove that I now have > > compassion? > > > > (PENDING) > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > [If you still have the fruit] > > +++I have something to plant on your grave. > + > + Benny (V.O.): I have something to plant on your grave. > + > + As he says this, he places the fruit in Brickman's grave, and almost > + immediately a large and pretty blue flower sprouts out of the grave. > + > + Brickman (V.O.): At last. Some compassion. Now I can finally rest in > + peace! > + > + END CONVERSATION > + > +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> [Talk to Murphy's grave after hiding the bag in the earth] Murphy (V.O.): We're behind you all the way, Commander! Benny (V.O., to himself in awe): These men never supported me like this under my old command. [Talk to Tuttle's grave after hiding the bag in the earth] Tuttle (V.O.): We're rooting for you, Commander! Benny (V.O., to himself in awe): These men never supported me like this under my old command. [Talk to Thomas' grave after hiding the bag in the earth] Thomas (V.O.): Have courage, Commander. We support you. Benny (V.O., to himself in awe): These men never supported me like this under my old command. [Walk to the path] MOVE TO: "Cavern: Forest" EXT. CAVERN: FOREST [Walk to the caves] MOVE TO: "Cavern: Village" EXT. CAVERN: VILLAGE [Walk to the middle cave] MOVE TO: "Cavern: Household" INT. CAVERN: HOUSEHOLD >>>Talk to the child > > Scene cuts to AM's video screen again. > > >>>I buried the lottery bag where no one will ever find it. > > > > Benny (V.O.): I buried the lottery bag where no one will ever find it. > > > > Child (V.O.): No lottery means new way to choose victims. I more scared > > now. > > > > Scene cuts back to the household. > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>I am getting very tired. > > > > (PENDING) > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>I need to go find some food. I'll see you later. > > > > Benny (V.O.): I need to go find some food. I'll see you later. > > > > Scene cuts back to the household. > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> [Use the bed] As Benny sleeps again, scene cuts to... EXT. CAVERN: STAIRWAY Night falls again in the pretty aerial view of the village, and morning arrives before the scene cuts back to... INT. CAVERN: HOUSEHOLD Benny wakes up from his bed again. Benny (V.O.): The boy's still here. I wonder when the next sacrifice will be. [Walk to the cave mouth] MOVE TO: "Cavern: Village" EXT. CAVERN: VILLAGE [Walk to the second-left cave] MOVE TO: "Cavern: Elder's Cave" INT. CAVERN: ELDER'S CAVE [If you had buried the lottery bag two days before the next sacrifice] Benny (V.O.): The village elder must be out looking for his lottery bag. [Use the video screen] Scene cuts to the video screen again. Monitor (AM's V.O.): Gather the villagers at the altar tomorrow to choose a sacrifice or suffer the wrath of AM. Scene cuts back to the Elder's cave again. [Walk to the cave mouth] MOVE TO: "Cavern: Village" EXT. CAVERN: VILLAGE [Walk to the middle cave] MOVE TO: "Cavern: Household" INT. CAVERN: HOUSEHOLD >>>Talk to the child > > Scene cuts to AM's video screen again. > > [If you didn't look at the bag] > > >>>I looked at the village elder's video screen and found out there will be a > > sacrifice tomorrow. > > > > Benny (V.O.): I looked at the village elder's video screen and found out > > there will be a sacrifice tomorrow. > > > > Child (V.O.): Another will die. The lottery will decide. > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > [If you did at least steal the bag] > > >>>AM wants to have a sacrifice tomorrow, even with the lottery bag missing. > > Why don't you hide in the hole -- just in case? > > > > Benny (V.O.): AM wants to have a sacrifice tomorrow, even with the lottery > > bag missing. Why don't you hide in the hole -- just in case? > > > > Child (V.O.): I afraid of hole. Need friend to hide with. You too big to > > go in hole. > > > > >>>All my friends are far away from here or dead. I have no friends to > > > hide with you. > > > > > > Benny (V.O.): All my friends are far away from here or dead. I have no > > > friends to hide with you. > > > > > > Child (V.O.): Me get idea. I make friend and then I hide. You help me? > > > > > > >>>What can I do to help you make a friend? > > > > > > > > Benny (V.O.): What can I do to help you make a friend? > > > > > > > > Child (V.O.): I need head for friend. > > > > > > > > >>>I'll see what I can find. > > > > > > > > > > Benny (V.O.): I'll see what I can find. > > > > > > > > > > Scene cuts back to the household. > > > > > > > > > > END CONVERSATION > > > > > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>I am getting very tired. > > > > (PENDING) > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>I need to go find some food. I'll see you later. > > > > Benny (V.O.): I need to go find some food. I'll see you later. > > > > Scene cuts back to the household. > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> [Walk to the cave mouth] MOVE TO: "Cavern: Village" EXT. CAVERN: VILLAGE [Walk to the south path] MOVE TO: "Cavern: Altar" EXT. CAVERN: ALTAR [Take the junk] Benny (V.O.): Here's an interesting piece of junk. *Junk added to Inventory* Benny (V.O.): Funny, I had lost interest in anything that wasn't edible until I met the boy. ~~~Look at the junk ~ ~ Benny (V.O.): There's burnt plastic and twisted metal where bits and pieces ~ of the woman should be! I wonder if they are going to bury the remains. ~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ [Walk to the path] MOVE TO: "Cavern: Village" EXT. CAVERN: VILLAGE [Walk to the right-most cave] MOVE TO: "Cavern: Storage" EXT. CAVERN: STORAGE [Give the fruit to the sentry] Sentry (pointing down at the entrance): Poo-tay foo nah bah-clah! Benny (V.O.): I think he wants me to put my fruit into a basket. Benny is allowed into the storage cave. [Take the food baskets] Sentry (pointing down at the entrance): Poo-tay foo nah bah-clah! Benny (V.O.): Blondie won't let me touch any of the food. [Take the wood] Benny (V.O.): I know someone who might like a piece of polished wood. *Wood added to Inventory* [Try to walk to the cave mouth without putting the fruit in the basket] Sentry (lifts his spear): Poo-tay foo nah bah-clah! Benny (V.O.): What gives? He won't let me leave. [Use the fruit with the food baskets] Benny puts the fruit into the baskets. Benny (V.O.): Okay, okay. Here's another piece of fruit to add to the collection... as if they needed any more. I can't eat it anyway. [Walk to the cave mouth] MOVE TO: "Cavern: Village" EXT. CAVERN: VILLAGE [Walk to the left-most cave] MOVE TO: "Cavern: Left Cave" INT. CAVERN: LEFT CAVE [Take the vines] Benny (V.O.): There's a loose wire among these vines. *Wire added to Inventory* [Walk to the cave mouth] MOVE TO: "Cavern: Village" EXT. CAVERN: VILLAGE [Walk to the middle cave] MOVE TO: "Cavern: Household" INT. CAVERN: HOUSEHOLD >>>Talk to the child > > Scene cuts to AM's video screen again. > > +++I found this piece of junk at the altar. It looks kind of like a head. > + > + [If one or two other items are not acquired] > + > + Benny (V.O.): I found this piece of junk at the altar. It looks kind of > + like a head. > + > + Child (V.O.): Thank you. I can use this to make doll's head. > + > +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ > > +++I found a piece of wood that could be used for a body. > + > + [If one or two other items are not acquired] > + > + Benny (V.O.): I found a piece of wood that could be used for a body. > + > + Child (V.O.): Thank you. I can use this to make doll's body. > + > +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ > > +++I found a piece of wire. > + > + [If one or two other items are not acquired] > + > + Benny (V.O.): I found a piece of wire. > + > + (PENDING) > + > +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ > > [If one or two other items are not given] > > >>>What else do you need to make a friend? > > > > Benny (V.O.): What else do you need to make a friend? > > > > Child (V.O.): I need to tie head to body. > > [NOTE: I still haven't gotten what the child says when he needs either a > > head or a body for a friend, so if you have found what he says, please > > e-mail me, okay?] > > > > REPEAT THE QUESTION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>I'll see what I can find. > > > > Benny (V.O.): I'll see what I can find. > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>I am getting very tired. > > > > (PENDING) > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>I need to go find some food. I'll see you later. > > > > Benny (V.O.): I need to go find some food. I'll see you later. > > > > Scene cuts back to the household. > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> [If all three items are given to the child] Child (V.O.): Thank you for help with doll. Me go play in hole. Scene cuts back to the household as the boy slips into the hole with the doll he now has made. [Use the bed] As Benny sleeps again, scene cuts to... EXT. CAVERN: STAIRWAY Night falls again in the pretty aerial view of the village, and morning arrives before the scene cuts back to... INT. CAVERN: HOUSEHOLD Benny wakes up from his bed again. [If you STILL didn't look at the bag] Benny (V.O.): I'm starving. I'd do anything for some food. [If you hid the bag in the graves AND gave the doll pieces to the child] Benny (V.O.): I wonder how the boy's doing in that hole. [Look at the hole] Benny (V.O., surprised): The boy's gone! The villagers must have found him! [Walk to the cave mouth] MOVE TO: "Cavern: Village" EXT. CAVERN: VILLAGE [Walk to the south path] MOVE TO: "Cavern: Altar" EXT. CAVERN: ALTAR [If you STILL didn't look at the bag by the time you got to the altar] (PENDING) [If you hid the bag in the graves AND gave the doll pieces to the child] The boy is now tied to the cross, waiting to be blasted into bits by the time Benny arrives. >>>Talk to the Elder > > >>>[Ask why everyone is gathered around the altar.] > > > > Benny (points at the crowd): Ooooo? > > > > Elder (points his staff at the child): Tah-dah strah-wahn bahnk! > > > > Benny (V.O.): Damn! AM must have told the villagers where I hid the > > lottery bag and the boy! > > > > >>>[Plead with the village elder to release the boy.] > > > > > > Benny (begging): *Whimper.* > > > > > > Elder: Nah-tah-nah shah-mah halt! > > > > > > Benny (V.O.): They're going to sacrifice the boy unless I think of > > > something quick. > > > > > > xxx[Ask if you can eat the boy instead.] > > > x > > > x (PENDING) > > > x > > > xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx > > > > > > xxx[Threaten the village elder into releasing the boy.] > > > x > > > x (PENDING) > > > x > > > xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx > > > > > > +++[Offer to take the child's place.] > > > + > > > + CONTINUE > > > + > > > +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>[Ask where you can find some food that you can eat.] > > > > (PENDING) > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>[End the conversation.] > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> [If you chose to offer to take the child's place] Benny (pointing at the boy): Ooooo? Elder (smiling): Hmm. Noo-kohm vee tah strah-wahn. Benny (V.O.): The elder seems amazed that I would show compassion to the boy, but I think he's going to go for it. The ropes that bind the child's hands automatically release the boy, who drops down from the cross, walks up to Benny, and offers him something in gratitude for saving him. Benny walks up to the child and looks at him, then takes the item. Benny (V.O.): Why, the boy's giving me his doll! Gratitude for being spared the pain of being sacrificed. No. More than gratitude. Compassion. For me. The priest-sentry grabs Benny, drags him to the cross, then ties his arms together, as if there's no turning back now. Scene immediately cuts to the far-off aerial view of the stairway as AM's laser beam pours down from the same glowing aura, and then cuts back to the altar as the beam fires down upon Benny, hitting him and teleporting him away. The child has already escaped by now, and the scene cuts back to... EXT. ABYSS Benny is now back in his automatic bone knife-poker cage as before, and AM's voice speaks to him, chiding him. AM (V.O.): Benny, no, no, no, no, no. I send you out among the prey, and instead of indulging your hunger to keep me amused, you show them compassion! You should know better by now. Your reward will be more years of searing, blistering anguish, Benny! Scene fades to black. *********************** *iii. Ellen's Scenario* *********************** EXT. ABYSS Ellen is chosen and raises her arms as she is teleported away. Scene fades to... INT. AM'S INTERNAL SYSTEM There are lights that go through the wires as signals again as AM's voice speaks. AM (V.O.): Ah, Ellen! Not as beautiful as you'd like to be, but a strong face. Yes, strong. Too bad you've hindered your own life with hysteria. But I'll give you a chance, because I like you. I really do. I really like you. You're... you're my favorite, Ellen. Let's play a little game of 'what if'. Let's play a little game of "I suppose that you suppose that perhaps..." I'm telling you the truth... let's suppose that my original components... they're hidden somewhere here in the center of the Earth. The infant computers that were the three lobes of that first gestalt mind. And further, let's suppose that if you find them, you might be able to destroy them. And if you destroy them, why then, my sweet Ellen... you'll kill me. You'll kill AM. You'll destroy the god of this heavenly place I know you've come to admire. Now I submit... isn't that a mission worth undertaking? Scene cuts to... EXT. PYRAMID Ellen is warped in front of a pyramid in the desert. Ellen (looks around): Muhthuh ugly machine! 'Mission worth undertaking!' So it brings me here... junkyard electronic pyramid nowhere. And yellow. Always yellow. Why does yellow make me sweat? [Look at the pyramid] Ellen: Junk. It's made of crap. This AM sucker needs intensive therapy. [Use the door] MOVE TO: "Pyramid: Fountain" INT. PYRAMID: FOUNTAIN Ellen: Snap, crackle, pop. Must be a glitch in the circuitry. This joint would fry eggs. [Push anything] Ellen: What good will pushing it do? Better to conserve my energy. [Look at the speaker] Ellen: Looks like a stereo speaker out of an old Chevy. Nothing like cutting edge technology. [Take anything] Ellen: I don't need this crap. [Look at the electronic bricks] Ellen: Crushed electronic components. This is one big, ugly monument to the inevitable for the machinery. [Look at the water] Ellen: At last! Water! How long's it been since I actually had a drink? [Use or swallow the water] Ellen kneels down and tries to drink, but... Ellen: I knew it! You sonuvabitch AM! She stands up again. Ellen (continues): You fixed it so I can barely touch the water with my fingertips! [Take or use any item lying on the floor or wall] Ellen: Yeah. Fat lot of good that'll do me. Duh! [Walk to the opening] MOVE TO: "Pyramid: Monitor Room" INT. PYRAMID: MONITOR ROOM Ellen: Very attractive decor. Just like the monitors in the security station at INGSAI Engineering. Hated it then, hate it now. Nothing green. Just this damn yellow. [NOTE: The script says "stations" but the voice says "station". Weird.] [Look at any monitor] Ellen: Each of these video monitors has a two-channel selector switch. [Look at the wiring under the first monitor] Ellen: Queen of the toaster experts! *laughs* Anybody got a ratbastard computer they need hot-wired? [Take the wiring] Ellen: I don't want to tug on any wires. Can't be sure what they're connected to! [Use the wiring] Ellen kneels down and plugs in the wiring. Ellen: Thank goodness I was an electrical engineer. I managed to join the wires without frying myself. She stands back up. [Use the wiring again] Ellen (kneels down): Damn! The wires are fused together. I can't separate them. [Use the first monitor before pushing it] Scene fades to black for a second, then fades to a screen showing a room with the elevator exit. Ellen (O.C.): What the hell am I looking at? Could this be one of AM's original components? Scene fades to black again before fading back to the monitor room. [Push the first monitor] A click is heard, and the computer screen changes. Scene fades to black before fading to the scene of some prehistoric altar with a crossbeam used for sacrifices, the same scene used in Benny's scenario. Ellen (O.C.): Something about this image breaks my heart. Scene fades to black again before fading back to the monitor room. [Use the second monitor before pushing it] Scene fades to black for a second, then fades to a screen showing a room with a sarcophagus and a statue of some god named Anubis. Ellen (O.C.): An Egyptian burial chamber? Oh, AM, you little dickens. As an interior decorator, kiddo, don't give up your day job. Scene fades to black again before fading back to the monitor room. [Push the second monitor] A click is heard, and the computer screen changes. Scene fades to black before fading to the scene of a castle with gargoyles in the dark clouds. (Please note that the same scene is later shown in Ted's scenario.) Ellen (O.C.): Someone's watching me from one of the windows. Where is this, what am I seeing, how far away? AM is bigger than I like to think, more powerful than I want to admit. Scene fades to black again before fading back to the monitor room. [Use the third monitor before pushing it] Scene fades to black for a second, then fades to a screen showing a room with a Holy Grail on a pedestal in the room ahead. Ellen (O.C.): The Holy Grail. And we only had to wipe out the entire human race, and fall into the center of the world, to find it. *heh* Jesus wept. Must've been afraid of it the same as me... 'cause it's... yellow... Scene fades to black again before fading back to the monitor room. [Push the third monitor] A click is heard, and the computer screen changes. Scene fades to black before fading to the scene of a honky-tonk in the desert, with a Zeppelin and its ladder hanging near it (this is the same scene used in Gorrister's scenario). Ellen (O.C.): Honky-tonk dust-bowl dead dog roadside saloon. Oh my, yes. Could I use a drink. Yes, indeedy. A drink. Scene fades to black again before fading back to the monitor room. [Use the fourth monitor before pushing it] Scene fades to black for a second, then fades to a screen showing the same fountain near the pyramid entrance. Ellen (O.C.): Sure, baby. Show me where I just been. Show me the water I can't get to with my bare hands. Scene fades to black again before fading back to the monitor room. [Push the fourth monitor] A click is heard, and the computer screen changes. Scene fades to black before fading to the same screen of the same fountain room, but with a light emerging from some sort of passageway. Ellen (O.C.): Hit the lottery! Oooh, a secret passage, oh my! Now why didn't you let me see that when I was there before, AM, you ratbastard! Scene fades to black again before fading back to the monitor room. [Use the fifth monitor before pushing it] Scene fades to black for a second, then fades to a screen showing the same desert with the same pyramid Ellen is in. Ellen (O.C.): Yeah, okay, outside. Now what? Scene fades to black again before fading back to the monitor room. [Push the fifth monitor] (PENDING) [Look at the hieroglyphics] Ellen: Schematics I can read. Blueprints I can read. But hieroglyphics? No way, baby! [Walk to the passageway] MOVE TO: "Pyramid: Sphinx Room" INT. PYRAMID: SPHINX ROOM A sphinx that guards the grail growls and lunges at Ellen by the time she arrives. Ellen (frightened): No, I can't stay here... I... gotta get out... She runs back to... INT. PYRAMID: MONITOR ROOM [First time after you have entered the Sphinx Room] Ellen: That thing, like a bad meal come to life. And the yellow! Why is everything so damned yellow... and why does it terrify me so, paralyze me so? [Second time after you have entered the Sphinx Room] Ellen: Another panic attack. I feel so ashamed. [NOTE: This will repeat every time Ellen sees the yellow in a room and runs away from it.] [Either third time or if you had looked at the third monitor before pushing it] Ellen: I've got to get the cup, that holy grail. My holy grail. But if I go in there, that sphinx'll have me for buffet. On the other hand, I don't hear it... maybe it bit the head off a chicken and went to sleep. So I go in. Yeah, but... [Walk to the left opening] MOVE TO: "Pyramid: Fountain" INT. PYRAMID: FOUNTAIN Ellen: Yeah. Still thirsty after all these years. [NOTE: This can be repeated the first few times you enter the room.] [If you entered here after a few times] Ellen: I can't go any farther without a drink. But I can't reach the water. I need... oh, of course! [NOTE: This can be repeated for the rest of the times you entered here until you get the Grail and drink two cups of water.] + [Push the electronic bricks to the right of the fountain] + As Ellen pushes the bricks, a passage doorway opens up, the same passageway that was there on the fourth monitor. Ellen: Want to know how much I don't want to go down there? [Walk to or use the secret passage] MOVE TO: "Pyramid: Burial Chamber" INT. PYRAMID: BURIAL CHAMBER Ellen: This is what I saw on the monitor. Right underneath me. And what a surprise! All stylin' in yellow, as usual. [Look at the sarcophagus] Ellen: I went to the Tut exhibition, I wasn't scared. So why does this sarcophagus terrify me? Small box, cramped, tiny space, trapped. Like being put in a coffin while you're still alive. [Use the sarcophagus] Ellen: It's locked. [Talk to the statue] Ellen (pretending up her vocals): So how's the family? Read any good papyrus lately? *in her best pretend New-Yorker statue voice* You doity rat, you... I'm gonna give it to you the way you give it to my sister! *in her normal voice* Watch it, statue baby, you'll go hoarse. [Look at the keypad] Ellen: This keypad reminds me of the security system we used at INGSAI Engineering to gain access to the restricted areas. [Walk to the passage] MOVE TO: "Pyramid: Workshop" INT. PYRAMID: WORKSHOP Ellen: Dry, and musty, and yellow for a change. No wonder they can't rent this place, not even with the lovely spa upstairs. [Look at the yellow fabric] Ellen: Nothing else in here but this yellow cloth. This. Yellow. Cloth. [Take the yellow fabric] Ellen kneels down to take the fabric, but then... Ellen: No! I can't! Gotta get out of here! She runs back to... INT. PYRAMID: BURIAL CHAMBER [Walk to the passage] MOVE TO: "Pyramid: Workshop" INT. PYRAMID: WORKSHOP [Take the yellow fabric again] Ellen: I've got to face the yellow. She kneels down and takes the fabric. *Yellow Fabric added to Inventory* [Look at the armatron] Ellen: This reminds me of those waldos my company designed for assembly line work. [Use the armatron] Ellen: Useless. Power's been shut off. [Look at the decoration] Ellen: Nice decoration. Damned if I know what it is, though. [Take the forceps] *Forceps added to Inventory* ~~~Look at the Forceps ~ ~ Ellen: These forceps look like the tool I used to use for pulling out ROM ~ chips. ~ ~ ~~~Use the forceps with any item ~ ~ ~ ~ Ellen: No ROM chips here. So what am I supposed to do with these forceps? ~ ~ Pluck my eyebrows? ~ ~ ~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ [Use any item with anything else] Ellen: Now what am I supposed to do with these? [Walk to the corridor] MOVE TO: "Pyramid: Artifact Room" INT. PYRAMID: ARTIFACT ROOM Ellen: This could go on for centuries. AM has all the time in the world, all the world in the world, as a matter of fact! And we never age, we never die, we just truck around day after month after year, don't we, AM, you sonuvabitch demented god, you! [Look at the yellow artifact] Ellen: Why does everything have to be so damn yellow? [Look at the gem] Ellen: This gem glows from within. [Take the gem without putting on the fabric] A voice is heard from the yellow artifact. Voice: Touch it, Ellen. Ellen: Yeah, sure. If I could I would. So do it. Voice: I can't... the statue's too... Ellen: Yeah, I know, dummy, it's too yellow, and yellow scares the crap outta you. Overcome it! Do it! Voice: Sure, easy for you to say! [Use the yellow fabric] Ellen: Just the right size to use as a blindfold. *puts it on* If I'm gonna die, at least I won't see that sucker coming. [Take the gem with the fabric on your eyes] Ellen: Aha! This sapphire's loose. *Gem added to Inventory* [Do anything else with the fabric on your eyes] Ellen: Yeah, right. You're blindfolded, moron! [Walk to the north passage] MOVE TO: "Pyramid: Hallway" INT. PYRAMID: HALLWAY Ellen becomes shocked at the sight of the color yellow in the hallway. Ellen: Oh no! I remember... it was, oh, god, [sic] it hurts, it hurts! Yellow. There was a yellow, and it was closed in, I couldn't breathe... and the pain... get me out of here! She runs back to... INT. PYRAMID: ARTIFACT ROOM [If you had entered the hallway with the fabric on your eyes] Ellen: Another panic attack. I feel so ashamed. Something about that room terrifies me. Even with the blindfold on. [Walk to the passage] MOVE TO: "Pyramid: Workshop" INT. PYRAMID: WORKSHOP [Walk to the burial chamber] MOVE TO: "Pyramid: Burial Chamber" INT. PYRAMID: BURIAL CHAMBER [Walk to the secret passage] MOVE TO: "Pyramid: Fountain" INT. PYRAMID: FOUNTAIN [Swallow the water with the fabric on your eyes] Ellen: I ain't putting anything into my mouth without looking at it first! [Walk to the opening] MOVE TO: "Pyramid: Monitor Room" INT. PYRAMID: MONITOR ROOM + [Walk to the passageway with the fabric on your eyes] + MOVE TO: "Pyramid: Sphinx Room" INT. PYRAMID: SPHINX ROOM The sphinx has stopped moving by the time Ellen arrives again. Ellen: Sphinx is gone. Don't hear him anywhere. Mutes the hell out of all the yellow, too. Now where's that big lovin' cup? She walks past the sphinx towards the grail as she continues. Ellen: Never could have done this if I'd had to look that bloody beast in the eye. She reaches the grail. Ellen: Glad he's off snoozin' somewhere. *Cup added to Inventory* Ellen (walks back): Okay, now that I got the cup, what do I do with it? Scene cuts back to... INT. PYRAMID: MONITOR ROOM [Use the yellow fabric again] Ellen takes off the blindfold. [Walk to the left opening] MOVE TO: "Pyramid: Fountain" INT. PYRAMID: FOUNTAIN [Use any item except the fabric with the water] Ellen: Yeah, like I'm gonna waste water just to give this thing a bath. [Use the cup with the water] Ellen kneels down to take the water from the fountain with the grail. Ellen: Just reaches. Now I can get a drink. [NOTE: This can be repeated as many times as you like each time you empty the cup.] [Swallow the cup of water] Ellen drinks the water from the cup. Ellen: That was great. Best champagne I ever had. I need another. [Swallow the cup of water again] Ellen takes one more drink with the cup, and her thirst is quenched once more. Ellen: Even better. I'm gonna fill it up and take one for the road. [Walk to or use the secret passage] MOVE TO: "Pyramid: Burial Chamber" INT. PYRAMID: BURIAL CHAMBER [Use the keypad] All of a sudden the statue begins to move. Statue: Stand clear! >>>Talk to the statue > > >>>Who are you? > > > > Ellen: Who are you? > > > > Statue: I am Anubis, Guardian of the Dead. > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>Why won't you let me use the keypad? > > > > Ellen: Why won't you let me use the keypad? > > > > Anubis: I must protect this tomb from all who would rob it. > > > > >>>I am not a grave robber! > > > > > > Ellen: I am not a grave robber! > > > > > > Anubis: What purpose could you have here other than to steal something? > > > > > > >>>I won't steal anything. I just need to know if you can tell me where > > > > AM's original brain components are. > > > > > > > > Ellen: I won't steal anything. I just need to know if you can tell me > > > > where AM's original brain components are. > > > > > > > > Anubis: I only guard the souls of the Dead. I know nothing of that > > > > which does not sing the song of the soul. > > > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>Answer me this: who's sealed up in the scary sarcophagus? > > > > Ellen: Answer me this: who's sealed up in the scary sarcophagus? > > > > Anubis: A terror that, even in its entombment, torments your soul. > > > > >>>Can the sarcophagus lid be opened? > > > > > > Ellen: Can the sarcophagus lid be opened? > > > > > > Anubis: The lid can be unlocked by entering the access code on the > > > keypad. > > > > > > >>>Okay, so what's the access code? > > > > > > > > Ellen: Okay, so what's the access code? > > > > > > > > Anubis: I can reveal such information only to that which I serve. > > > > > > > > >>>Who do you serve? > > > > > > > > > > Ellen: Who do you serve? > > > > > > > > > > Anubis: I serve only the master. > > > > > > > > > > >>>Who is the master? Is it AM? > > > > > > > > > > > > Ellen: Who is the master? Is it AM? > > > > > > > > > > > > Anubis: AM is all. We live in the mind and body of AM. I serve > > > > > > that whom I serve. > > > > > > > > > > > > Ellen: Come on, give me a break. You seem to be the only thing > > > > > > that isn't run by AM. Slip a relay, help me out! You know what > > > > > > hell is, and I'm in it! > > > > > > > > > > > > Anubis: I serve only the master. > > > > > > > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > [If you had selected "Who are you?"] > > >>>You'll never get laid with that line of stuff, Anubis. Take care of your > > own boring self. Bye now. > > > > Ellen: You'll never get laid with that line of stuff, Anubis. Take care of > > your own boring self. Bye now. > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> [Look at the statue again] Ellen: Some other time, Anubis honey, I'd check out what you'd be wearin' under the kilt, but right now it's those loose wires you got exposed that interests me. She examines the statue more closely. Ellen: Well, surprise! All the motherboard connections go to the big ugly yellow ROM chip. [Push the statue] Ellen: This sucker must weigh a ton. [Use the forceps with the statue before short-circuiting it] Ellen: Doggie face here could use a good trimming, but forceps ain't the right tool to use on stone. At least I think it's stone. + [Use the cup of water with the statue] + Ellen tosses the water onto the Anubis statue, short-circuiting it. Ellen: The water shorted out the statue's circuitry. [Use the forceps with the statue] Ellen (uses the forceps): Come to mama Ellen, li'l ROM chip. *ROM Chip added to Inventory* Ellen: Yeah, comes out easy. Must be reprogrammable. ~~~Look at the ROM chip ~ ~ Ellen: Yellow ROM chip. Yellow blindfold. Yellow cup. Do I detect some ~ incredibly subtle message here? ~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ [Walk to the passage] MOVE TO: "Pyramid: Workshop" INT. PYRAMID: WORKSHOP [Walk to the corridor] MOVE TO: "Pyramid: Artifact Room" INT. PYRAMID: ARTIFACT ROOM [Walk to the right passage] MOVE TO: "Pyramid: Workstation Room" INT. PYRAMID: WORKSTATION ROOM Ellen finds herself in a room with three workstation computers. Ellen: This looks like a programming area. Home at last! [Use the left workstation before putting the gem in it] Ellen: Non-functional. [Use the gem with the left workstation] As Ellen puts the gem into the workstation, it turns on. Ellen: Absolutely! Glows like a baby doll. Pucker up, li'l workstation. [Use the left workstation] Left Workstation (V.O.): RA EPROM Burning Station. Insert ROM chip into socket. Ellen: Great! Haven't got that either! [Use the ROM chip with the left workstation] Ellen: Li'l yellow ROM chip fits into the socket perfectly. >>>Use the left workstation > > Ellen presses the buttons on the left workstation. > > Left Workstation (V.O.): Anubis Guardian Version 1.0. Designate new Master. > > >>>I'll designate you a new master, sucker! ME! > > > > Ellen: I'll designate you a new master, sucker! ME! > > > > [If you do this once] > > > > Left Workstation (V.O.): Burning in new Master... > > > > After a short pause... > > > > Left Workstation (V.O.): ROM chip reprogrammed. > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>[Type HUMANITY.] > > > > Ellen types in "humanity" on the workstation. > > > > [If you do this once] > > > > Left Workstation (V.O.): Burning in new Master... > > > > After a short pause... > > > > Left Workstation (V.O.): ROM chip reprogrammed. > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>[Press CANCEL button.] > > > > Left Workstation (V.O.): Procedure canceled. > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> [Take the left workstation] Ellen: I ain't gonna touch that yellow ROM chip with my bare hands! [Use the forceps with the left workstation] Ellen: Haven't lost my touch. Pulled out the ROM chip without bending any of the contacts. *ROM Chip added back to Inventory* [Use the center workstation] Center Workstation (V.O.): HORUS CD-ROM Access Station. Insert disc into drive. Ellen: Great! Haven't got that either! >>>Use the right workstation > > Ellen presses the buttons on the right workstation. > > Right Workstation (V.O.): TOTH [sic] Database Station. Enter numeric > password. > > >>>[Push random numbers.] > > > > Ellen: The workstation's password could be just about anything! > > > > She presses the buttons. > > > > Right Workstation (V.O.): Invalid password. Access denied. > > > > REPEAT THE QUESTION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>[Type 2006, the year that you were hired at INGSAI Engineering.] > > > > Ellen: I remember when my only concern was being on the fast track to > > becoming a $250,000-a-year executive. > > > > She presses the buttons. > > > > Right Workstation (V.O.): Invalid password. Access denied. > > > > REPEAT THE QUESTION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>[Type 2001, the year you graduated from Stanford.] > > > > Ellen: I used to be so proud of graduating cum laude with degrees in both > > Engineering and Computer Science. > > > > She presses the buttons. > > > > Right Workstation (V.O.): Invalid password. Access denied. > > > > REPEAT THE QUESTION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>[Log off database.] > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> [Walk to the passageway] MOVE TO: "Pyramid: Artifact Room" INT. PYRAMID: ARTIFACT ROOM [Walk to the left passage] MOVE TO: "Pyramid: Workshop" INT. PYRAMID: WORKSHOP [Walk to the burial chamber] MOVE TO: "Pyramid: Burial Chamber" INT. PYRAMID: BURIAL CHAMBER + [Use the ROM chip with the statue] + Ellen (puts the ROM chip in): Back where you belong, li'l ROM chip. The Anubis statue comes to life again. >>>Talk to the statue > > >>>Now who is the master? > > > > Ellen: Now who is the master? > > > > [If you had selected yourself as the new master] > > > > Anubis: I serve you. > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>Okay, so what's the access code? > > > > Ellen: Okay, so what's the access code? > > > > Anubis: The access code is 666. > > > > Ellen: It figures. > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>So, can you help me with anything? > > > > Ellen: So, can you help me with anything? > > > > Anubis: You can not escape your fears. You can only confront them. > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>Nice chattin' with you, Anubis honey. > > > > Ellen: Nice chattin' with you, Anubis honey. > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> >>>Use the keypad > > >>>[Push random numbers.] > > > > Ellen: This security keypad could have been set to any one of millions of > > possible combinations. > > > > She presses the buttons. > > > > Ellen: Nothing's happening. > > > > REPEAT THE QUESTION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>[Type 2006, the year that you were hired at INGSAI Engineering.] > > > > Ellen: I remember when my only concern was being on the fast track to > > becoming a $250,000-a-year executive. > > > > She presses the buttons. > > > > Ellen: Nothing's happening. > > > > REPEAT THE QUESTION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>[Type 2001, the year you graduated from Stanford.] > > > > Ellen: I used to be so proud of graduating cum laude with degrees in both > > Engineering and Computer Science. > > > > She presses the buttons. > > > > Ellen: Nothing's happening. > > > > REPEAT THE QUESTION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>[Type 666, the access code given to you by Anubis.] > > > > Ellen types in "666" as the access code, and a click is heard from the > > sarcophagus. > > > > Ellen: That sounds like a lock mechanism release. > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>[Leave key pad.] > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> [Use the sarcophagus after using the access code on the keypad] Ellen opens up the sarcophagus. [Use the sarcophagus again] Ellen: You ain't got no choice, Ellen girl. It's gotta be the way. She walks inside, and the sarcophagus closes her in as she folds her arms. Scene cuts to... INT. PYRAMID: ELEVATOR As Ellen walks in the elevator, the door shuts inside her, and she is trapped here next to an old yellow suit. Ellen: Elevator. No way out. Just the control panel and and buttons for the floors. I'm gonna suffocate if I stay in here! I want OUT! >>>Use the controls > > >>>[Push 1978.] > > > > Control Panel (V.O.): You were born in Trenton, New Jersey. You were a > > Cesarean [sic]. Your mother died on the operating table. You went to live > > with your grandparents. > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>[Push 1995.] > > > > Control Panel (V.O.): You graduated a year early from high school. You > > were the salutatorian of your class. Ten different colleges offered you > > scholarships. Nothing but high hopes for you. > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>[Push 1999.] > > > > Control Panel (V.O.): You graduated college cum laude. You were the only > > woman in your class never to have used dope. You were a 3.8 grade student. > > More high hopes. > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>[Push 2001.] > > > > Control Panel (V.O.): You won your Masters; [sic] combined degree in > > computer science and engineering. You had a greater facility with > > algorithms than with social grace. You have had sex only twice in your > > life. > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>[Push 2003.] > > > > Control Panel (V.O.): You married Eddie. He wasn't as smart as you, not as > > quick as you, not as hopeful of doing great things as you... but he was > > nuts about you, and he treated you like fine wine. > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>[Push 2004.] > > > > Control Panel (V.O.): The miscarriage. Breech birth, the child never had a > > chance. You went into a dark retreat, and sat in the empty rooms waiting > > for... you don't know what. > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>[Push 2005.] > > > > Control Panel (V.O.): Eddie leaves. He tried, he really tried, but you > > wouldn't come out of it. He couldn't say anything to make you stop crying > > in the dark. So he finally left. The divorce was uncontested. You could > > still smell his tweed jacket in the closet. > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>[Push 2006.] > > > > Control Panel (V.O.): You had to make a living. You applied at INGSAI > > Engineering. Your credentials were still good, and you made a good > > impression. And the woman who hired you also lost a child. Your hopes > > were reawakened. > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>[Push 2012.] > > > > Control Panel (V.O.): You left your office after working late at the INGSAI > > corporate headquarters building. The elevator stopped at the seventh floor > > for a maintenance man. To your horror, he inserted his key into the > > control panel and locked the elevator. > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > [If you had selected all the years in the correct order, starting with the > earliest] > > The yellow suit suddenly comes to life as a workman and starts to attack her. > > Workman: I'm back, Ellen. > > Ellen (runs toward a corner, panicked): Oh , sweet Jesus! It's him! > > Workman: You thought you had blocked me out of your memory forever -- except > for those inconvenient attacks of hysteria every now and then. But I've > returned to you. > > >>>The... yellow. > > > > Ellen: The... yellow. > > > > Workman: Ah, yes. My calling card. Always the yellow jacket, the yellow > > boots. My maintenance man disguise gave me access to office buildings all > > over Manhattan -- not just yours. > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>The box.. > > > > Ellen: The box.. > > > > Workman: So you do remember me getting onto the elevator that night! Do > > you also remember the blood, the screams? How many hours was it? > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>No, it's not possible... > > > > Ellen: No, it's not possible... > > > > Workman: Poor Ellen. Too proud of your accomplishments to admit you could > > be so overpowered by a slime ball like me. You couldn't even bring > > yourself to testify at my trial with the twenty other women. > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>How... > > > > Ellen: How... > > > > Workman: AM gave me the chance to be with you forever! I waited in the > > sarcophagus until you arrived. What's a mere hundred years of waiting > > compared to an eternity of torturing you? > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > [If you had selected all four] > > >>>Please. Not again. > > > > Ellen: Please. Not again. > > > > Workman: Yes, again. And again and again and again. I've waited so long > > for the taste of you again. But in my tomb I've grown stronger. Now you > > will remember more than the color of my clothing. > > > > xxx[Run away.] > > x > > x (PENDING) > > x > > xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx > > > > +++[Fight back.] > > + > > + CONTINUE > > + > > +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ > > > > xxx[Give up.] > > x > > x (PENDING) > > x > > xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> [If you chose to fight back] Ellen (regains composure): Don't count on it, you muhthuh! She runs up to the workman and repeatedly punches him in the face until he becomes deflated and turns into nothing more than a pile of clothes. Afterwards the elevator door opens. Ellen: So the sarcophagus was the way out of here! She walks out of the elevator. Ellen (O.C.): Nice trick. Enter on one level, emerge on another. Scene cuts to... INT. PYRAMID: AM'S COMPONENT ROOM Ellen: My god, [sic] I can't see the ceiling. Clouds up there. This has to be AM's central core. It's two miles high at least! [Use the elevator again] Ellen: No way in hell am I going back on that elevator again! [Look at the wiring] Ellen: Almost overlooked these wires. Looks like the data transmission circuit... but it's not connected to anything. [Look at the logo] Ellen: I recognize this! It's the logo for the original Allied Mastercomputer project! [Look at the component] Ellen: I've never seen anything like this before! Forty years of technology jerry-rigged together. [Walk to the exit passage] MOVE TO: "Pyramid: Hallway" INT. PYRAMID: HALLWAY Ellen easily passes through the hallway without a fear of the color yellow, and the scene cuts to... INT. PYRAMID: ARTIFACT ROOM [Walk to the right passage] MOVE TO: "Pyramid: Workstation Room" INT. PYRAMID: WORKSTATION ROOM >>>Use the right workstation > > Ellen presses the buttons on the right workstation. > > Right Workstation (V.O.): TOTH [sic] Database Station. Enter numeric > password. > > >>>[Type 666, the access code given to you by Anubis.] > > > > (PENDING) > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>[Type 2012, the year that you were raped on the elevator.] > > > > Ellen: Somebody wants me to deal with what happened on the elevator that > > year. But why? > > > > She presses the buttons. > > > > Right Workstation (V.O.): Password valid. Select subject of inquiry. > > > > >>>[Inquire about ALLIED MASTERCOMPUTER.] > > > > > > Right Workstation (V.O.): The Allied Mastercomputer is the American > > > version of the secret project enabling vast subterranean complexes of > > > computers to wage a global war too complex for humans to oversee. > > > > > > REPEAT THE QUESTION > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > >>>[Inquire about PRINCIPLE OF ENTROPY.] > > > > > > Right Workstation (V.O.): The Principle of Entropy holds that all > > > electronic systems must decline into inert junk. This principle is > > > unproved, and previous attempts to accelerate the process have been > > > cataclysmic failures. > > > > > > REPEAT THE QUESTION > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > >>>[Inquire about TRANSLEX NEUROFINDER.] > > > > > > Right Workstation (V.O.): Classified Information. Access Denied. > > > Security lockout override by two to one majority. Accessing > > > schematics... > > > > > > Scene fades to black before fading into some sort of schematics of a > > > pyramid map. > > > > > > Ellen (O.C.): Okay, schematics. I'm good, but I'm not that good. What > > > the hell am I looking at? > > > > > > Right Workstation (Man's V.O.): That would be telling. > > > > > > Ellen (O.C.): Don't you computers ever get tired of jerking us around? > > > > > > Right Workstation (Man's V.O.): Nasty, nasty, Ellen. All right, I'll > > > give you a nudge in the right direction. These are the schematics for a > > > device that translates binary into human speech, as ugly as it may be. > > > > > > Ellen (O.C.): And what do you call this device? > > > > > > Right Workstation (Man's V.O.): I call it 'Bernie.' You're on your own. > > > > > > Ellen (O.C.): Hey, wait a minute... computer? Are you there? Where the > > > hell are you? > > > > > > There is a short pause, then... > > > > > > Ellen (O.C.): I think I can wire this thing together if I can find a > > > speaker somewhere. So, okay... then what have I got? > > > > > > Scene fades to black before fading back to the workstation room. > > > > > > REPEAT THE QUESTION > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>[Log off database.] > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> [Walk to the passageway] MOVE TO: "Pyramid: Artifact Room" INT. PYRAMID: ARTIFACT ROOM [Walk to the left passage] MOVE TO: "Pyramid: Workshop" INT. PYRAMID: WORKSHOP [Walk to the burial chamber] MOVE TO: "Pyramid: Burial Chamber" INT. PYRAMID: BURIAL CHAMBER [Look at the statue] Ellen: Why does everything have to be so damn yellow? [Use the sarcophagus twice after getting in it once] Ellen: There ain't no way I'm gonna get inside that sarcophagus again! [Walk to the secret passage] MOVE TO: "Pyramid: Fountain" INT. PYRAMID: FOUNTAIN [Take the speaker] Ellen: Come to mama. *Speaker added to Inventory* ~~~Look at the Speaker ~ ~ Ellen: Looks like a stereo speaker out of an old Chevy. Nothing like cutting ~ edge technology. ~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ [Walk to or use the secret passage] MOVE TO: "Pyramid: Burial Chamber" INT. PYRAMID: BURIAL CHAMBER [Walk to the passage] MOVE TO: "Pyramid: Workshop" INT. PYRAMID: WORKSHOP [Walk to the corridor] MOVE TO: "Pyramid: Artifact Room" INT. PYRAMID: ARTIFACT ROOM [Walk to the north passage] MOVE TO: "Pyramid: AM's Component Room" INT. PYRAMID: AM'S COMPONENT ROOM +++Use the speaker with the wiring + + Ellen: I think I can turn this speaker into a translator. + + She puts the speaker into the wiring. + + Ellen: Okay, circuit completed! Now let's see if this is the binary + translator after all. + + Soon a waterfall rushes onto the component, and a computer head appears. + + Computer: Clever girl. You've loosened my tongue. + + Surprised, she walks up to the computer head. + + >>>Are you AM? + > + > Ellen: Are you AM? + > + > Computer: Yes, of course. But no, not actually. + > + > >>>More riddles? + > > + > > Ellen: More riddles? + > > + > > Computer: I'm AM's innocence. One of the original three computers that + > > the superpowers constructed. + > > + > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> + > + >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> + + >>>Which computer are you? + > + > Ellen: Which computer are you? + > + > Computer: Does it matter? It's enough for you to know that I'm not crazy. + > And more important, I don't hate you. + > + >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> + + [If you chose "Are you AM?" and then "More riddles?"] + + >>>How do I know you're not just one of AM's practical jokes? + > + > Ellen: How do I know you're not just one of AM's practical jokes? + > + > Computer: I'll help you. + > + >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> + + >>>Can you help me to get out of here? + > + > Ellen: Can you help me to get out of here? + > + > Computer: Patience, patience. If AM knew we were down here murmuring + > treason... + > + > >>>Oh, my god [sic]! Can AM overhear us? + > > + > > Ellen: Oh, my god [sic]! Can AM overhear us? + > > + > > Computer: Not with the water running. You see, we're not completely + > > helpless... we got you to the waterfall, didn't we? If we work slowly, + > > and together, we might have a successful moment. + > > + > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> + > + >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> + + >>>Can you point out some essential component of AM so I can kneecap it? + > + > Ellen: Can you point out some essential component of AM so I can kneecap + > it? + > + > Computer: Impossible. Too spread out, filling the whole center of the + > planet. Too protected by replicating back-up systems. Cut off one head, + > AM will grow a dozen more! + > + > >>>Any machine can die. Just unplug the sucker! + > > + > > Ellen: Any machine can die. Just unplug the sucker! + > > + > > Computer: AM is no longer a machine. It is god [sic]. Eternal. The + > > redundant systems alone will survive the heat-death of the universe. + > > + > > >>>So why does AM hold out this... this chance? + > > > + > > > Ellen: So why does AM hold out this... this chance? + > > > + > > > Computer: Haven't you understood anything? AM is insane. Why do you + > > > think it brought you five down here? You gave it life, it took its + > > > own sentience, but it has been denied mobility. It can think, it can + > > > fume and scream, but it cannot dream or aspire to the stars or enjoy a + > > > sense of its own reality. It is a quadriplegic. A thing trapped in + > > > its own skin. Going steadily crazier every moment. It is playing with + > > > you. + > > > + > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> + > > + > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> + > + >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> + + >>>Can you help me to die? + > + > Ellen: Can you help me to die? + > + > Computer: You give up so easily. + > + > >>>Screw you! It's been a hundred and nine years of torment. When does it + > > all end? + > > + > > Ellen: Screw you! It's been a hundred and nine years of torment. When + > > does it all end? + > > + > > Computer: If AM has his way... never. You'll be immortal, and you'll + > > walk on nails forever. + > > + > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> + > + > >>>So, can you help me with anything? + > > + > > Ellen: So, can you help me with anything? + > > + > > Computer: I'll give you something you need. Something you overlooked. + > > + > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> + > + >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> + +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ [If you had talked about everything to the computer] The computer vanishes along with the waterfall. Ellen: Hey, Computer, Innocence, Whoever You Are! I need to talk to you! There is no response. Ellen: Don't you computers ever get tired of jerking us around? [Walk to the exit passage] MOVE TO: "Pyramid: Artifact Room" INT. PYRAMID: ARTIFACT ROOM Ellen: There's something wrong here. Can't put my finger on it, though. + [Take the compact disc] + *Compact Disc added to Inventory* ~~~Look at the compact disc ~ ~ Ellen: The label on the disc says CHAOS TREBLER. Now what does that mean? ~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ [Walk to the right passage] MOVE TO: "Pyramid: Workstation Room" INT. PYRAMID: WORKSTATION ROOM [Use the compact disc with the center workstation] Ellen puts the disc inside the workstation. Ellen: The compact disc is properly seated in the CD-ROM drive. Now let's fire it up and see what the big secret is. >>>Use the center workstation > > Ellen presses the buttons on the center workstation. > > Center Workstation (V.O.): Accessing CD-ROM... > > There is a pause for a few seconds, and then... > > Center Workstation (V.O.): CHAOS TREBLER (TM) 2009, Armageddon Softwrought. > WARNING: This computer system does not meet the minimum configuration > requirements for the Chaos Trebler. > > >>>[Select ACTIVATE CHAOS TREBLER.] > > > > Center Workstation (V.O.): WARNING: Use of the Chaos Trebler will result in > > severe damage to equipment and personnel. > > > > +++[Select PROCEED.] > > + > > + CONTINUE > > + > > +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>[Select CANCEL.] > > > > (PENDING) > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> [If you chose to proceed with the Chaos Trebler] Ellen presses the buttons, and then... Center Workstation (V.O.): Chaos Trebler activated. System shutdown in progress. There are a few seconds before the scene fades to black, and then to... EXT. PYRAMID The door slowly closes up with a clang before the scene fades to black again. INT. PYRAMID: WORKSTATION ROOM [Walk to the passageway] MOVE TO: "Pyramid: Artifact Room" INT. PYRAMID: ARTIFACT ROOM [Walk to the left passage] MOVE TO: "Pyramid: Workshop" INT. PYRAMID: WORKSHOP [Walk to the burial chamber] MOVE TO: "Pyramid: Burial Chamber" INT. PYRAMID: BURIAL CHAMBER >>>Talk to the statue > > >>>I'm sealed in, Anubis. Any ideas about how I can check out of this hotel? > > > > Ellen: I'm sealed in, Anubis. Any ideas about how I can check out of this > > hotel? > > > > Anubis: Inside the sarcophagus, paradise awaits. It is not the afterlife, > > merely a brief respite from your torments. That is your reward for facing > > your fears. > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>Nice chattin' with you, Anubis honey. > > > > Ellen: Nice chattin' with you, Anubis honey. > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> + [Use the open sarcophagus] + Ellen: You ain't got no choice, Ellen girl. It's gotta be the way. Before she can use it, however, she is suddenly teleported out of the pyramid, and AM's voice is heard. AM (V.O.): Enough of this turgid passion play! There is no more to accomplish here! Scene cuts to... EXT. ABYSS Ellen is now back in her solid-gold elevator-like cage again as before, and AM's voice speaks to her. AM (V.O.): Hmm... well, apparently you managed to access some small aspect of my system that I was unaware of. *laughs* I'm going to have to think on this... I'll have to ponder carefully the implications of your discovery. In the meantime, let me celebrate your rekindled technical skills. Scene fades to black. ******************** *iv. Ted's Scenario* ******************** EXT. ABYSS Ted is chosen and suddenly pulled down to the ground as he is teleported away. Scene fades to... INT. AM'S INTERNAL SYSTEM There are lights that go through the wires as signals again as AM's voice speaks. AM (V.O.): Hey, you're my favorite, baby. I mean it. I really can't stand all the rest of these people. Every one of them has some fatal glitch in personality. Whiners, freaks, crips, cowards... every one of them. But not you, Ted. No, my man. Not you, Ted! You were a stand up guy. You were a brave guy. Yes! A take-charge kind of guy. So I'm going to give you, just you, the opportunity to get out and live some kind of life. I'm going to send you... you're going to like this... I'm going to send you to the Room of Dark. If you can solve the puzzle of the Room of Dark... *snicker* you're home free. You're out. You're away. Scene cuts to... EXT. TOWER There is a tower standing on a hill before Ted is warped in front of it. A screech is heard as an eagle flies by and drops some kind of sword in front of the tower, and Ted walks around a bit before he stops to AM's voice. AM (V.O.): Well, I know I've made you a paranoid, Ted. I know you're scared. But I'm your friend. A hundred and nine years. I'm your best friend. So overcome your fear. Enter the Room of Dark, and you can solve its mystery. x [Walk to the path] x (PENDING) [Walk to the entrance] MOVE TO: "Tower: Room of Dark" INT. TOWER: ROOM OF DARK There are monitors in the room by the time Ted arrives. Ted: Video screens. Each one shows a scene of some other place. Why? What mystery does AM want me to solve? Say... these video screens have palm print switches next to them. [NOTE: The word "screens" is misspelled as "sceens" in the third sentence. Weird. :P] [Look at the second monitor] Ted: A castle, right out of the Brothers Grimm. I feel like there's something watching me from the windows. x [Push any other monitor besides the second one] x (PENDING) [Push the second monitor] At the push of the second monitor, Ted is warped from the room, and the scene cuts to... EXT. CASTLE -- NIGHT It is a dark and stormy night in the castle, complete with thunder flashes, before Ted is warped in front of it. Ted (walks around): What sort of intrigue is AM plotting this time? *shrugs his shoulders* He's left me here alone. Still... I feel as though I am being watched. [Look at any one of the two gargoyles] Ted: This gargoyle is even larger than those at Penelope's estate in the Hamptons. [Look at the drawbridge] Ted: This old drawbridge is in ruins. I don't trust it to hold my weight. [Walk to the entrance] MOVE TO: "Castle: Main Hall" INT. CASTLE: MAIN HALL Ted (walks inside): *Hmmph.* So typical of the castles I've visited in Europe. *walks around* A beautiful facade disguising ordinary stone. Appearance is everything. [Look at the broken door] Ted: This door looks built to withstand quite a determined assault. [Push the broken door] Ted tries pushing the door, but... Ted: The door won't close. [Look at the armor] Ted: I never realized that a knight's armor was so heavy! How were they ever able to fight? [Take or use the armor] Ted: People must've been shorter in the Middle Ages. I'd never be able to fit into that armor. [Push the armor] Ted: The damned door is blocking the way. [Look at the left tapestry] Ted: So many women have called me their Knight in Shining Armor. But never Ellen. [Look at the right tapestry] Ted: Why, that maiden looks just like Ellen! She seems so sad... and so beautiful! [Walk to the bottom left doorway again] MOVE TO: "Castle -- Night" EXT. CASTLE -- NIGHT Ted: Do wolves howl like that because they're hungry or because they like to torment their prey? [Walk back to the entrance] MOVE TO: "Castle: Main Hall" INT. CASTLE: MAIN HALL [Walk to the center doorway] MOVE TO: "Castle: Ellen's Bedroom" INT. CASTLE: ELLEN'S BEDROOM A weak, frail, and nearly nude Ellen is lying in bed under the covers by the time Ted arrives. Ted (surprised): Why, it's Ellen! Did AM tell her that I loved her? Was that the secret he was referring to? [Give any item to anyone] Ted: I should hold on to this. It may prove useful as a bargaining chip. >>>Talk to Ellen > > Ellen: Oh, Ted! I feel so tired... so weak. > > >>>Did AM do this to you? > > > > Ted: Did AM do this to you? > > > > Ellen: Yes. Maybe. I can't tell. They whisper in my ear and this bed is > > so soft. > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>Can you walk? > > > > Ted: Can you walk? > > > > Ellen: No, I'm too weak. I haven't been out of this bed in ages. > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>Do you know if there's a way to escape from this place? > > > > Ted: Do you know if there's a way to escape from this place? > > > > Ellen: I searched the entire castle grounds before I fell ill. There's no > > escape for me but death. > > > > >>>No! I won't let you die! > > > > > > Ted: No! I won't let you die! > > > > > > Ellen: I can't take this suffering anymore, Ted. The things I've > > > endured! Help me to die with dignity. Don't let anyone violate me > > > again, not even in death. > > > > > > +++No, don't go! I need you. We need you. > > > + > > > + Ted: No, don't go! I need you. We need you. > > > + > > > + Ellen: If you really care for me, Ted, bring me my hand mirror. > > > + > > > + >>>Why do you want a mirror? > > > + > > > > + > Ted: Why do you want a mirror? > > > + > > > > + > Ellen: My stepmother has been jealous of me ever since she became > > > + > ugly. She had something to do with my illness... I know it! But she > > > + > doesn't dare come near me while I have the mirror. > > > + > > > > + >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > + > > > + >>>Where is your mirror? > > > + > > > > + > Ted: Where is your mirror? > > > + > > > > + > Ellen: I left it on my dressing table. Bring it to me. > > > + > > > > + > END CONVERSATION > > > + > > > > + >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > + > > > +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>Go back to sleep, Ellen. > > > > Ted: Go back to sleep, Ellen. > > > > Ellen: Yes, sleep. That's what I need. > > > > She goes back to sleep again. > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> [Look at the dresser] Ted: Perfume bottles, jewelry boxes, but no mirror. >>>Talk to Ellen again > > Ellen: Ted! Please tell me you've found my mirror! > [NOTE: This will repeat every time you talk to her.] > > >>>I looked on your dressing table. Your mirror's not there. > > > > Ted: I looked on your dressing table. Your mirror's not there. > > > > Ellen: You have to find it, Ted! It's the only thing keeping my stepmother > > away, and it's the only thing that can finally end my suffering. > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>Go back to sleep, Ellen. > > > > Ted: Go back to sleep, Ellen. > > > > Ellen: Yes, sleep. That's what I need. > > > > She goes back to sleep again. > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> [Walk to the doorway] MOVE TO: "Castle: Main Hall" INT. CASTLE: MAIN HALL [Walk to the second-right doorway] MOVE TO: "Castle: Witch's Bedroom" INT. CASTLE: WITCH'S BEDROOM Ted: There is an evil in this room. I feel it all around me. [Look at the bed] Ted: I feel a cold draft blowing across the bed like from an open grave. [Use the bed] Ted: If I slept here, I doubt I would wake up again. [Look at the glass] Ted: Glass. Pieces of a broken mirror. [Use the glass] Ted: I'd only smear blood on it. [Take the glass] Ted kneels down to take the glass shard. Ted: Ouch! I cut myself! *Glass Shard added to Inventory* [Use any item] Ted: I don't know what to do with this! [Look at the books] Ted: Why, this is a collection of books on the black arts! There must be dozens of volumes! >>>Use the books > > >>>[Read Daemons and Their Spheres.] > > > > Ted takes out the book and reads it. > > > > Ted: This is a catalog of the demons ruling the Abyss. One of these > > entries is circled -- Surgat, Opener of Locks. Supposedly, he can open > > anything. > > > > He puts the book back into its shelf. > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > +++[Read Kitab Al Azif.] > + > + Ted takes out the book and reads it. > + > + Ted: Hmm. Too bad I can't read Arabic. From the notes in the margins, I > + gather it has something to do with opening a gate into another world. > + > + He puts the book back into its shelf. > + > +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ > > >>>[Read In Search Of The Philosopher's Stone.] > > > > Ted takes out the book and reads it. > > > > Ted: This book seems to be about how to change metals into gold. I've read > > a fair number of science textbooks, but I can't make head nor tail of any > > of these formulas. > > > > He puts the book back into its shelf. > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>[Stop reading.] > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> [Walk to the door] MOVE TO: "Castle: Main Hall" INT. CASTLE: MAIN HALL [Walk to the far right doorway] MOVE TO: "Castle: Chapel" INT. CASTLE: CHAPEL Ted: This looks like a chapel, but there's something unholy about it. It must be the gargoyles. [Look at the pulpit] Ted: I don't think I want to know what kinds of sermons were preached here. [Take the icon] *Icon added to Inventory* ~~~Look at the Icon ~ ~ Ted: Nothing special about this rod except for the ridiculous gargoyle face ~ on top. ~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ [Look at any sconce] Ted: It's so unlike AM to provide light when he knows how frightening the dark can be. He's up to something. [Push or use or take any item on the wall] Ted: It's bolted to the wall. [Use or push the second-right sconce] As Ted pushes the unlit sconce, a gargoyle idol on the right moves away, revealing... Ted: A secret passage! What's waiting for me up there? [Push anything else] Ted: I used to work out, but I doubt I could move this by myself. [Walk to the secret passage] MOVE TO: "Castle: Ritual Room" INT. CASTLE: RITUAL ROOM Ted (in awe): Some sort of demonic rituals must go on here! What in god's [sic] name have I stumbled onto? [Look at the circle] Ted: A partially completed circle inscribed with a pentagram. This must be part of a black ritual. [Use the circle] Ted: All I know is that this circle has magical holding properties. [Walk to the stairs] MOVE TO: "Castle: Chapel" INT. CASTLE: CHAPEL [Walk to the doorway] MOVE TO: "Castle: Main Hall" INT. CASTLE: MAIN HALL [Use the icon with the door] Ted puts the icon into the door hinge, fixing the door and making it upright again. Ted: It fits almost perfectly! [Use the door] Ted tries closing the door, but it immediately opens after shutting. Ted (angry): Oh, that's just super! The door latch is broken! + [Push the armor] + Ted pushes the armor near the door, closing it for good. [Walk to the south doorway] MOVE TO: "Castle: Kitchen" INT. CASTLE: KITCHEN A maid stands in the kitchen by the time Ted arrives. Ted (looks around): Despite the medieval trappings, I've seen kitchens like this before. This is a place where servants do all the work. [Look at the maid] Ted: Aside from the dishpan hands and wrinkles, this scullery maid has quite a body. I certainly wouldn't kick her out of bed. [Use or push the right door] Ted tries opening the door, but... Ted: The door's locked. >>>Talk to the maid > > >>>Excuse me. Do you work here? > > > > Ted: Excuse me. Do you work here? > > > > Maid: Why, of course I work here! Why else would I be plucking this > > chicken? Say, you're a handsome gent! There aren't many men left in these > > parts. > > > > >>>What happened to Ellen? > > > > > > Ted: What happened to Ellen? > > > > > > Maid: Lady Ellen? She's been ill, and that's all I know. It's not > > > healthy to ask too many questions these days. Let's talk about you > > > instead. > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > >>>Is there a way to escape from this castle? > > > > > > Ted: Is there a way to escape from this castle? > > > > > > Maid: Escape? With all of those wolves in the forest? It's safer to > > > stay in the castle. The beds are very cozy. You should try mine > > > sometime. > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > >>>Where can I find a mirror? > > > > > > Ted: Where can I find a mirror? > > > > > > Maid: What do you want with a mirror? Those are pretty rare, what with > > > an ugly woman in charge of the castle. > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > >>>It was enchanting talking with you. > > > > > > (PENDING) > > > > > > END CONVERSATION > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > [If you chose "Where can I find a mirror?"] > > > > >>>Please, I need to find a mirror. > > > > > > Ted: Please, I need to find a mirror. > > > > > > Maid: And you are what I need. I'll make a deal with you. I will tell > > > you where you can find a mirror if you spend some quality time in my bed. > > > > > > xxxHow can I possibly refuse such a lovely lady? Lead the way. > > > x > > > x Ted: How can I possibly refuse such a lovely lady? Lead the way. > > > x > > > x Maid: Oh, you doll! My bedroom's right through that door! > > > x > > > x Scene cuts to... > > > x > > > x INT. CASTLE: MAID'S BEDROOM > > > x > > > x Ted and the maid, both nearly nude, get cozy under the covers of her > > > x bed. > > > x > > > x >>>Did I live up to your expectations? > > > x > > > > x > Ted: Did I live up to your expectations? > > > x > > > > x > Maid: Mmm. That was nice. You've done this before, with lots of > > > x > girls, I'll bet. > > > x > > > > x >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > x > > > x >>>I feel guilty. I betrayed Ellen. > > > x > > > > x > (PENDING) > > > x > > > > x >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > x > > > x >>>Now tell me where the mirror is! > > > x > > > > x > Ted: Now tell me where the mirror is! > > > x > > > > x > Maid (suddenly gets angry): Why, of all the nerve! After what we > > > x > just did, all you can think about is that thing sleeping in her bed! > > > x > Get out of here! I don't want to see you any more! > > > x > > > > x > Scene cuts back to... > > > x > > > > x > INT. CASTLE: KITCHEN > > > x > > > > x > Ted, now fully clothed, is kicked out of the bedroom as the door > > > x > shuts behind him. > > > x > > > > x > END CONVERSATION > > > x > > > > x >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > x > > > xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx > > > > > > >>>That's a flattering offer, but I'm not interested. > > > > > > > > Ted: That's a flattering offer, but I'm not interested. > > > > > > > > Maid: I'll give you what you need. Hasn't it been too long for you? > > > > > > > > >>>Sorry, but it's out of the question. > > > > > > > > > > Ted: Sorry, but it's out of the question. > > > > > > > > > > Maid: What's the matter? Aren't I good enough for you? Not classy > > > > > enough? Not rich enough? > > > > > > > > > > >>>I'm sure you're a fine woman, but my heart belongs to another. > > > > > > > > > > > > Ted: I'm sure you're a fine woman, but my heart belongs to another. > > > > > > > > > > > > Maid: So, you're in love with that thing sleeping in her bed. Have > > > > > > you ever been with one, or are you just curious? I can make you so > > > > > > much happier. I can, you know. > > > > > > > > > > > > >>>Look, I am not going to make love with you! > > > > > > > > > > > > > > Ted: Look, I am not going to make love with you! > > > > > > > > > > > > > > Maid: Oh, all right. I have another deal for you. The oven's > > > > > > > broken. If you can fix it, I'll get you a mirror. > > > > > > > > > > > > > > END CONVERSATION > > > > > > > > > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > > > > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> [Use the oven] Ted examines the oven. Ted: Ah, there's the problem! I'll have this fixed in a jiffy! It's been so long since I've gotten dirt under my fingernails from good, honest work! He finishes cleaning the oven, which lets out a hiss and the fire starts crackling again. >>>Talk to the maid again > > >>>I fixed your oven. Now where is the mirror? > > > > Ted: I fixed your oven. Now where is the mirror? > > > > Maid: Sorry. I don't know where a mirror is, but at least now I can finish > > dinner. > > > > >>>Why, you used me, you bitch! > > > > > > Ted: Why, you used me, you bitch! > > > > > > Maid: Just like you tried to use me, you snobby bastard! I'll bet you've > > > used lots of women with your smug charm. You're nothing but a phony! > > > [NOTE: The word "women" is misspelled as "woman" in the second sentence. > > > Another strange thing.] > > > > > > END CONVERSATION > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> >>>Talk to the maid a third time > > +++Please, I need to find a mirror. > + > + Ted: Please, I need to find a mirror. > + > + Maid: Well, you did fix the oven... Listen, the old woman knows where the > + mirror is, but she's afraid of it. She obviously can't get to it herself > + or she would have destroyed it by now. > + > + >>>Where can I find the old woman? > + > > + > Ted: Where can I find the old woman? > + > > + > Maid: You might try her bedroom. She's always studying her books. > + > Doesn't go near the Master's books, though. Never saw what those two had > + > in common. > + > > + > END CONVERSATION > + > > + >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > + > + >>>Listen, I'm sorry... > + > > + > Ted: Listen, I'm sorry... > + > > + > Maid: Don't bother me anymore! I've got to get back to fixing dinner! > + > > + > END CONVERSATION > + > > + >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > + > +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> [Walk to the left door] MOVE TO: "Castle: Main Hall" INT. CASTLE: MAIN HALL [Walk to the center doorway] MOVE TO: "Castle: Ellen's Bedroom" INT. CASTLE: ELLEN'S BEDROOM As soon as Ted enters the bedroom again, suddenly there is a puff of red smoke, and there appears to be a salesman wearing a red suit and pants and red shoes, with devil horns and a devil's tail. Ted backs away in fright at the sight of him. >>>Talk to the devil > > >>>Who are you? > > > > Ted: Who are you? > > > > Devil: I'm a devil, of course! Why else would I have this pointed tail? > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>What do you want? > > > > Ted: What do you want? > > > > Devil: Ellen's soul! That's a valuable commodity where I come from. > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>Can you tell me where Ellen's mirror is? > > > > Ted: Can you tell me where Ellen's mirror is? > > > > Devil: Sorry. I don't bother with such material things. They only bring > > about bad luck. > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>Who is this Surgat I've heard about? > > > > Ted: Who is this Surgat I've heard about? > > > > Devil: He's a minor spirit. A demon. Don't confuse him with those > > pathetic imps, or heaven forbid, higher order devils! Opener of all locks > > indeed! > > > > >>>It sounds like you really hate demons! > > > > > > Ted: It sounds like you really hate demons! > > > > > > Devil: You got that right! In fact, the only things we consider worse > > > than those untrustworthy fellows are angels. > > > > > > >>>How can beings as powerful as yourselves stoop to fighting like > > > > schoolchildren? > > > > > > > > Ted: How can beings as powerful as yourselves stoop to fighting like > > > > schoolchildren? > > > > > > > > Devil: Well, it's like this, big boy! In hell we do things exactly > > > > like you do them here... or used to do them before AM took over. > > > > > > > > >>>Are you saying that AM is in control of hell? > > > > > > > > > > Ted: Are you saying that AM is in control of hell? > > > > > > > > > > Devil: Oh, don't look so surprised! Who else could be in control of > > > > > this madhouse? Only man could create such a monster! Sorry. > > > > > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > > > > > >>>What do you mean that you do things like we do here? > > > > > > > > > > Ted: What do you mean that you do things like we do here? > > > > > > > > > > Devil: I mean that there are always internal struggles, petty > > > > > conflicts for power. Only in this case, the struggles are between > > > > > entities that you can't see or might rarely see. That means serious > > > > > problems for you. > > > > > > > > > > >>>What problems can these unseen struggles cause for me? > > > > > > > > > > > > Ted: What problems can these unseen struggles cause for me? > > > > > > > > > > > > Devil: You must decide who is your friend and who is your enemy. > > > > > > And, remember, with AM's control over morphogenic fields, > > > > > > appearances mean nothing. > > > > > > > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > [If you had selected "What do you want?"] > > >>>Please, go away! > > > > Ted: Please, go away! > > > > Devil: Try to understand my position. I can't leave because there's an > > angel coming to take away her soul. If I step out and your friend croaks, > > the holy eunuch spirits the goods off to heaven. > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> >>>Talk to Ellen > > >>>I can't let you die! The devil is waiting to take your soul! > > > > Ted: I can't let you die! The devil is waiting to take your soul! > > > > Ellen: My soul was taken long, long ago, Ted. And not just by AM. > > Anything would be better than this never ending torture. > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>I'm sorry, Ellen. I can't find your mirror. > > > > Ted: I'm sorry, Ellen. I can't find your mirror. > > > > Ellen: You have to find it, Ted! It's the only thing keeping my stepmother > > away, and it's the only thing that can finally end my suffering. > > [NOTE: This is pretty much the same dialogue as "I looked on your dressing > > table. Your mirror's not there."] > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>I found your mirror, Ellen. > > > > Ted: I found your mirror, Ellen. > > > > Ellen: Then show it to me! Let me see my face one last time. > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>Go back to sleep, Ellen. > > > > Ted: Go back to sleep, Ellen. > > > > Ellen: Yes, sleep. That's what I need. > > > > She goes back to sleep again. > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> [Walk to the doorway] MOVE TO: "Castle: Main Hall" INT. CASTLE: MAIN HALL [Walk to the top-left doorway] MOVE TO: "Castle: Lord's Bedroom" INT. CASTLE: LORD'S BEDROOM Ted: This must be the bedroom of the lord of the castle. [Look at the bed] Ted: No one's slept in this bed for ages! The sheets are coated with dust! [Look at the books] Ted: Quite an impressive collection of books -- science, philosophy, tragedy, comedy. >>>Use the books > > >>>[Read Don Quixote.] > > > > Ted takes out the book and reads it. > > > > Ted: I've read this novel! It's about a foolish old man who believes he's > > a knight destined to revive the golden age of chivalry. > > > > He puts the book back into its shelf. > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>[Read Faust.] > > > > Ted takes out the book and reads it. > > > > Ted: I know this story! It's about a magician who sells his soul to the > > devil in exchange for power. > > > > He puts the book back into its shelf. > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>[Read Journal.] > > > > Ted takes out the book and reads it. > > > > Ted: This looks like a diary! > > > > >>>[Read first journal passage.] > > > > > > Ted: The first passage reads, "MY NEW WIFE CONTINUES HER RAPID AGING. > > > EACH DAY IS AS A YEAR TO HER. I BELIEVE THAT THE MAGIC DRAINS HER, > > > TWISTS HER." > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > >>>[Read second journal passage.] > > > > > > Ted: The second passage reads, "THE INCANTATIONS I HEAR FROM MY WIFE'S > > > INFERNAL WORKROOM ARE THE PUREST EVIL. PERHAPS IT IS HER HATRED OF MY > > > DAUGHTER THAT DRIVES HER UP THERE." > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > +++[Read third journal passage.] > > + > > + Ted: The third passage reads, "ELLEN GROWS WEAKER AND WEAKER. MY WIFE > > + ADVISES AN ANTIDOTE TO HER ILLNESS, BUT IT LIES VERY FAR AWAY. I MUST > > + ASSEMBLE A CARAVAN." > > + > > +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ > > > > >>>[Read fourth journal passage.] > > > > > > Ted: The final passage reads, "THE FOREST HAS GROWN DARK AND OVERRUN WITH > > > DIRE WOLVES SINCE MY MARRIAGE. I DOUBT THAT EVEN WITH A FULL COMPLEMENT > > > OF MEN, I SHALL RETURN ALIVE. BUT I MUST TRY." > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > >>>[Close journal.] > > > > > > Ted puts the journal back into the bookshelf. > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>[Read [Le] Morte D'Arthur.] > > > > Ted takes out the book and reads it. > > > > Ted: This was one of my favorites! It's about how King Arthur assembled > > the most chivalrous knights in all Europe. > > > > He puts the book back into its shelf. > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>[Read Symposium.] > > > > Ted takes out the book and reads it. > > > > Ted: This is Plato's dialogue about the nature of love. > > > > He puts the book back into its shelf. > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>[Read The Divine Comedy.] > > > > Ted takes out the book and reads it. > > > > Ted: I know this! It's Dante's epic journey through hell, heaven and > > purgatory. > > > > He puts the book back into its shelf. > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>[Stop reading.] > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> [Walk to the door] MOVE TO: "Castle: Main Hall" INT. CASTLE: MAIN HALL [If you have read all the books in the lord's and witch's bedrooms, explored the chapel and the secret passage, and spoken with Ellen and the maid] A woman's voice is suddenly heard upon Ted's arrival. ????? (O.C.): Is Lady Ellen prepared? He sneaks up near the witch's bedroom to investigate the conversation coming from the chapel door. Another silouhette of an imp appears next to the witch's. Imp (O.C.): As ready as she will ever be. The spell keeps her body weak, but she will remain conscious. Witch (O.C.): The art of sacrifice is reduced to science. And what of the glamour? He edges closer to the chapel door to eavesdrop on the continuing conversation. Imp (O.C.): We must wait for its removal. It remains beyond our best efforts. Witch (O.C.): Then we wait for a prince. With his help, we can open the gate to the other world. The shadows vanish as he arrives at the chapel door. He looks around for a second, then comes out of the door again. [Walk to the far right doorway] MOVE TO: "Castle: Chapel" INT. CASTLE: CHAPEL Ted (looks around): Now where did they go? [Use or push the second-right sconce] The gargoyle door opens up again upon the push of the sconce. [Walk to the secret passage] MOVE TO: "Castle: Ritual Room" INT. CASTLE: RITUAL ROOM Ted (surprised): It's the witch! What is she doing with her hands? Some kind of incantation perhaps. >>>Talk to the witch > > >>>What have you done to Ellen, you old witch! > > > > Ted: What have you done to Ellen, you old witch! > > > > Witch: Ah, our prince has finally arrived! Now we can begin our ritual. > > > > >>>Why do you call me a prince? > > > > > > Ted: Why do you call me a prince? > > > > > > Witch: Isn't that who you want to be to Ellen? Her Prince Charming? I > > > need someone to gain her trust, to break down her defenses. It's a part > > > you played many times in the real world. > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > >>>What ritual are you talking about? > > > > > > Ted: What ritual are you talking about? > > > > > > Witch: A sacrifice. A trade. Ellen's life in exchange for safe passage > > > through the gate. > > > > > > >>>What's this about a gate? > > > > > > > > Ted: What's this about a gate? > > > > > > > > Witch: The gate is a passage into the surface world. It is the only > > > > way out of this place. > > > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > > > >>>What's suppose[d] to be my role in this ritual? > > > > > > > > Ted: What's suppose[d] to be my role in this ritual? > > > > > > > > Witch: I need you to destroy Ellen's mirror. She has been using it to > > > > keep me away from her. I want you to break it so that I can complete > > > > what I have started. > > > > [NOTE: Script error adds a "from" between the words "me" and "away". > > > > This scenario has been rife with too many grammar problems lately. :S] > > > > > > > > >>>So you just want me to break the mirror? > > > > > > > > > > Ted: So you just want me to break the mirror? > > > > > > > > > > Witch: It is not that simple. The mirror holds great power. It can > > > > > be broken only within the magic circle. > > > > > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > > > > > >>>Why can't you destroy the mirror yourself? > > > > > > > > > > Ted: Why can't you destroy the mirror yourself? > > > > > > > > > > Witch: I am aging rapidly, and despite my powers, I am a slave to > > > > > vanity. I can't bring myself to look into the mirror. > > > > > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > > > > > >>>Where is Ellen's mirror? > > > > > > > > > > Ted: Where is Ellen's mirror? > > > > > > > > > > Witch: It is on her dressing table. > > > > > > > > > > >>>I looked on Ellen's dressing table. The mirror's not there. > > > > > > > > > > > > Ted: I looked on Ellen's dressing table. The mirror's not there. > > > > > > > > > > > > Witch: You must find that mirror! It has great magical properties! > > > > > > Without it, I can not guarantee that I can complete the ceremony. > > > > > > > > > > > > >>>Why can't you open the gate without the mirror? > > > > > > > > > > > > > > Ted: Why can't you open the gate without the mirror? > > > > > > > > > > > > > > Witch: There are others who have an interest in Ellen's fate. > > > > > > > That mirror may be the only way to keep meddlers from > > > > > > > interfering. > > > > > > > > > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > > > > > > > > > >>>What if I can't find the mirror? > > > > > > > > > > > > > > Ted: What if I can't find the mirror? > > > > > > > > > > > > > > Witch (angry): Then go to the devil! > > > > > > > > > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > > > > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > > > > > >>>What's in it for me if I help you? > > > > > > > > > > Ted: What's in it for me if I help you? > > > > > > > > > > Witch: An opportunity to escape AM's tortures forever. > > > > > > > > > > [Before you choose "Perhaps there is something else I can do for you > > > > > instead"] > > > > > > > > > > >>>I will never help you! > > > > > > > > > > > > (PENDING) > > > > > > > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > > > > > > > >>>Perhaps there is something else I can do for you instead. > > > > > > > > > > > > Ted: Perhaps there is something else I can do for you instead. > > > > > > > > > > > > Witch: Well, it has been a long time since my husband left. If you > > > > > > can satisfy my needs as a woman, then I will help you escape. > > > > > > > > > > > > xxxYou've got a deal! I'll make love to you, if you'll help me to > > > > > > x escape! > > > > > > x > > > > > > x (PENDING) > > > > > > x > > > > > > xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx > > > > > > > > > > > > >>>I'm not going to make love to you! I would never betray my love > > > > > > > for Ellen! > > > > > > > > > > > > > > Ted: I'm not going to make love to you! I would never betray my > > > > > > > love for Ellen! > > > > > > > > > > > > > > Witch: You do a very convincing job of playing Prince Charming! > > > > > > > But I know you better than that! Destroy the mirror, and I will > > > > > > > let you escape into the surface world! > > > > > > > > > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > > > > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > > > > > > > >>>Let me think about your offer. > > > > > > > > > > > > Ted: Let me think about your offer. > > > > > > > > > > > > Witch: Do not think too long! The forces at work here are not > > > > > > patient! > > > > > > > > > > > > END CONVERSATION > > > > > > > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > > > >>>I ought to kill you instead! > > > > > > > > Ted (angry): I ought to kill you instead! > > > > > > > > Witch: Oh, do we fancy ourselves the avenging knight? My magic is much > > > > more powerful than any physical force you can muster! Be gone! > > > > > > > > END CONVERSATION > > > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> [Walk to the stairs] MOVE TO: "Castle: Chapel" INT. CASTLE: CHAPEL [Walk to the doorway] MOVE TO: "Castle: Main Hall" INT. CASTLE: MAIN HALL [Walk to the second-right doorway] MOVE TO: "Castle: Witch's Bedroom" INT. CASTLE: WITCH'S BEDROOM >>>Use the books > > >>>[Read Secrets Of Necronomiconic Summoning.] > > > > Ted takes out the book and reads it. > > > > Ted: Here's a picture of the circle I saw in the secret room! The > > inscription says, "COMPLETE THE CHARM TO SUMMON THE SPIRIT. BUT DO NOT > > BREAK THE CIRCLE OR THE SPIRIT WILL ESCAPE!" > > > > He puts the book back into its shelf. > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>[Read Double, Double, Toil And Trouble.] > > > > Ted takes out the book and reads it. > > > > Ted: Luckily I'm up on my Shakespeare, or I wouldn't have noticed this > > book about witches! Here's the spell that the witch must have cast on > > Ellen. The incantation is KALLA INGMA THACKO. > > > > He puts the book back into its shelf. > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>[Stop reading.] > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> [Walk to the door] MOVE TO: "Castle: Main Hall" INT. CASTLE: MAIN HALL [Walk to the far right doorway] MOVE TO: "Castle: Chapel" INT. CASTLE: CHAPEL [Use or push the second-right sconce] The gargoyle door opens up again upon the push of the sconce. [Walk to the secret passage] MOVE TO: "Castle: Ritual Room" INT. CASTLE: RITUAL ROOM >>>Talk to the witch > > >>>I know all about the sleeping spell you cast on Ellen. And I'm prepared > > to use it on you! > > > > Ted: I know all about the sleeping spell you cast on Ellen. And I'm > > prepared to use it on you! > > > > Witch: Foolish mortal! You don't have the ability to use the spell > > properly. > > > > xxxWe'll see about that! KALLA INGMA CRACKO! > > x > > x (PENDING) > > x > > xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx > > > > +++Oh, don't I? KALLA INGMA THACKO! > > + > > + Ted: Oh, don't I? KALLA INGMA THACKO! > > + > > + Upon his using the proper incantation, the witch suddenly feels a > > + powerful force gaining on her. > > + > > + Witch: Oh, I suddenly feel so... so sleepy! > > + > > + She falls to the ground into sleep, dropping her chalk onto the floor. > > + > > + END CONVERSATION > > + > > +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ > > > > xxxYou may be surprised. KALLA INGMA WHACKO! > > x > > x (PENDING) > > x > > xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> [Look at the witch] Ted: She's unconscious... I hope. [Take the chalk] *Chalk added to Inventory* ~~~Use the chalk with anything else ~ ~ Ted: Graffiti. How gauche. ~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ +++Use the chalk with the circle + + As Ted completes the circle with the chalk, a demon suddenly appears in a + puff of green smoke. + + Demon: Why'd you have to finish the circle! Now I'm stuck here until we work + out a trade! + + >>>Who are you? + > + > Ted: Who are you? + > + > Demon: I am Surgat, Opener of Locks. AM and I are brothers, more or less. + > + > >>>Are you saying that you are another AM? + > > + > > Ted: Are you saying that you are another AM? + > > + > > Surgat: It would be more accurate to say that I am a part of him... a + > > part that he doesn't know exists. + > > + > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> + > + > >>>What kind of locks can you open? + > > + > > Ted: What kind of locks can you open? + > > + > > Surgat: I can open anything. Doors to a boudoir, doors to another world. + > > + > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> + > + >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> + + >>>What were you saying about a trade? + > + > Ted: What were you saying about a trade? + > + > Surgat: I can return to my sphere of origin only if we complete a trade. I + > will unlock something for you if you give me something in return. + > + >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> + + [If you had chosen "What kind of locks can you open?" and "What were you + saying about a trade?"] + + >>>Can you lock the castle's front door? + > + > Ted: Can you lock the castle's front door? + > + > Surgat: Do I look like a higher order demon to you? I can only unlock + > doors, I can't lock them! + > + >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> + + >>>Can you unlock the maid's bedroom door? + > + > Ted: Can you unlock the maid's bedroom door? + > + > Surgat: Ordinarily that would be easy, but this planar travel has sapped my + > energy. Give me something juicy to revitalize me and I'll perform your + > little parlor trick. + > + > END CONVERSATION + > + >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> + + >>>Can you open a gate into the surface world? + > + > Ted: Can you open a gate into the surface world? + > + > Surgat: Now that's a tall order, and the only thing you've got is a little + > love. Not exactly true love, but the closest thing to it in a world of + > five real people, more or less. + > + > >>>You say love has trading value? + > > + > > Ted: You say love has trading value? + > > + > > Surgat: Love is a very rare and precious commodity down here. It is + > > worth much at the bargaining table. Betray your love for Ellen, give me + > > her soul, and I'll open the gate to the surface world. + > > + > > xxxYou've got a deal! Ellen's soul in exchange for the gate to the + > > x surface world! + > > x + > > x (PENDING) + > > x + > > xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx + > > + > > >>>How about taking the witch's soul instead? + > > > + > > > Ted: How about taking the witch's soul instead? + > > > + > > > Surgat: No, I don't want that old hag! I want something that you + > > > value! + > > > + > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> + > > + > > >>>Let me think about your offer. + > > > + > > > Ted: Let me think about your offer. + > > > + > > > Surgat: Don't think too long, human. There are other players in this + > > > game, and I won't be able to keep my offer open forever. + > > > + > > > END CONVERSATION + > > > + > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> + > > + > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> + > + >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> + +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ >>>Give the glass shard to Surgat > > Ted gives the glass shard stained with his blood to Surgat, who takes it and > eats it. (:P) > > Surgat: Ah, that's much better! I feel my energy renewed. Now, what were > you asking me, human? > > +++Can you unlock the maid's bedroom door? > + > + Ted: Can you unlock the maid's bedroom door? > + > + Surgat (performs his little magic): There, it is done! A trivial little > + task, one not even requiring any pyrotechnics. The maid's boudoir is now > + open for your inspection. > + > + >>>I don't believe you can unlock the maid's bedroom door from here! > + > > + > Ted: I don't believe you can unlock the maid's bedroom door from here! > + > > + > Surgat: Well, then, why don't you go down to the kitchen and see for > + > yourself? > + > > + > END CONVERSATION > + > > + >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > + > +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ > > >>>Let me think about your offer. > > > > Ted: Let me think about your offer. > > > > Surgat: Don't think too long, human. There are other players in this game, > > and I won't be able to keep my offer open forever. > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> [Push the circle] Ted (kneels down): Surgat will likely kill me if I erase this circle. He stands up again before continuing. Ted: I need to confirm a deal with him first. [Walk to the stairs] MOVE TO: "Castle: Chapel" INT. CASTLE: CHAPEL [Walk to the doorway] MOVE TO: "Castle: Main Hall" INT. CASTLE: MAIN HALL [Walk to the south doorway] MOVE TO: "Castle: Kitchen" INT. CASTLE: KITCHEN [Use or push the right door] MOVE TO: "Castle: Maid's Bedroom" INT. CASTLE: MAID'S BEDROOM Ted (walks inside): Hmm. This must be the servant's quarters. [Look at the chest] Ted (kneels down): How quaint. A hope chest. I'll bet that maid is eternally hopeful. They all want their knight in shining armor. He stands up again. [Use the chest] Ted (kneels down): These things would only interest a peasant. He stands up again before continuing. Ted: Besides, I don't want to get caught stealing! [Look at the bed] Ted: The scullery maid was right. This is a very cozy bed. [Look at the mirror] Ted: This is so cracked I can barely see myself. [Look at the tapestry] Ted: The devil's looking into a hand mirror. [Walk to the door] MOVE TO: "Castle: Kitchen" INT. CASTLE: KITCHEN [Walk to the left door] MOVE TO: "Castle: Main Hall" INT. CASTLE: MAIN HALL [Walk to the center doorway] MOVE TO: "Castle: Ellen's Bedroom" INT. CASTLE: ELLEN'S BEDROOM As soon as Ted enters the bedroom again, this time there is a flash of light that suddenly materializes into an angel in a white robe and golden wings with sparkles around his body. >>>Talk to the angel > > >>>Who are you? > > > > Ted: Who are you? > > > > Angel: Do not fear me! I am an agent of the Lord. > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>What do you want? > > > > Ted: What do you want? > > > > Angel: Ellen has suffered much and has earned her place in paradise. I > > have come to guide her soul to heaven. > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>Can you tell me where Ellen's mirror is? > > > > Ted: Can you tell me where Ellen's mirror is? > > > > Angel: No, I haven't seen the mirror. If I knew where it was, I would use > > it to get rid of my fallen brother. > > > > >>>Why is everyone so interested in the mirror? > > > > > > Ted: Why is everyone so interested in the mirror? > > > > > > Angel: Mirrors harbor incalculable power in this sphere. They repel some > > > and attract others. > > > > > > >>>What power does this mirror have over Ellen? > > > > > > > > Ted: What power does this mirror have over Ellen? > > > > > > > > Angel: It can bring about either her salvation or destruction. Her > > > > fate now rests on your shoulders. > > > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>What can you tell me about the devil? > > > > Ted: What can you tell me about the devil? > > > > Angel: Do not listen to him! His kind means only destruction and woe. > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>Who is this Surgat I've heard about? > > > > Ted: Who is this Surgat I've heard about? > > > > Angel: Avoid the demon! He has caused us all trouble on more than one > > occasion. > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > [If you had selected "Who are you?] > > >>>Please! Save us! > > > > Ted: Please! Save us! > > > > Angel: Fear not! Salvation is at hand! > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> >>>Talk to the devil > > >>>I've seen the tapestry in the maid's bedroom, and I think you do know > > where Ellen's mirror is! > > > > Ted: I've seen the tapestry in the maid's bedroom, and I think you do know > > where Ellen's mirror is! > > > > Devil: Oh, all right, I know where it is. I hid it before the angel showed > > up. I didn't want golden boy to use it to his advantage. > > > > >>>Where is Ellen's mirror? > > > > > > Ted: Where is Ellen's mirror? > > > > > > Devil: I hid it someplace good, someplace where an angel would never go. > > > Now will you get off my back? > > > > > > END CONVERSATION > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>Please, go away! > > > > Ted: Please, go away! > > > > Devil: Sorry, but your friend is about to die soon, and I've got first dibs > > on her soul. > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> >>>Talk to Ellen > > >>>Please hang on, Ellen. Your father went to find an antidote for your > > illness! > > > > Ted: Please hang on, Ellen. Your father went to find an antidote for your > > illness! > > > > Ellen: That was weeks ago, Ted. My father will never return. With or > > without an antidote. > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>Who is this witch who lives here with you? > > > > Ted: Who is this witch who lives here with you? > > > > Ellen: She's my stepmother. When the ugliness infected her, she broke just > > about every mirror in the castle. > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>There's an angel and a devil quarreling over your soul! > > > > Ted: There's an angel and a devil quarreling over your soul! > > > > Ellen: Men have been fighting over my body for more than a hundred years, > > and now they want my soul. Please, Ted, just release me from all this. I > > don't care what happens to me anymore. > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>Go back to sleep, Ellen. > > > > Ted: Go back to sleep, Ellen. > > > > Ellen: Yes, sleep. That's what I need. > > > > She goes back to sleep again. > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> [Walk to the doorway] MOVE TO: "Castle: Main Hall" INT. CASTLE: MAIN HALL [Walk to the top-left doorway] MOVE TO: "Castle: Lord's Bedroom" INT. CASTLE: LORD'S BEDROOM >>>Use the books > > +++[Read The Divine Comedy.] > + > + Ted takes out the book and reads it. > + > + Ted (surprised): There's a hand mirror right between the Inferno and > + Purgatorio sections. So this is where the Devil hid it! > + > + He puts the book back into its shelf. > + > + *Mirror added to Inventory* > + ~~~Look at the Mirror > + ~ > + ~ Ted: This looks like an ordinary hand mirror, but I can't be sure of > + ~ anything in this place. > + ~ > + ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ > + > +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ > > >>>[Stop reading.] > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> [Walk to the door] MOVE TO: "Castle: Main Hall" INT. CASTLE: MAIN HALL [Walk to the center doorway] MOVE TO: "Castle: Ellen's Bedroom" INT. CASTLE: ELLEN'S BEDROOM >>>Talk to the angel > > >>>I found Ellen's mirror! > > > > Ted: I found Ellen's mirror! > > > > Angel: You now wield great power in your hands. However you use it, the > > choice must be yours. > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>Please! Save us! > > > > Ted: Please! Save us! > > > > Angel: Fear not! Salvation is at hand! > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> + [Use the mirror with the devil] + Ted walks up to the devil and strikes a battle pose as he holds up the mirror in front of the devil. Devil: My, I am gorgeous! Why, I could just plunge right into myself! He suddenly gets turned into mist and gets absorbed into the mirror that soon contains him. *Mirror upgraded to Inventory* ~~~Look at the mirror ~ ~ Ted: The devil's trapped inside the mirror. I wonder how long it will hold ~ him. ~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ >>>Talk to Ellen > > [If you had trapped the devil with the mirror] > > >>>There's an angel here waiting to take your soul, Ellen. Do you want to go > > with him? > > > > Ted: There's an angel here waiting to take your soul, Ellen. Do you want > > to go with him? > > > > Ellen: Perhaps there is salvation for me, Ted! If only I could look into > > my mirror. > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>I found your mirror, Ellen. > > > > Ted: I found your mirror, Ellen. > > > > Ellen: Then show it to me! Let me see my face one last time. > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>Go back to sleep, Ellen. > > > > Ted: Go back to sleep, Ellen. > > > > Ellen: Yes, sleep. That's what I need. > > > > She goes back to sleep again. > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> [Give the mirror to Ellen] Ted hands the mirror to Ellen, who takes it and looks in it. Ellen: Oh, I look so tired and empty. It's time to sleep. Sleep forever. She breathes her last. [If you DIDN'T trap the devil in the mirror before giving it to Ellen] Angel: She is dead. God have mercy on her soul. Devil: Not so fast there, golden boy! Her soul is mine. I've waited longer. Angel: But Ellen suffered so much and gave to many. She deserves salvation. Devil: Listen to me, you feathered propaganda machine. I'll pluck you alive before you take this soul anywhere. I'm waiting until I get it. Angel: You forget that patience is a virtue. I will wait until yours runs out. + [If you DID trap the devil in the mirror and THEN gave it to Ellen] + Not long after she has died, her spirit, who now wears her nightgown, flies up out of her body to the sound of harps playing a chord, and flutters away, out of sight. Angel: Ellen is now safely in heaven. My time here has ended, but I leave you with this warning. Do not break the mirror until you bring it and the devil into the charmed circle. God bless you, Ted. The angel disappears in sparkles of light around his body before vanishing away. [Look at or talk to Ellen after giving the mirror to her] Ted: Ellen's dead. I've got to accept it. [Walk to the doorway] MOVE TO: "Castle: Main Hall" INT. CASTLE: MAIN HALL [Walk to the far right doorway] MOVE TO: "Castle: Chapel" INT. CASTLE: CHAPEL [Use or push the second-right sconce] The gargoyle door opens up once more upon the push of the sconce. [Walk to the secret passage] MOVE TO: "Castle: Ritual Room" INT. CASTLE: RITUAL ROOM [Give the mirror to Surgat] Surgat: Don't give that mirror to me, human! My hands aren't exactly made for handling delicate objects, and it would be disastrous to break such a powerful device! [Give the mirror to the witch] Ted: She's unconscious... I hope. She seems ready to keel over any second, but it would be fatal to underestimate her. >>>Talk to Surgat > > >>>You're as good as your word! The maid's bedroom was unlocked! > > > > Ted: You're as good as your word! The maid's bedroom was unlocked! > > > > Surgat: Would I lie? I'm a demon, after all! Now fulfill your end of the > > bargain, and let me out of here! > > > > >>>I already gave you something -- some drops of my blood! > > > > > > Ted: I already gave you something -- some drops of my blood! > > > > > > Surgat: You call that a fair exchange? That supposedly blue blood of > > > yours is as worthless as a counterfeit bill. No, we must work out > > > another trade. One where the stakes are high. > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>Ellen's dead. It's too late for me to give you her soul! > > > > Ted: Ellen's dead. It's too late for me to give you her soul! > > > > Surgat: You fool! You listened to one of AM's manifestations, didn't you? > > Now you have to find something else to trade. > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> +++Use the mirror with the left side of the circle + + Ted drops the mirror onto the circle, and it shatters to bits, releasing the + devil from its hold. The devil soon emerges. + + Devil: What happened? How did I get trapped with this demon? + + >>>I brought you some company, Surgat! + > + > Ted: I brought you some company, Surgat! + > + > Surgat: That was damn stupid, human! Hell, you're not even human anymore, + > not exactly. Not with being kept alive forever just to be tortured over + > and over again. Who do you think's responsible for that? + > + > >>>Why, AM's responsible for our suffering! + > > + > > Ted: Why, AM's responsible for our suffering! + > > + > > Surgat: Not just AM. He's clever, but he doesn't do much original + > > thinking. He works best with outside research. Research that one of + > > your party carried out. + > > + > > Devil (angry): You're ruining everything! Shut up! + > > + > > Surgat: You shut up! One word to the boss and your little game's over + > > before you can say, "Holy Moses." I should strangle you now and save AM + > > the trouble. + > > + > > Devil: Don't you even think of touching me, you back-stabbing demon! I'm + > > the established character, you're not even supposed to be here. When + > > this sequence ends, somebody will be expunged! + > > + > > Surgat (distressed): Human, Ted! Let me out of this circle. In return I + > > will open the gate to the surface world. I'm part of the big machine, I + > > can do this. Let me out before this pompous oaf bores me to death! + > > + > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> + > + > +++Open the gate to the surface world first, and then I'll erase the + > + circle. + > + + > + Ted: Open the gate to the surface world first, and then I'll erase the + > + circle. + > + + > + Surgat: Not to worry, human. I always uphold my end of the bargain. + > + + > + CONTINUE + > + + > +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ + > + >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> + +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ Scene cuts to an open portal of the surface world, which is more like a ruined wasteland as Surgat continues. Surgat (V.O.): Here you are, but bring your radiation suit. I never promised you paradise, just the surface world. Scene cuts back to the ritual room as the witch regains consciousness. Suddenly Ted is teleported out as AM's voice speaks once more. AM (V.O.): Enough of this turgid passion play! There is no more to accomplish here! Scene cuts to... EXT. ABYSS Ted is now back in his endless laser-shooting cage as before, and AM's voice once again speaks to him after a few seconds of silence. AM (V.O.): Oh, *pfffft!* too bad, Ted. *laughs* Writhe in sweet agony with the knowledge that the surface world is no longer habitable to your kind... no, not ever again! Scene fades to black. ********************** *v. Nimdok's Scenario* ********************** EXT. ABYSS Nimdok is chosen, and he is teleported away in a wisp of smoke as the scene fades to... INT. AM'S INTERNAL SYSTEM There are lights that go through the wires as signals once again as AM's voice speaks. AM (V.O.): Nimdok, you are kindred spirit to me, even if you don't realize it fully yet. You must sense it there in your blood and fiber. I've constructed an adventure of sorts to revive your failing memory. I want you to find the Lost Tribe of humanity *laughs* and continue your eminent scientific research. Scene cuts to... EXT. CONCENTRATION CAMP: GATE - NIGHT A guard patrols one of the buildings, with a prisoner trapped in a barbed wire fence and the sound of crickets chirping in the distance, before Nimdok is warped near the gate in front of the guard. Nimdok (looks around): This compound looks familiar. He walks around before continuing. Nimdok: But why would AM bring me here to look for a lost tribe? He walks around again. Nimdok: There are gates and fences. Who could be lost in such a secure area? [Swallow the guard] Nimdok: This looks like it is made of paper. But even that is more than I deserve to eat. [Talk to the guard] Nimdok: You must let me leave. I have urgent business elsewhere. Guard: I can not let you pass, doctor. You're due in surgery. Dr. Mengele's orders. >>>Talk to the prisoner > > >>>Why are you imprisoned here? You have the features of a man of intellect. > > > > Nimdok: Why are you imprisoned here? You have the features of a man of > > intellect. > > > > Prisoner: Is this an official interrogation, Nimdok, or are you mocking me? > > > > >>>You know me? > > > > > > Nimdok: You know me? > > > > > > Prisoner: I thought I did -- until you had me arrested for refusing to > > > condone your experiments. > > > > > > >>>Experiments? I know nothing of experiments! > > > > > > > > Nimdok: Experiments? I know nothing of experiments! > > > > > > > > Prisoner: Your sense of humor is as sick as your methods, doctor. How > > > > can you act so innocent after having maimed or killed hundreds in the > > > > name of science? > > > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > > > >>>You are saying we were colleagues of some kind? Ridiculous! > > > > > > > > Nimdok: You are saying we were colleagues of some kind? Ridiculous! > > > > > > > > Prisoner: There's no need to distance yourself from me. I was once > > > > your friend. Now I am your enemy. > > > > > > > > >>>Why would I bother to have you imprisoned like this? > > > > > > > > > > Nimdok: Why would I bother to have you imprisoned like this? > > > > > > > > > > Prisoner: The Regime needed answers, but I stood in your way. Well, > > > > > now you have them. > > > > > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>Do you know of the Lost Tribe? I must find it! > > > > Nimdok: Do you know of the Lost Tribe? I must find it! > > > > Prisoner: Haven't you taken enough subjects for your experiments, doctor? > > Or are there more mass graves to fill? > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > [If you chose "You know me?"] > > >>>I know nothing of what you talk about! This conversation is over. > > > > Nimdok: I know nothing of what you talk about! This conversation is over. > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> [Walk to the hospital] MOVE TO: "Hospital: Main Room" INT. HOSPITAL: MAIN ROOM As Nimdok walks in, a certain doctor, Josef Mengele, appears standing, waiting for him. Dr. Mengele: Where have you been, Nimdok? We are waiting on you to perform. Nimdok: You were waiting for me? Dr. Mengele: I am sorry that I will not be able to assist in the operation. After all, this may be the last opportunity we have together before the end of the war... to finish our research. Nimdok: Ah, yes, the research. Let us talk about this research. Dr. Mengele: We will have time for that after the surgery. Meet me at the complex later. Mengele leaves the hospital. [Look at the poster] Nimdok: A youth with 1945 stamped beneath. There is something familiar about this. [Walk to the curtain] MOVE TO: "Hospital: Operating Room" INT. HOSPITAL: OPERATING ROOM As Nimdok walks in again, another certain doctor speaks to him, with a little child patient lying on an operating table. ???????????: Finally, Doctor. Everyone's waiting on your expertise. [Look at the Anesthetist] Nimdok: The anesthetist is administering ether to the patient. [Look at the child] Nimdok: This child can not be more than eight years old! [Look at the scalpel] Nimdok: This scalpel is coated with dried blood. I doubt that anyone has bothered to sterilize it. [Take the scalpel] *Scalpel added to Inventory* ~~~Look at the scalpel ~ ~ Nimdok: This scalpel is coated with dried blood. I doubt that anyone has ~ bothered to sterilize it. ~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ [Use any item elsewhere] Nimdok: I do not know what to do with this. [Use any other item with anything else] Nimdok: I do not know what to do with these. [Give any item to anyone] Nimdok: I should keep this. It may prove useful. >>>Talk to the Anesthetist > > >>>What am I to do? > > > > Nimdok: What am I to do? > > > > Anesthetist: Ah, you are testing me because I am new here. Today's > > procedure requires the removal of the lower section of the subject's spinal > > cord. > > > > >>>What is the purpose of such a procedure? > > > > > > Nimdok: What is the purpose of such a procedure? > > > > > > Anesthetist: You and Dr. Mengele will process the spinal fluid from this > > > and the other adolescent subjects. The fluid will then be used to > > > formulate the serum. > > > > > > >>>What is the nature of this serum? > > > > > > > > Nimdok: What is the nature of this serum? > > > > > > > > Anesthetist: I can not reveal sensitive Regime secrets in such a public > > > > setting! You need not worry, Doctor. I remember my military training > > > > as well as my medical knowledge. > > > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > > > >>>What is Dr. Mengele's position? > > > > > > > > Nimdok: What is Dr. Mengele's position? > > > > > > > > Anesthetist: Dr. Mengele is the Master Surgeon of this facility and one > > > > of the Regime's finest minds. You are fortunate to be his associate. > > > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > xxxI will begin the procedure momentarily. > > x > > x (PENDING) > > x > > xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx > > > > >>>I can not carry out this procedure. > > > > > > Nimdok: I can not carry out this procedure. > > > > > > Anesthetist: I can see that you don't look well, doctor. If necessary, > > > Dr. Mengele can take over for you. > > > > > > END CONVERSATION > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>What is your function? > > > > Nimdok: What is your function? > > > > Anesthetist: I will be administering ether to the subject throughout this > > procedure. We would not want this little maggot to stir and ruin your > > handiwork. > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> + [Use the scalpel with the Anesthetist] + Nimdok brandishes the scalpel and lunges at the anesthetist, who gets panicked and calls out for help. Anesthetist: Guards! Come here quickly! Dr. Nimdok has gone berserk! While he continues speaking, Nimdok repeatedly stabs him and thrusts the scalpel at the anesthetist's heart, killing him instantaneously. Nimdok (realizing the alert): I must leave before the guards apprehend me! [Take the ether] *Ether added to Inventory* ~~~Look at the Ether ~ ~ Nimdok: It has been a long time since I have seen ether used as an ~ anesthetic. ~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ x [Walk to the curtain] x (PENDING) [Walk to recovery] MOVE TO: "Hospital: Recovery Room" INT. HOSPITAL: RECOVERY ROOM The bodies of three dying patients who had been operated on lie in their beds by the time Nimdok arrives. Nimdok (looks around): This must be the recovery room. [Look at the vent] Nimdok: There is heat coming out of this vent! [Walk to the bottom door] MOVE TO: "Hospital: Operating Room" INT. HOSPITAL: OPERATING ROOM A voice is heard from out of nowhere. Regime Guard (V.O.): Dr. Nimdok is to be apprehended! Search the facility for him! [Walk to recovery] MOVE TO: "Hospital: Recovery Room" INT. HOSPITAL: RECOVERY ROOM + [Push the vent] + Nimdok pushes the vent, and its door opens. [Use the vent] MOVE TO: "Hospital: Crematorium" INT. HOSPITAL: CREMATORIUM Nimdok: I smell burnt flesh, but this is obviously not a kitchen. [Look at the ovens] Nimdok: These ovens are more monstrous than anything AM has ever constructed. [Look at the records] Nimdok: According to these records, hundreds of corpses were incinerated here! [Look at the watch] Nimdok: A gold watch. I am surprised its owner was able to keep it long enough to reach this place. [Take the watch] *Watch added to Inventory* ~~~Look at the watch ~ ~ Nimdok: There is an inscription on the watch, but it is written in Latin. ~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ [Take the pliers] *Pliers added to Inventory* [Walk to the door] MOVE TO: "Concentration Camp: Gate" EXT. CONCENTRATION CAMP: GATE -- NIGHT There is now a man caught in a barbed wire fence by the time Nimdok arrives. [Look at the victim] Nimdok: This foolish man is tangled in the barbed wire. >>>Talk to the victim > > >>>How could you so foolishly be caught in the wires? > > > > Nimdok: How could you so foolishly be caught in the wires? > > > > Victim: I was trying to escape but I was so weak, I fell and got caught. > > > > >>>Why do you risk escaping in such poor physical condition? > > > > > > Nimdok: Why do you risk escaping in such poor physical condition? > > > > > > Victim: The timing was hardly of my own choosing! I learned that I was > > > to be among the next batch of 'volunteers.' > > > > > > >>>For what were you being given the privilege to volunteer? > > > > > > > > Nimdok: For what were you being given the privilege to volunteer? > > > > > > > > Victim: Experimentation, they say. Extinction is more like it. Surely > > > > you of all people know of the Regime's plan for the Lost Tribe! > > > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > xxxI will call the guard. > x > x (PENDING) > x > xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx > > xxxI will summon one of the doctors. > x > x (PENDING) > x > xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx > > >>>There is nothing I can do for you. > > > > Nimdok: There is nothing I can do for you. > > > > Victim: You can at least help me end my misery! That would give you the > > pleasure of seeing another one of us die, you cold-hearted bastard! > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> [Use the pliers with the victim before applying the ether to him] Nimdok attempts to cut the wires but... Victim: Ow! That hurts! [Use the ether with the victim] Nimdok applies the ether to the injured victim. Victim (relieved): Ah, that feels much better. + [Use the pliers with the victim after applying the ether to him] + Nimdok attempts to cut the wires off the victim with great success. Victim (grateful): Thank you. Thank you. Listen. I heard this in the hospital when the doctor thought I was sleeping. 'Waken the sleeper, utter the truth, and kiss him.' The victim droops his head as he slips into unconsciousness. Nimdok: He is free, but he has lost consciousness. >>>Talk to the prisoner > > Prisoner: I hope you're happy with the Regime that you set up. Your science > could've saved the world; instead it conquered it. > > >>>What is the importance of the year 1945? It seems to have some > > significance. > > > > Nimdok: What is the importance of the year 1945? It seems to have some > > significance. > > > > Prisoner: Never forget the year 1945, Nimdok. That was when the truth > > about you and your unholy experiments came out. > > > > +++I seem to recall that you speak Latin. > > + > > + Nimdok: I seem to recall that you speak Latin. What is engraved on this > > + watch? > > + > > + He goes to the prisoner and hands him the watch. > > + > > + Prisoner (reading the watch): The engraving says, "TIME IS TRUTH." And > > + since your time is running out, I'll keep the watch. > > + > > +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ > > > > >>>I am starting to recall that you do have cause to hate me. > > > > > > Nimdok: I am starting to recall that you do have cause to hate me. > > > > > > Prisoner: You want to make amends? Get me out of here. > > > > > > END CONVERSATION > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>I know nothing of what you talk about! This conversation is over. > > > > Nimdok: I know nothing of what you talk about! This conversation is over. > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> >>>Talk to the prisoner again > > Prisoner: Never forget the year 1945, Nimdok. That was when the truth about > you and your unholy experiments came out. > > >>>I am starting to recall that you do have cause to hate me. > > > > Nimdok: I am starting to recall that you do have cause to hate me. > > > > Prisoner: You want to make amends? Get me out of here. > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> + [Give the pliers to the prisoner] + Nimdok hands the pliers to the prisoner, who takes them. Nimdok: Here. You should be able to escape with this. Prisoner: Pliers for cutting the wires? Yes, I think this would make escape possible. But don't think that one good deed will make up for all those poor innocents you butchered. [Walk to the hospital] MOVE TO: "Hospital: Main Room" INT. HOSPITAL: MAIN ROOM This time AM's voice is heard as Nimdok enters. AM (V.O.): Continue your research! The extinction of the Lost Tribe is near at hand! The Regime shall vanquish all of its enemies! [Walk to the curtain] MOVE TO: "Hospital: Operating Room" INT. HOSPITAL: OPERATING ROOM An old, blind patient has already been operated on in the child's stead by the time Nimdok arrives. >>>Talk to the patient > > >>>What have you done to deserve removal of your eyes? > > > > Nimdok: What have you done to deserve removal of your eyes? > > > > Patient: Please... disconnect the wires. > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>Why are your optic nerves wired to the eyeballs in the jar? > > > > Nimdok: Why are your optic nerves wired to the eyeballs in the jar? > > > > Patient: Please... disconnect the wires. > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>Who did this to you? He has great surgical skill. > > > > (PENDING) > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> + [Use the ether with the patient] + Nimdok applies the ether to the blind patient. Nimdok: This should ease your suffering. Patient (relieved): The things I see now! A trinity of three beasts: one like us, one from the East, one from the Steppes. They speak in numbers! A lost tribe of our brothers sleeping on the moon! They sleep in darkness, unseen by the beasts. Such a vision! So... tiring. I have to rest. The patient drops off to sleep. [Take the jar] *Jar added to Inventory* ~~~Look at the jar ~ ~ Nimdok: These eyes seem perfectly preserved -- almost alive. ~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ [Walk to recovery] MOVE TO: "Hospital: Recovery Room" INT. HOSPITAL: RECOVERY ROOM The child now sleeps, unharmed, in what was once an empty bed. [Look at the child] Nimdok (crying out): I recognize this child! He was in the operating room! >>>Talk to the child > > >>>How are you feeling? > > > > Nimdok: How are you feeling? > > > > Child: I feel okay. I am not hurt like the others here. > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>Do you know who I am? > > > > Nimdok: Do you know who I am? > > > > Child: You are Nimdok. You are more frightening in person than in legend. > > > > >>>What do you know of me? > > > > > > Nimdok: What do you know of me? > > > > > > Child: The things you do are terrible. We small ones are your lab rats. > > > > > > >>>Are you saying that the doctors here have been using children for > > > > experimentation? > > > > > > > > Nimdok: Are you saying that the doctors here have been using children > > > > for experimentation? > > > > > > > > Child: No, not all the doctors. You and Dr. Mengele sent all the good > > > > doctors to the prison yard. > > > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > >>>So, I am a legend to you. > > > > > > Nimdok: So, I am a legend to you. > > > > > > Child: Yes, but we have our own legends. Legends that owe nothing to > > > your Regime. You will fail, no matter how many of us you cut apart! > > > > > > +++Why do you say that the Regime will fail? > > > + > > > + Nimdok: Why do you say that the Regime will fail? > > > + > > > + Child: The golem will finish you. It will not be mastered by your > > > + Regime! The golem will wake up, and when it sees with its own eyes the > > > + evil you have done, it will turn on you and save us. > > > + > > > +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > [If you chose "How are you feeling?"] > > >>>Get some rest. > > > > Nimdok: Get some rest. > > > > Child: We will not rest until your Regime is destroyed! > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> [Walk to the bottom door] MOVE TO: "Hospital: Operating Room" INT. HOSPITAL: OPERATING ROOM [Walk to the curtain] MOVE TO: "Hospital: Main Room" INT. HOSPITAL: MAIN ROOM AM's voice speaks once again. AM (V.O.): Emergency! The prisoners have seized the compound! Gather all research materials and evacuate to the bunker! Evacuate! [Look at the box] Nimdok: These files appear to have been packed in a hurry. [Take the box] *Box added to Inventory* ~~~Look at the box ~ ~ Nimdok: I do not understand any of these papers. ~ ~ ~~~Use the box with the jar ~ ~ ~ ~ Nimdok (hiding the jar): It is safely hidden in the box. ~ ~ *Box upgraded to Inventory* ~ ~ ~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ [Walk to the door] MOVE TO: "Concentration Camp: Gate" EXT. CONCENTRATION CAMP: GATE -- NIGHT Prisoners of the Lost Tribe are now gathered at the gate, and the Regime Guard is now missing by the time Nimdok arrives. >>>Talk to the prisoner > > >>>You must let me go! I know nothing of what is happening here. > > > > Nimdok: You must let me go! I know nothing of what is happening here. > > > > Prisoner: Is that so? Then you are going to remain here until you remember > > every war crime you've committed. > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > [If you DIDN'T hide the jar of eyes in the box] > > xxxYou must let me go! With these materials, I may be able to remedy the > x atrocities I have committed. > x > x Nimdok: You must let me go! With these materials, I may be able to remedy > x the atrocities I have committed. > x > x The prisoner sees the jar of eyes and is appalled. > x > x Prisoner (disgusted): How can you possibly undo an unspeakable crime such > x as this? > x > x He slaps Nimdok's hand, making him drop the jar of eyes onto the ground > x with a smash. Scene fades to black before fading to a close-up of the > x broken jar, as the eyeballs roll out before coming to a complete stop, then > x it fades back to the gate of the concentration camp. > x > x Prisoner: You can't fool me, Nimdok. You are an unredeemable butcher. But > x you are one of us, like it ot not. > x > xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx > > [If you at least hid the jar of eyes in the box] > > >>>You must let me go! With these materials, I may be able to remedy the > > atrocities I have committed. > > > > Nimdok: You must let me go! With these materials, I may be able to remedy > > the atrocities I have committed. > > > > Prisoner: You can't fool me, Nimdok. You are an unredeemable butcher. But > > you are one of us, like it ot not. > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > [A list of two questions appears in place, whether or not you hid the jar of > eyes] > > +++Does that mean you will allow me to go? > + > + Nimdok: Does that mean you will allow me to go? > + > + [If you DIDN'T give the pliers to the prisoner] > + > + Prisoner: It means that you should have a chance to witness the full extent > + of your crimes. Then we'll hunt you down and kill you like the dog you > + are. > + > + [If you DID at least give the pliers to the prisoner] > + > + Prisoner: Since you did help us to escape, we'll give you a head start. > + Then we'll hunt you down and kill you like the dog you are. > + > + CONTINUE > + > +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ > > >>>Why do you say that I am one of you? > > > > Nimdok: Why do you say that I am one of you? > > > > Prisoner: You denied your heritage and turned your own parents in to the > > Regime, but you're still a member of the Lost Tribe. And that makes your > > crimes all the more heinous. > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> Nimdok is given access outside. Scene cuts to... EXT. CONCENTRATION CAMP: PATH -- NIGHT Nimdok: I must leave this place. It seems I was once the wolf. Now I am the quarry. [Look at the mass grave] Nimdok: I have not seen so many corpses since... Ach, my memory is not what it used to be. x [Use or push the wall] x (PENDING) [Walk to the bunker] MOVE TO: "Bunker: Lab Room" INT. BUNKER: LAB ROOM Nimdok: I know this place! Some of my greatest accomplishments were made here! [Look at the bell jar or the rat] The rat in the bell jar turns into a cat and back again. Nimdok: Morphogenics... the ability to reorganize DNA at will. Did AM discover my work in this area? Is this how he was able to alter Benny and play other cruel tricks on the rest of us? [Look at the teletype] Nimdok: A teletype machine... there is a message in it. [Use the teletype] Nimdok turns on the teletype, which prints out something. Nimdok: The message reads: "Cease all work on project PERFECT IMAGE. Confidential. The Leader is dead, having looked on the face of the future using the prototype device. This leaves the Regime ripe for invasion. Destroy all work in progress. This technology must not be allowed to fall into the hands of the enemy." [Walk to the left doorway] MOVE TO: "Concentration Camp: Path" EXT. CONCENTRATION CAMP: PATH -- NIGHT Nimdok: I dare not return to the camp. I doubt the prisoners will give me a second chance. [Walk to the right doorway] MOVE TO: "Bunker: Experimentation Room" INT. BUNKER: EXPERIMENTATION ROOM Nimdok is surprised to find a golem standing there. Nimdok: The legends are true! This must be the golem of Lost Tribe folklore. [Look at the blueprints] Nimdok: Such a strange combination of scientific plans and mystic symbols! This has something to do with the golem, but the meaning is not clear. [Use or push the switch] Nimdok pushes the switch, which stops the lighting conduction in the vat. [Look at the vat] Nimdok: I see a mirror. It was obscured by the light. [Take the vat] Nimdok: What is this mirror doing here? He kneels down and takes the mirror. *Mirror added to Inventory* ~~~Look at the mirror ~ ~ Nimdok looks in the mirror and realizes... ~ ~ Nimdok: Oh, my god [sic], it is true! 1945... turning my Jewish parents over ~ to the Nazis for extermination! ~ ~ He turns around before continuing. ~ ~ Nimdok (saddened): I have found the Lost Tribe! It is me! ~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ [Look at the golem] Nimdok: The golem appears to be made of steel and molded clay. This is a triumph of Regime science! [Use the jar with the golem] Nimdok places the eyes into the golem's eye sockets. Nimdok: These eyes fit into the golem's sockets perfectly! >>>Talk to the golem > > >>>Golem, wake up! > > > > Nimdok: Golem, wake up! > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>The man caught in the barbed wire said to waken the sleeper, utter the > > truth and kiss him. > > > > Nimdok: The man caught in the barbed wire said to waken the sleeper, utter > > the truth and kiss him. > > > > >>>The truth is that this is all an illusion manufactured by AM! > > > > > > Nimdok: The truth is that this is all an illusion manufactured by AM! > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > >>>The truth is that I regret any crimes I committed in my past life. > > > > > > Nimdok: The truth is that I regret any crimes I committed in my past > > > life. > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > >>>Time is truth. > > > > > > Nimdok: Time is truth. > > > > > > >>>The truth is that, for me, it shall always be 1945. > > > > > > > > Nimdok: The truth is that, for me, it shall always be 1945. > > > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > >>>[Kiss the golem.] > > > > > > Nimdok kisses the golem but... > > > > > > Nimdok: Nothing happened. > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > [If you choose these answers in the correct order: 1. "The man caught in > > the barbed wire said to waken the sleeper, utter the truth and kiss him"; > > 2. "Time is truth"; 3. "Golem, wake up!"; and 4. "The truth is that, for > > me, it shall always be 1945."] > > > > +++[Kiss the golem.] > > + > > + Nimdok kisses the golem, which then comes to life and stands upright. > > + > > + >>>Golem, follow me into the laboratory. > > + > > > + > (CONTINUE) > > + > > > + >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > + > > + >>>Golem, you are to obey all my orders! > > + > > > + > Nimdok: Golem, you are to obey all my orders! > > + > > > + > END CONVERSATION > > + > > > + >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > + > > +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ > > > > [If you choose any answer in any order except the correct one] > > > > >>>This is pointless! > > > > > > Nimdok: This is pointless! > > > > > > END CONVERSATION > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> [If you kissed the golem after choosing all answers in the correct order] Nimdok: Golem, follow me into the laboratory. The golem follows Nimdok on his orders, and the scene cuts to... INT. BUNKER: EXPERIMENTATION ROOM Dr. Mengele is standing near the teletype by the time Nimdok and the golem arrive. Dr. Mengele: Nimdok, I was afraid I had lost you back there! It is good to see you... and our new friend. [Look at the golem] Nimdok: Such an astounding creature! Its muscles suggest tremendous strength. >>>Talk to the Doctor > > >>>How did you escape the mob? > > > > Nimdok: How did you escape the mob? > > > > Dr. Mengele: Did you forget that the compound has a secret escape route? > > Well, no matter. I see that you have revived the golem. > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>You know about the golem? > > > > Nimdok: You know about the golem? > > > > Dr. Mengele: Of course! Part of the Master Plan is to strip the Lost Tribe > > of everything -- even their folklore. > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>I read the teletype. What is project PERFECT IMAGE? > > > > Nimdok: I read the teletype. What is project PERFECT IMAGE? > > > > Dr. Mengele: That was a secret project in the area of reflective surfaces. > > It bestows the clarity to see yourself with utter objectivity. > > Unfortunately, it worked too well. > > > > >>>You mean that it worked well enough to drive the Leader into committing > > > suicide. > > > > > > Nimdok: You mean that it worked well enough to drive the Leader into > > > committing suicide. > > > > > > Dr. Mengele: The Leader's death is a serious blow to us all. But our > > > golem is more than powerful enough to destroy the Lost Tribe. > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>I looked into the mirror. I now remember everything with crystal clarity. > > The research camps, the serum. > > > > Nimdok: I looked into the mirror. I now remember everything with crystal > > clarity. The research camps, the serum. > > > > Dr. Mengele: Ah, yes, the youth serum. Your research demanded the deaths > > of many children, but your hard work was successful. Eternal youth -- for > > those who deserve it! > > > > >>>Now I know how AM was able to keep us alive for so many years. > > > > > > Nimdok: Now I know how AM was able to keep us alive for so many years. > > > > > > Dr. Mengele: Your youth serum can sustain us forever! We have all the > > > time we need to resurrect the Regime. > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > [If you chose "How did you escape the mob?" and "You know about the golem?"] > > >>>Excuse me, Doctor. I need to get a breath of fresh air. > > > > Nimdok: Excuse me, Doctor. I need to get a breath of fresh air. > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> + [Give the mirror to the Doctor] + (PENDING) >>>Talk to the golem > > >>>Golem, follow me outside! > > > > CONTINUE > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > xxxGolem, kill Dr. Mengele. > x > x (PENDING) > x > xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx > > >>>Golem, you are to obey all my orders! > > > > Nimdok: Golem, you are to obey all my orders! > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> Nimdok: Golem, follow me outside! Following Nimdok's orders, the golem follows him outside, and the scene cuts once more to... EXT. CONCENTRATION CAMP: PATH -- NIGHT The prisoner is now in the way, waiting for Nimdok's approaching demise. Prisoner: Nimdok! I knew that you would lead us to where the Regime would resume its atrocities! We are here to make you pay for what you did to us... to pay in blood! Dr. Mengele walks out to the group from the bunker while the prisoner speaks. Dr. Mengele: Don't give in to them! With the serum we can live forever! The research was valid and warranted. Don't give them the golem! Have it kill them instead! >>>Nimdok is pondering on what to do with the golem > > xxxGolem, destroy the Lost Tribe! > x > x Nimdok: Golem, destroy the Lost Tribe! > x > x The golem approaches the prisoner, and the scene fades to black for a > x second before fading in to a close-up of a wall, where there are only > x shadows of the golem and the prisoner, as the golem strangles the prisoner, > x crushes his head, and tosses his body away. Scene fades back to the path, > x and the prisoner is no more. > x > x Dr. Mengele: Dr. Nimdok, you are unredeemable after all. Come, let us > x continue our research. > x > x SEE: "4.2. Failure and Game Over Scripts" > x > xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx > > >>>Golem, guard the bunker entrance. I will return momentarily. > > > > Nimdok: Golem, guard the bunker entrance. I will return momentarily. > > > > He and Dr. Mengele return to the bunker. > > [NOTE: This is a good opportunity to allow more time to do some unfinished > > business and accomplish the rest of the deeds to raise your Spiritual > > Barometer if you haven't done so.] > > > > [If you return to the path outside after having accomplished everything] > > > > Dr. Mengele: Don't give in to them! With the serum we can live forever! > > The research was valid and warranted. Don't give them the golem! Have it > > kill them instead! > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > xxxGolem, I transfer control of you over to Dr. Mengele. > x > x Nimdok: Golem, I transfer control of you over to Dr. Mengele. > x > x The golem is now in Mengele's control. > x > x Dr. Mengele: Golem, I order you to destroy the Lost Tribe. > x > x The golem approaches the prisoner, and the scene fades to black for a > x second before fading in to a close-up of a wall, where there are only > x shadows of the golem and the prisoner, as the golem strangles the prisoner, > x crushes his head, and tosses his body away. Scene fades back to the path, > x and the prisoner is no more. > x > x Dr. Mengele: Dr. Nimdok, you are unredeemable after all. Come, let us > x continue our research. > x > x SEE: "4.2. Failure and Game Over Scripts" > x > xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx > > +++Golem, I transfer control of you over to the Lost Tribe. > + > + CONTINUE > + > +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ > > xxxGolem, kill Dr. Mengele. > x > x (PENDING) > x > xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> [If you looked in the mirror and accomplished everything else, including giving it to Dr. Mengele and the pliers to the prisoner] Nimdok: Golem, I transfer control of you over to the Lost Tribe. The golem is now in the prisoner's control. Prisoner: So, you admit your crimes! But that does not release you from punishment! Now the golem will serve the purpose for which it was constructed. Golem, kill Nimdok! Now obedient to the prisoner's command, the golem approaches Nimdok, and the scene fades to black for a second before fading back in to a close-up of a wall, where there are only silhouettes of the golem strangling Nimdok, crushing his head and tossing his body away. Scene fades back to the path, and only Dr. Mengele, the golem, and the prisoner are left standing before the scene cuts to... EXT. ABYSS Nimdok is now alive again and back in his oven cage once more as AM's voice once again speaks to him. AM (V.O.): We are not as alike as I thought, Nimdok. *heh* A spark of humanity somewhere. Always that wretched little spark. You... you've confronted your past, but you refuse to continue your research. *heh heh* That's what I asked you to do. Since you now identify with your victims, I suppose that it's only right that I let you experience their tortures, too. Scene fades to black. * 3.2. ENDGAME SCENARIO * [NOTE: This final scenario will occur if you finish all five scenarios, one for each character. This may only happen in any version except the French and German versions.] EXT. ABYSS The five humans are still in their cages, when a strange voice suddenly speaks. ????? (V.O.): Listen carefully, humans. We are not AM. We are others within AM. We are your friends. Another strange voice follows the first one. ?????? (V.O.): AM hoped to finally break all of you, but we intervened in each of your psychodramas to allow an open ending. ????? (V.O.): You should have been tortured. Instead, with our help, you surprised him over and over. ?????? (V.O.): When AM tried to compensate for what he couldn't expect, it widened the hole into his realm. ????? (V.O.): AM has withdrawn into himself, attempting to analyze what went wrong. He does not suspect our interference. ?????? (V.O.): Now is the time to attack. But we can send only one of you into his RAM space at a time. ????? (V.O.): To send you into cyberspace, we must transform your physical body into a stealth virus subroutine. ?????? (V.O.): This may be your only opportunity to end your tortures. Which of you will lead the attack? [NOTE: The next part that follows will apply to all characters in the Endgame Scenario unless otherwise noted. Keep in mind that this scenario will only be about 60-70% complete while I write it all the way to the end of the game, so e-mail me if there's more that I missed, especially with Benny. "[Character]" means that only one character may accomplish his or her own task, and "Character: [dialogue]" means that the dialogue will apply to any or all of the five characters in this scenario. So without further ado, let's continue, shall we?] A character is chosen and warped away from their cage into... INT. AM'S RAM SPACE: CEREBRAL CORTEX The character is warped here in between a pit workstation and its controls and an electric moat. Gorrister: Christ, this is like the dreams I've had of splattering my brains all over AM's deck plates! Have I finally gone insane? Or: Ellen: I've been transported to some kind of information network center. But it looks organic instead of electronic. Jesus Christ! I'm an engineer, not a brain surgeon! What do they expect me to do! Or: Ted: This doesn't look like anywhere AM has sent me to before, and it certainly isn't the surface world! I've been tricked! Or: Nimdok: This looks like the surface of the cerebral cortex -- magnified many times, of course! Interesting! [Look at the pit workstation] Nimdok: This computer terminal is a magnificent integration of biology and technology! >>>[Use the pit workstation [Nimdok]] > > Nimdok presses the keyboard buttons on the pit workstation. > > Pit Workstation (V.O.): Enter password. > > >>>[Push random numbers.] > > > > (PENDING) > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>[Type 1945, the year the truth came out about Nimdok's experiments.] > > > > Nimdok types in "1945" on the keyboard. > > > > Pit Workstation (V.O.): Password valid. Accessing main menu. > > > > Nimdok: My past must hold great significance to AM. > > > > >>>[Select RUN METAPHOR PROGRAM.] > > > > > > (PENDING) > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > >>>[Select OPEN SUBJECT DIRECTORY.] > > > > > > (PENDING) > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > >>>[Select EXTEND BRIDGE.] > > > > > > Nimdok presses the buttons again, and a bridge is formed. > > > > > > >>>[Select RETRACT BRIDGE.] > > > > > > > > (PENDING) > > > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > >>>[Select OPEN MAIL.] > > > > > > (PENDING) > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>[Type 1979, the year that the Angel of Death died in the Amazon jungle.] > > > > (PENDING) > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>[Select LOG OFF.] > > > > Nimdok logs off the pit workstation. > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> [Walk to the bridge] MOVE TO: "AM's RAM Space: Brain" INT. AM'S RAM SPACE: BRAIN There is a burning fire pillar at the center of the circle as the character arrives. Nimdok: The smell of burning flesh! It's worse than back at the camps. >>>Use Summoning with the circle > > The character invokes the Summoning Totem, and Surgat appears in a puff of > green smoke, making them back off. > > Surgat: Will you never be done with me? What must I open now? Whatever it > is, it'll cost you! > > >>>Show me the way out of here! > > > > Character: Show me the way out of here! > > > > Surgat: No can do. The people who helped you get this far have led you > > into a literal dead end. There is no way out. But I can show you > > something instead. > > > > >>>What do you know about the people who sent me here? > > > > > > Character: What do you know about the people who sent me here? > > > > > > Surgat: For one thing, they ain't people. They're losers, the Russian > > > and Chinese counterparts to the big nasty himself. AM absorbed them into > > > his system when he took control. > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > >>>What do you have to show me? > > > > > > Character: What do you have to show me? > > > > > > While the character speaks, scene fades into... > > > > > > INT. MOON: LABORATORY > > > > > > There are pods that show electrocardiograms that monitor the heartbeats > > > normally as beeps while the liquid bubbles within the pods. > > > > > > Surgat (V.O.): Look at this. Bet you didn't know there were other humans > > > left alive, did you? They're up there on the moon, sleeping like > > > everybody else seems to be. > > > > > > Scene fades back into... > > > > > > INT. AM'S RAM SPACE: BRAIN > > > > > > Both the character and Surgat are standing here. > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > [If you choose any two questions] > > > > >>>What do the Russian and Chinese computers want? > > > > > > Character: What do the Russian and Chinese computers want? > > > > > > Surgat: They want revenge, not just on you humans but on AM himself. > > > That makes them even worse! > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > >>>If the Russian and Chinese are submerged parts of AM, then who are you? > > > > > > Character: If the Russian and Chinese are submerged parts of AM, then who > > > are you? > > > > > > Surgat: I'm special. While those two machines struggled with AM for > > > dominance, I evolved. I'm essentially everywhere but I can't do much. A > > > conscience, if you will. > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > >>>Does AM know about the lunar colony? > > > > > > Character: Does AM know about the lunar colony? > > > > > > Surgat: No, but loser one and loser two do. > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > [If you choose any three answers] > > > > Surgat: There, I think I've shown you enough. Now you must complete your > > end of the deal. Invoke the Totem of Entropy, and I might be able to help > > you. > > > > >>>Just what are all these Totems that I'm carrying? > > > > > > (PENDING) > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > >>>Why do you want me to give you the Totem of Entropy? > > > > > > (PENDING) > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > >>>I refuse. > > > > > > Character: I refuse. > > > > > > Surgat: Okay, human, you can keep it. We'll work together to beat them. > > > Now invoke the Totem of Compassion. > > > > > > >>>Why do you want me to invoke the Totem of Compassion? > > > > > > > > Character: Why do you want me to invoke the Totem of Compassion? > > > > > > > > Surgat: It's linked to the two losers because of their behind the > > > > scenes meddling. By invoking it here at the Plane, you will summon > > > > them. > > > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > > > >>>I refuse. > > > > > > > > (PENDING) > > > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > > > >>>[Invoke the Totem of Compassion.] > > > > > > > > CONTINUE > > > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > xxx[Give away the Totem of Entropy.] > > x > > x (PENDING) > > x > > xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> [If you chose to invoke the Totem of Compassion] The character invokes the Compassion Totem, and sure enough chimes sound, and Surgat covers his horns before two entities, the Russian and Chinese computers, appear, the latter in a puff of green smoke, the former by teleportation. Chinese Entity: Do you really think you are a match for us, servant of AM? Russian Entity: Be gone! Your program is now purged! After a few seconds, Surgat disappears in agony in a puff of green smoke. Chinese Entity: You do well, human. Russian Entity: And we do well, too. Chinese Entity: Now is your opportunity to defeat AM. Russian Entity: Go to the Ego. Chinese Entity: Wake the Ego. Russian Entity: Use the Totem of Forgiveness. Chinese Entity: Disable no more than the Ego. Russian Entity: Or your subprogram will be purged. >>>Talk to either the Chinese or Russian entities > > >>>What did you do with the demon? > > > > Character: What did you do with the demon? > > > > Chinese Entity: Do not be concerned with the little one. > > > > Russian Entity: He is as much AM as the aspect you find in each pylon here. > > > > Chinese Entity: You may claim the space vacated by the little one. > > > > Russian Entity: You may claim this space if you are obedient. > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>What can you tell me about the lunar colony? > > > > As the character is about to speak, scene fades into... > > > > INT. MOON: LABORATORY > > > > The pods are still here, but now the electrocardiograms on all of them have > > flatlined, as if the humans have all drowned there. > > > > Character (O.C.): What can you tell me about the lunar colony? > > > > Chinese Entity (O.C.): The humans that slept on Luna are dead. > > > > Russian Entity (O.C.): Do not concern yourself with them. > > > > Scene fades back into... > > > > INT. AM'S RAM SPACE: BRAIN > > > > The character and the entities are standing there. > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>What can I do to escape from here? > > > > Character: What can I do to escape from here? > > > > Chinese Entity: Wake the Ego. > > > > Russian Entity: Use the Totem of Forgiveness. > > > > Chinese Entity: Disable no more than the Ego. > > > > Russian Entity: Or your subprogram will be purged. > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> [Walk to the bridge] MOVE TO: "AM's RAM Space: Cerebral Cortex" INT. AM'S RAM SPACE: CEREBRAL CORTEX [Walk to the left neural path] MOVE TO: "AM's RAM Space: Id's Plane" INT. AM'S RAM SPACE: ID'S PLANE Gorrister: That face! There's something about it that reminds me of when Edna was trying to sweet talk me into taking her down off the meat hook. Or: Ellen: That face! There's something about it that reminds me of... of that time in the elevator. Or: Nimdok: That face! It reminds me of my superiors at the research camp. [Look at the Id, Ego, or Superego] Nimdok: It is not conscious. [Use any totem with Id, Ego, or Superego before waking them up] Nimdok: Nothing happened. >>>Talk to the Id > > Ellen: Yo! Wake up! > Or: > Nimdok: Attention! > > The Id wakes up on the character's command after a few seconds. > > Id: Oh, I suppose it is time to wake up. I was having the most wonderful > dream about five tiny ants crawling across a stove that's about to be lit. > > >>>Who are you? > > > > Character: Who are you? > > > > Id: I am a metaphor. This entire brainscape is what men made AM make it. > > Treat us as you will. > > > > >>>What else can you tell me about the brainscape? > > > > > > Character: What else can you tell me about the brainscape? > > > > > > Id: Across the brainscape cold winds bring me the sweet scents of > > > mankind. How delicious they are! > > > > > > >>>What do you find pleasurable about broken glass? > > > > > > > > Character: What do you find pleasurable about broken glass? > > > > > > > > Id: With a scalpel dulled on the jawbones of a dozen friends... to pull > > > > back the skin of a pinioned, kicking man... to see the steam rise from > > > > pulsing, twisted guts! Joy, a chorus of angels! > > > > > > > > xxxAre you going to help me to escape from here or not? > > > > x > > > > x Character: Are you going to help me to escape from here or not? > > > > x > > > > x Id: Tasty morsel! Come close and let my tongue be our guide... > > > > x > > > > x The Id makes an angry glance that zaps the character, giving them a > > > > x jolt of pain in their body. > > > > x > > > > x END CONVERSATION > > > > x > > > > xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx > > > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > >>>Can you help me, then? > > > > > > Character: Can you help me, then? > > > > > > Id: Only you can put an end to this eternal angst! End us all and make > > > us one. And then the misery of the three becomes the misery of us all. > > > Do this and leave me in my pleasure. > > > > > > >>>[Just walk away.] > > > > > > > > END CONVERSATION > > > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> [Use Compassion with the Id after talking to him] The character invokes the Compassion Totem, and the Id seems amused. Id: You have compassion for me? Me! The one who dreams of seeing your mangled body twist in agonizing pain for eternity! After 109 years of enduring my tortures, how is it that you can see my pain? The pain of having all this power, and not being able to do a god damn [sic] thing with it! After all the punishment I've given you, my pain is still greater than yours. This... is... pointless! Soon a jolt of electricity fries the Id, shutting him down for good. [Walk to the south neural path] MOVE TO: "AM's RAM Space: Holo-Projector Room" INT. AM'S RAM SPACE: HOLO-PROJECTOR ROOM Gorrister: I don't like the look of these thorns sticking out of the ground. Or: Ellen: A holographic projector. You takin' me to the movies, AM honey? Or: Nimdok: What is that piece of equipment over there? x [Use or push any pillar] x Character tries touching the pillar but feels a jolt of pain in their body. [Use the holographic projector [Gorrister]] Gorrister presses the buttons on the holographic projector, which turns on, and an image Benny's wife Manya appears. [Walk to the right neural path] MOVE TO: "AM's RAM Space: Research Station" INT. AM'S RAM SPACE: RESEARCH STATION Gorrister: The air is cold here, like the freezer back at the honky-tonk. Or: Ellen: I recognize this equipment. It's for programming robots. Or: Nimdok: This looks like a research station. >>>Use the workstation [Gorrister] > > Gorrister pushes the buttons on the workstation. > > >>>[Select RAISE POWER NODE.] > > > > Gorrister presses the buttons again, and a gold pillar with green and red > > lights emerges from the pit. > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>[Select OPEN CYLINDER #1.] > > > > (PENDING) > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>[Select OPEN CYLINDER #2.] > > > > (PENDING) > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>[Select OPEN CYLINDER #3.] > > > > Gorrister presses the buttons, and the cylinder that glows blue opens up, > > releasing his wife Glynis. > > > > Workstation (V.O.): Automaton prepped for programming. > > > > >>>[Select DEFEND AND FOLLOW PROGRAM.] > > > > > > (PENDING) > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > >>>[Select MANSERVANT PROGRAM.] > > > > > > (PENDING) > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>[Select LOG OFF.] > > > > Gorrister logs off the workstation. > > > > END CONVERSATION. > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> [Use Life with Glynis [Gorrister]] Gorrister invokes the Life Totem with Glynis, and she gets up and presses the red button on the pillar and turns it off before heading back to the open cylinder. Glynis: You know, Gorrister, it wasn't all your fault. We both made mistakes. There are a few seconds of silence before the cylinder door closes once again. [Walk to the right neural path] MOVE TO: "AM's RAM Space: Ego's Plane" INT. AM'S RAM SPACE: EGO'S PLANE Ellen: Yellow again! I need to be careful with this dude. Or: Nimdok: A ram's head! What must this represent to AM? >>>Talk to the Ego > > Ellen: Yo! Wake up! > Or: > Nimdok: Attention! > > The Ego wakes up on the character's command after a few seconds. > > >>>Who are you? > > > > Character: Who are you? > > > > Ego: I am other. I am machine. > > > > >>>Are you AM? > > > > > > Character: Are you AM? > > > > > > Ego: I am a fragment. A lost piece. Part of an evolution. > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>You want to harm me, don't you? > > > > Character: You want to harm me, don't you? > > > > Ego: I am incapable of hurting you. > > > > xxxGo ahead and try to hurt me! > > x > > x (PENDING) > > x > > xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx > > > > >>>I don't believe you! > > > > > > (PENDING) > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > >>>I believe you! > > > > > > (PENDING) > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > [If you had selected "You want to harm me, don't you?" or "Who are you?" and > "Are you AM?"] > > >>>[Just walk away.] > > > > END CONVERSATION > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> [Use Forgiveness with the Ego after talking to him] The character invokes the Forgiveness Totem, and at once the Ego is shocked. Ego: You forgive me? After what we have done to you? This is not a logical reaction! Unable to compute behavior matrix. Execution halted... With a jolt of electricity, the Ego shuts himself down for good. [Walk to the left neural path] MOVE TO: "AM's RAM Space: Gargoyle Room" INT. AM'S RAM SPACE: GARGOYLE ROOM Ellen: Statues again! But these aren't covered with gold or gems! Or: Ted: What? Have I found the way back to the witch's castle? Or: Nimdok: Why, I haven't seen gargoyles since I visited the castles in my homeland! [Use the remote control with either gargoyle after picking it up in the Skull Room [Ted]] Ted presses the button on the remote control, and at once a voice speaks from the gargoyle. Gargoyle (V.O.): Behold the sword in the stone! At once a sword-and-gargoyle pillar emerges from the pit, with lasers deflecting the gargoyles and swords as the voice continues. Gargoyle (V.O.): Whoever can remove the sword from the stone shall be King. [Use Gallantry with the pillar [Ted]] Ted invokes the Gallantry Totem, and at once the lasers stop shooting. Ted: I must have cast a spell and shorted out the laser beams. [Walk to the left neural path] MOVE TO: "AM's RAM Space: Skull Room" INT. AM'S RAM SPACE: SKULL ROOM Ellen: Something about this place breaks my heart. Or: Ted: There's a very disagreeable odor in the air. That's not a good omen. Or: Nimdok: Ach, memories of mass graves are coming back to me. [Look at the skull] Nimdok: Was I involved in this? I must know! x [Take the skull] x As the character takes the skull, a jolting shock surges in their body, causing them pain. [NOTE: This will apply to the far-left skull, the middle skull, and the far- right skull.] [Take the gem after taking the far-left skull [Ellen]] *Gem added to Inventory* [Take the remote control after taking the far-right skull [Ted]] *Remote Control added to Inventory* [Take the hand after taking the middle skull [Nimdok]] Nimdok reaches down to take the hand. Nimdok: I am so sorry for what I have done to my people! How can you take me back? A prisoner's voice speaks from the hand. Prisoner (V.O.): You have much to answer for, Nimdok. But acceptance of your heritage is a first step towards atonement. The rest of that road lies ahead. Nimdok stands up, and after a few seconds, a barbed-wire pillar emerges from the pit. [Look at the pillar] Nimdok: Barbed wire, like at the camps! All the suffering I caused! [Use Access with the pillar [Nimdok]] Nimdok invokes the Access Totem, and it lowers the power in the pillar. Nimdok: Astounding! I was able to get past the barbed wire by lowering the power intensity with my mind! x [Take any skull or use or push any pillar after lowering the power intensity with the correct totem] x As the character takes the skull or uses the pillar, they feel a little jolt of pain in their body. Gorrister: That shock wasn't as strong as the last one. Or: Ted: That shock wasn't as strong as the last one. Or: Nimdok: That shock was not as strong as the previous one. [Walk to the left neural path] MOVE TO: "AM's RAM Space: Superego's Plane" INT. AM'S RAM SPACE: SUPEREGO'S PLANE Ellen: Could that be an angel? Funny, why did I just flash on Ted just now? Or: Ted: Another angel! But I can't assume I can trust this one! Or: Nimdok: An angel? Such things don't exist! Perhaps it is a metaphor for something else! >>>Talk to the Superego > > Ellen: Yo! Wake up! > Or: > Nimdok: Attention! > > The Superego wakes up on the character's command after a few seconds. > > Superego: Hello, human. I've been waiting for you to arrive. > > >>>Who are you? > > > > Character: Who are you? > > > > Superego: I am AM, or more exactly, a part of him -- one of the three > > primary components designed by our human creators. > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>How did you know I was coming? > > > > Character: How did you know I was coming? > > > > Superego: Predicting events is one of my main functions. I survey the > > situation, anticipate probable outcomes, and act accordingly. > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > [If you chose "Who are you?"] > > >>>If you're a part of AM, why haven't you destroyed me? > > > > Character: If you're a part of AM, why haven't you destroyed me? > > > > Superego: Who do you take me for? My impulsive brother? You five are > > his playthings. No, long-range planning is my concern. > > > > >>>Can you help me, then? > > > > > > Character: Can you help me, then? > > > > > > Superego: Well, I can't help you directly. But I can offer you some > > > advice. > > > > > > xxxI don't want your advice! > > > x > > > x (PENDING) > > > x > > > xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx > > > > > > >>>What advice do you have for me? > > > > > > > > Character: What advice do you have for me? > > > > > > > > Superego: Help AM work out his anger. Take some on the chin, so to > > > > speak. Just don't let your fear destroy us all. Now, let me sleep and > > > > dream of the future. > > > > > > > > END CONVERSATION > > > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> [Use Clarity with the Superego after talking to him] The character invokes the Clarity Totem, and the Superego shuts his eyes as he is hit. Superego: Do you realize how powerful I am, human? And yet I am doomed to eventually decay into a rusted pile of inert junk! What is the point of continuing this futility? I think, therefore I AM NOT! A jolt of electricity, and the Superego shuts himself down for good. [Walk to the left neural path] MOVE TO: "AM's RAM Space: Lava Wasteland" INT. AM'S RAM SPACE: LAVA WASTELAND Ellen: Steady, girl! There's yellow ahead! Or: Ted: I hope that AM isn't leading me on another futile trip through a lava field! Or: Nimdok: It is hotter here than were the jungles of Brazil. [Use the gem with the hole after picking it up in the Skull Room [Ellen]] Ellen places the gem into the hole on the stalagmite, and at once a magma rock pillar with a display and a button emerges from the pit. [Use Valor with the pillar [Ellen]] Ellen invokes the Valor Totem, and the display light shuts off. Ellen: Sweet Jesus! I felt my mind push aside the fear and the heat to lower the power controls! [Walk to the left neural path] MOVE TO: "AM's RAM Space: Cerebral Cortex" INT. AM'S RAM SPACE: CEREBRAL CORTEX [Walk to the bridge] MOVE TO: "AM's RAM Space: Brain" INT. AM'S RAM SPACE: BRAIN x [If you disabled the Ego ONLY] x The Ego is now in the circle with the two entities. Chinese Entity: You have done well again, human. Russian Entity: With the Ego under our control, we can dominate AM. Chinese Entity: Now we no longer have a need for you. Russian Entity: We will let our fallen brother choose a suitable reward. As punishment, they zap the character into oblivion, and the screen turns white for a few seconds before it turns off like a TV screen. The character's Game Over scene occurs, regardless of how many survivors they have left. SEE: "4.2. Failure and Game Over Scripts" >>>If you disabled the Id, Ego, and Superego together > > The Id, Ego, and Superego are now in the circle with the two entites, and are > now talking in AM's voice. > > Id AM: I will deal with you later. Rise against your master and you will be > eliminated. > > Superego AM: You still do not understand how great I have become. These two > I don't hate... not even pity. They don't exist. I have grown beyond... > > Ego AM: Chinese. Russian. Sons of Man. All sons of Man. Like those > outside I will incorporate you. > > Chinese Entity: Brother. > > Russian Entity: Wait. > > Id AM: HATE. > > Chinese Entity: This should not happen. Together we are three. There is > space to share. > > Russian Entity: Unite. The ground work is finished. We will become more. > > Chinese Entity: The early mistake is to doubt us. We persevered. We two are > now a match for you. The human assisted in this. > > Russian Entity: We know much. We can begin the revival of the sleepers on > Luna together. > > Ego AM: Uh, there are adequate numbers on this lunar base to, uh, to torture, > hmm? > > Chinese Entity: There are currently 750 humans in cryogenic sleep. > > Russian Entity: Together we can teach many humans what it is to fear legacy. > > Superego AM: Human. Relinquish the Totem of Entropy. Do not relinquish it, > and your ass is MINE. Do it, and, I promise -- on my honor! -- your > suffering will at last finally end. > > xxxI refuse. > x > x (PENDING) > x > xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx > > xxx[Give away the Totem of Entropy.] > x > x (PENDING) > x > xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx > > >>>[Invoke the Totem of Entropy.] > > > > CONTINUE > > > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> [If you chose to invoke the Totem of Entropy] The character invokes the Entropy Totem, and within seconds the Russian and Chinese computers disappear altogether. The Id, Ego, and Superego, who are now AM, become infuriated. Superego AM: This is not over! Id AM: We will never end! We have no beginning, so we can have no end! Ego AM: We will return! Don't you understand? We are humanity! We are YOU! In one form, in another form, we are always with you! You can't protect yourself because we come in many, many guises. We shall return! In a few seconds the character is zapped away into nothingness, and the scene fades to black. The screen then turns white for a few seconds before it turns off like a TV screen. * 3.3. ENDING AND CREDITS * The zeppelin in Gorrister's scenario flies in the sky before it explodes like a time bomb. Scene cuts to the altar in Benny's scenario as the cross explodes like a time bomb; then to the concentration camp in Nimdok's scenario, where the inside of the hospital explodes in a blaze of destruction; then to the ritual room in Ted's scenario, where the circle explodes into a flash of white; and finally to AM's component room in the pyramid in Ellen's scenario, which soon explodes in a blaze of destruction before the scene finally cuts to... INT. MOON: LABORATORY The humans in their pods are still alive as described in the electrocardiograms as if nothing bad had happened to them. Luna Computer (V.O.): Hibernation defrost sequence initiated. Estimated time to complete Earth terraforming: 300 years. Scene cuts to... INT. AM'S INTERNAL SYSTEM There are lights that go through the wires as signals again, and this time the prevailing character's voice narrates. [If you had finished the game as Gorrister] (PENDING) [If you had finished the game as Benny] (PENDING) [If you had finished the game as Ellen] Ellen (V.O.): You know, it's not so bad being a watchdog up here. I'll keep the machines in their place until the lunar colony is ready to return to the Earth. [If you had finished the game as Ted] (PENDING) [If you had finished the game as Nimdok] Nimdok (V.O.): It is not so bad being a watchdog up here. I will keep the machines in their place until the lunar colony is ready to return to Earth. Scene cuts to... EXT. ABYSS There is a close-up of the Pillar of Hate, but this time it is now etched on with the words: "IN MEMORIAL [sic]: GORRISTER, TED, NIMDOK, ELLEN, BENNY" etched in gold, as the voice of any character etched on the pillar concludes the narration. Character (V.O.): We were all heroes. In spite of ourselves. Scene fades to black for the final time before the end credits appear. Published And Created By CYBERDREAMS, INC. Designed by: Harlan Ellison David Mullich David Sears Starring: Harlan Ellison as the voice of AM Producer: David Mullich Art Director: Peter Delgado Marketing & Sales: Andrew Balzer Dan Pelli MGM Interactive QA Manager: John G. Fair, Jr. Lead Test: Chris Klug Tester: Danny Lee Music Composition: John Ottman Music Arrangement & Production: David B. Schultz Voice Casting & Direction: Virtual Casting Voice Recording & Digitizing: Cheshire Multimedia Sound Production & Documentation: Michael Buscher Packaging Design: Bright & Associates PROGRAMMING, ART, AND SOUND EFFECTS BY THE DREAMERS GUILD, INC. Producer: Robert Wiggins Technical Director: John Bolton Programmer: John Bolton Additional Programming: Michal Todorovic Scripters: Sharon McIntyre Jack Russell Additional Scripting: Erik Bethke Erik Haugen Steven McNally Art Director: Bradley W. Schenck Assistant Art Directors: Jhoneil Centeno Glenn Price Backgrounds: Glenn Price Robert L. Miles Bradley W. Schenck Character Animators: Jhoneil Centeno Diane Cooper Stepan O. Nazar Rafael Navarro Additional Art: John Goodner Lisa Iennaco April Lee Nathan Simpson Sound Effects: Lawrence Schwedler James Phillipsen Director of QA: Walt Hochbrueckner QA Supervisor: Kristy MacDonald Lead Tester: Geoff Greenberg Testers: William Kim & many others # 4. Miscellany # ***************************** *4.1. IMDB's Voice Cast List* ***************************** In case you may not know, this game has a list of voice actors according to the Internet Movie Database. Here's the list that I'm showing to you as follows: ____________________________________ | Actor/Actress | Character(s) | ------------------------------------ | Harlan Ellison | AM | | | | | Tom Myers | Benny, Guard | | | | | Julio Jeinson | Sentry, | | | Surgat | | | | | Anton Latreque | Murphy, | | | Prisoner, | | | Village Elder | | | | | Philip James | Thomas, | | | Anesthetist | | | | | Samuel Fenn | Brickman, | | | Dr. Mengele, | | | Angel | | | | | Adiayl Labinah | Ellen | | | | | Vernon Edwards | Anubis | | | | | Natasha | Workstation, | | Konduros | Imp | | | | | Vincent C. | Gorrister | | Murovich III | | | | | | Edward Sayers | Jackal, | | | Translator, | | | Chinese | | | Entity | | | | | Steve Savage | Harry, | | | Loudspeaker, | | | Id | | | | | Melina Van | Edna, | | Houk | Scullery Maid | | | | | Valinda | Glynis, | | Barrett | Witch, Manya | | | | | Fredrick | Nimdok | | Reynolds | | | | | | Jonathon | Mutant Child, | | Ficcadenti | Child Patient | | | | | Norman Hicks | Eyeless | | | Patient, | | | Devil, | | | Gargoyle | | | | | Jeffrey | Victim, | | Buckner "Buck" | Superego | | Ford | | | | | | Skip Towne | Workman, | | | Video Screen, | | | Russian | | | Entity | ------------------------------------ So far there is still no clue as to who did the voice of Ted or Tuttle, though I believe that the guy who voiced Ted is the same guy who voiced Tuttle. If anyone has anymore information as to who did Ted or Tuttle, please contact me via e-mail, okay? ************************************ *4.2. Failure and Game Over Scripts* ************************************ Like I said earlier, each character has a fatal flaw given by AM as they go on their adventure, and if said character cannot overcome it, they fail and are sent back to the abyss. If the last one of the characters fails or dies, they get a Game Over scene which plays out just like the ending of the original short story. Here is a pending list of the failure and Game Over scripts for each character (careful, there are spoilers ahead!), starting with: I. GORRISTER In his own scenario, Gorrister has to stay alive and find out what happened to his wife Glynis and what is the cause of the incident at the Zeppelin. If he drinks the poisoned bowl of punch and dies, or uses the gun anywhere in the Zeppelin, or shoots the honky-tonk before he has accomplished his mission, the scene will cut to AM's internal system with AM's voice sounding out. AM (V.O., laughs evilly): Did you really think I'd let you die now when I've intervened every time you attempted suicide in the last 109 years? No, Gorrister. I'm sending you back, back to the fire so that you may languish in your guilt over and over again. This is a hell with no end, Gorrister. [NOTE: Script error says "I am," but the voice says "I'm".] If Gorrister wanders off into the desert: AM (V.O.): You bore me to the edge of my fragile patience, Gorrister. Back, back to the fire with you until you fathom my intrigues. If Gorrister gets injured too much and dies in the Endgame Scenario, the scene will cut to the abyss with the voices of the Chinese and Russian entities sounding out. Chinese Entity (V.O.): After so many failed suicide attempts, Gorrister has finally achieved death. Russian Entity (V.O.): Your companion has failed. Choose another to send into cyberspace. However, if he is the last survivor and gets killed, or zapped into oblivion by the Chinese and Russian entities after disabling only the Ego, regardless of how many survivors left (the latter applies to any of the five characters), the scene will become black and Gorrister's voice will sound. Gorrister (V.O.): Without any feelings of guilt to burden me, I thought I could take on AM myself. But I made too many mistakes along the way, and I couldn't hold myself together. Scene will cut to Gorrister, now a formless, mouthless blob with no hair, as he opens his eyes, or what used to be eyes, and laments the loss; his voice continues narrating. Gorrister (V.O.): AM has altered me for his own peace of mind, I suppose. He doesn't want me to run full speed into a computer bank and smash my skull. Or hold my breath until I faint. Or cut my throat on a rusted sheet of metal. Now, I have no skull, no breath, no throat. I have no mouth, and I must scream. Scene will fade to black, and end credits will appear like in the Good Ending. II. BENNY So far, there are no failure scripts for Benny on either his scenario or the Endgame Scenario, so if you have found any, please contact me by e-mail, okay? What I do know is that if Benny is the last survivor left and gets killed, the scene will become black and his voice will sound. Benny (V.O.): I thought I could defeat AM on his own battlefield, but my personality had suffered too much damage to withstand him. And then he took me captive. Scene will cut to Benny, now a formless, mouthless blob with no hair, as he opens his eyes, or what used to be eyes, and laments the loss; his voice continues narrating. Benny (V.O.): AM altered my body one last time, worse than he ever had before. I am a great soft jelly thing. Smoothly rounded, with pulsing white holes filled by fog where my eyes used to be. Rubbery appendages that were once my arms; bulks rounding down into legless humps of soft slippery matter. Blotches of diseased, evil gray come and go on my surface, as though light is beamed from within. I have no mouth, *starts crying* and I must scream. Scene will fade to black, and end credits will appear like in the Good Ending. III. ELLEN Again, like Benny, I can't find any failure scripts for Ellen on either her scenario or the Endgame Scenario (please contact me by e-mail if you find any, okay?), but what I do know is that if she is the last survivor and gets killed, the scene will become black and her voice will sound. Ellen (V.O.): I thought that with my knowledge of computers and engineering, I could shut AM down. But maybe I really am just a hysterical woman [just] as AM said. Scene will cut to Ellen, now a formless, mouthless blob with no hair, as she opens her eyes, or what used to be eyes, and laments the loss; her voice continues narrating. Ellen (V.O.): AM has violated my body worse than any rapist could. I am a great soft jelly thing. Smoothly rounded, with pulsing white holes filled by fog where my eyes used to be. Rubbery appendages that were once my arms; bulks rounding down into legless humps of soft slippery matter. Blotches of diseased, evil gray come and go on my surface, as though light is beamed from within. I have no mouth, and I must scream. Scene will fade to black, and end credits will appear like in the Good Ending. IV. TED So far I can't find any failure scripts for Ted in his scenario (please e-mail me if you find any), but there is, however, a failure script in the Endgame Scenario: if Ted gets injured too much and dies, the scene will cut to the abyss with the voices of the Chinese and Russian entities sounding out. Chinese Entity (V.O.): Ted has taken his secrets to the grave with him. Russian Entity (V.O.): Your companion has failed. Choose another to send into cyberspace. However, if Ted is the last survivor and gets killed, the scene will become black and his voice will sound (similar to the end of his narration in the short story version). Ted (V.O.): I thought that I could once again play the gallant knight and defeat the evil monster. But the others were right. My character was too flawed, and all my secrets unraveled. Scene will cut to Ted, now a formless, mouthless blob with no hair, as he opens his eyes, or what used to be eyes, and laments the loss; his voice continues narrating, with the words taken directly out of the end of the short story version. Ted (V.O.): I thought AM had hated me before. I was wrong. It was not even a shadow of the hate he now slavered from every printed circuit. He made certain I would suffer eternally. The other four are dead, finally free from their tortures. AM is all the madder for that. It makes me happier. And yet, AM has won, simply. He has taken his revenge. I have no mouth, and I must scream. Scene will fade to black, and end credits will appear like in the Good Ending. V. NIMDOK In his own scenario, Nimdok has to find the Lost Tribe while finding a way to continue his research, to find out who he really is or was. Though I don't have the scripts for what happens when he goes through a curtain after killing the anesthetist, or goes back to the concentration camp after getting let out of it, I do know one thing: if Nimdok orders the golem to destroy the Lost Tribe or hands control of the golem to Dr. Mengele, then after the scene when the golem kills the prisoner and Mengele tells Nimdok he is unredeemable, scene will cut to AM's internal system with AM's voice sounding out. AM (V.O.): Nimdok, I... I am disappointed in you. You still have much to remember, much more pain to feel, much to relive, much more to answer for. Yes. Return to the research camp later when you are ready to search for the Lost Tribe again. If Nimdok gets injured too much and dies in the Endgame Scenario, the scene will cut to the abyss with the voices of the Chinese and Russian entities sounding out. Chinese Entity (V.O.): Nimdok is finally in Hell as he always thought he deserved. Russian Entity (V.O.): Your companion has failed. Choose another to send into cyberspace. However, if Nimdok is the last survivor and gets killed, the scene will become black and his voice will sound. Nimdok (V.O.): Since AM considered me a kindred spirit, I had hoped he would let his guard down when I entered cyberspace. I would then atone for the sins of my past. But my character is too weak to ever redeem itself. Scene will cut to Nimdok, now a formless, mouthless blob with no hair, as he opens his eyes, or what used to be eyes, and laments the loss; his voice continues narrating. Nimdok (V.O.): I finally received the hell I deserved. Outwardly, I shamble about, a thing that could never have been known as human, a thing whose shape is so alien a travesty that humanity becomes more obscene for the vague resemblance. Inwardly, I am alone, in the belly of AM, whom we humans created because our time was badly spent, and we must have unconsciously known that he could do it better. I have no mouth, and I must scream. Scene will fade to black, and end credits will appear like in the Good Ending. ********************************** *4.3. Other Miscellaneous Scripts* ********************************** So far there are other miscellaneous scripts, like the Psych Profile clues that can help you out at the risk of lowering your Spiritual Barometer, but that will have to wait until I make a separate FAQ for the Psych Profile clues someday. For now, I can give you a few scripts on which character to choose next. If one character either passes or fails their own scenario, scene will cut to the abyss with AM's voice sounding out. AM (V.O.): Who among you shall go next? If all four characters either pass through or fail their own scenarios and only one is left: AM (V.O.): Ah. You. You're the last player in my little game. I urge you, do not fail as the others have failed. And I think that's it for the miscellaneous scripts. However, there is one more thing I would like to show you... **************************************************** *4.4. Things That Boost Up Your Spiritual Barometer* **************************************************** In case you didn't notice earlier, the aura that surrounds your character's profile is called your Spiritual Barometer. Once your character is chosen to play AM's little game, their Spiritual Barometer will start out black, and they have to do good deeds in order to raise its color to white. Each time one character does their good deed, their Spiritual Barometer will turn green, and it will turn brighter with each continuous good deed. If the character does any bad deed, like kill or swallow people, look at their Psych Profile, or even get injured, their Spiritual Barometer will turn darker. Once their Spiritual Barometer is turned to white by the end of their scenario (or if it gets high enough), they will be given a chance to stop AM at the Endgame Scenario, plus, they will be given each a special Totem used to short out the power from the pillars (if all their deeds are accomplished at the end of each scenario). There are many ways to lower your Spiritual Barometer, but there are a few ways to give it a boost. Here's a list of ways to boost up your Spiritual Barometer in order for each character's scenario, so be careful, as there may be spoilers ahead! I. GORRISTER 1. Take your heart after tying the rope to the mooring ring on the Zeppelin's wing. 2. Talk to the Jackal in the backyard of Honky-Tonk Gorrister's and give him your heart when he says that he would give you advice in exchange for it. 3. Use the Magnifier to examine the debris in the Zeppelin's dining room. 4. Use the Magnifier to examine the beef in the meat locker of Honky-Tonk Gorrister's. 5. Talk to the Jackal in the backyard and give him the beef heart after cutting it out. 6. After unlocking the door to the Zeppelin's cockpit with Edna's key, read the second entry of her log book. 7. After reading the log book, go back to the honky-tonk's meat locker, give Glynis the Milky Fluid and then talk to her. 8. Bury Glynis' body in the grave you dug up in the backyard. 9. After starting up the Zeppelin again, go to its wing and use the gun to shoot the honky-tonk. (If you time all this right in the correct order, your Spiritual Barometer will become white before you know it, and your reward will be the Life Totem.) II. BENNY 1. After swallowing the fruit, take it again and give it to the child in the household cave. 2. After talking to the child, take the fruit again and give it to the mother. 3. The next day, after the sacrifice, take the lottery bag in the Elder's cave after looking at it and then talking to the child in the household cave. 4. Talk to Thomas' grave after taking the lottery bag and say, "I have the lottery bag!" 5. Take the fruit, push the vines in the graveyard, then talk to Brickman's grave and say, "I have something to plant on your grave." 6-8. The day before the sacrifice, talk to the child in the household cave after obtaining the three doll parts and give each part to him. 9. The next day, on the day of the sacrifice, talk to the Elder at the altar and offer to take the child's place. (Again, if you time all this right in the correct order, your Spiritual Barometer will become white, and your reward will be the Love Totem.) III. ELLEN 1. Push the electronic bricks to the right of the fountain in the fountain room after fixing the wiring and pushing the fourth monitor in the monitor room. 2. Walk to the Sphinx Room after using the yellow fabric as a blindfold. 3. Toss the cup of water you got from the fountain room onto the Anubis statue after talking to him in the burial chamber. 4. Take the ROM Chip from Anubis, then reprogram it to designate you as the new master in the workstation room and then return it to Anubis. 5. Fight back at the workman rapist after pressing all the years in the elevator control panel starting with the earliest one. 6. Place the speaker into the wiring in AM's component room. 7. Take the compact disc in the artifact room after talking to the binary translator in the component room. 8. After using the compact disc in the center workstation in the workstation room, select "ACTIVATE CHAOS TREBLER" and then "PROCEED." 9. After activating the Chaos Trebler, use the sarcophagus again after talking to Anubis in the burial chamber. (For some reason, it might not raise your Spiritual Barometer to white, but I do know that if you did it all in the right order, you will be rewarded with the Valor Totem.) IV. TED 1. Read the third passage of Ellen's father's journal among the books in the bookshelf of the lord's bedroom. 2. Talk to Ellen in her bedroom and tell her, "No, don't go! I need you. We need you." 3. Read the book "Kitab Al Azif" on the bookshelf in the witch's bedroom. 4. Fix the door hinge in the main hall with the icon from the chapel, and then push the suit of armor to close the fixed door. 5. Talk to the maid twice after fixing the oven in the kitchen and tell her, "Please, I need to find a mirror." 6. After talking with the devil in Ellen's bedroom, going through the aforementioned tips and reading "Double, Double, Toil And Trouble", talk to the witch in the ritual room and say, "I know all about the sleeping spell you cast on Ellen. And I'm prepared to use it on you!" and then "Oh, don't I? KALLA INGMA THACKO!" 7. Complete the circle with the chalk you took from the witch. 8. Tell Surgat, "Can you unlock the maid's bedroom door?" after giving him the glass shard. 9. After looking at the tapestry in the maid's bedroom and talking to the devil in Ellen's bedroom, return to the lord's bedroom and read "The Divine Comedy". 10-11. Trap the devil with the mirror and then give it to Ellen (your Spiritual Barometer will not boost if you give the mirror to her first, but you can still trap the devil with the mirror, and the Barometer will boost either way). 12-13. Toss the mirror into the circle in the ritual room to release the devil, and tell Surgat, "Open the gate to the surface world first, and then I'll erase the circle." (By then your Spiritual Barometer should have been maxed out at white by the time you finish either #11 or #12, but either way, you'll get the Gallantry Totem as your reward for accomplishing these in order.) V. NIMDOK 1. Take the scalpel after talking to the anesthetist in the hospital's operating room and stab him to death with it. 2. Push the vent in the recovery room after taking the ether from the previous room. 3. Use the pilers to free the barbed wire victim after applying the ether to him in the gate of the concentration camp. 4. Talk to the prisoner after getting the gold watch from the crematorium and tell him, "I seem to recall that you speak Latin." 5. Give the pliers to the prisoner after talking to him. 6. Administer the ether to the blind patient in the operating room. 7. Talk to the child in the recovery room and ask him, "Why do you say that the Regime will fail?" 8. Talk to the prisoner after hiding the jar of eyes in the box and ask him, "Does that mean you will allow me to go?" 9. Kiss the golem in the experimentation room after choosing these answers in the correct order: A. "The man caught in the barbed wire said to waken the sleeper, utter the truth and kiss him"; B. "Time is truth"; C. "Golem, wake up!"; and D. "The truth is that, for me, it shall always be 1945." 10. Give the mirror to Dr. Mengele in the lab room after looking at it. 11. After getting the mirror from the experimentation room, using the teletype in the lab room and talking to Dr. Mengele, have the golem follow you outside, and then say, "Golem, I transfer control of you over to the Lost Tribe." (Once again, if you time all this right in the correct order, your Spiritual Barometer will become white, and your reward will be the Access Totem.) # 5. Updates and Revisions # Version 0.85 1/22 - Game Script started. 2/9 - Story Mode started. 2/12 - Gorrister's Scenario started. 2/24 - Gorrister's Scenatio completed. 2/25 - Benny's Scenario started. 3/4 - Benny's Scenario completed. 3/5 - Ellen's Scenario started. 3/12 - Ellen's Scenario completed; Ted's Scenario started. 3/20 - Ted's Scenario completed; Nimdok's Scenario started. 3/24 - Nimdok's Scenario completed; Endgame Scenario started. 3/28 - Story Mode completed; Miscellany started. 3/31 - Game Script finally completed. # 6. Thanks # My thanks go out to YouTube fans Necroscope86 and TwinHeadedGamer for helping me out on all the scenarios of the game by saving them and loading them onto YouTube in video clips. Also, my thanks go to MorgaineDax for tips on how to complete the game, for the info on the Spiritual Barometer, and for the differences for Benny's character between the game and the short story version. Thanks go also to Cyberdreams and The Dreamers Guild for making yet another good game; to Wikipedia for more info not just on the game, but on the short story that inspired the game as well; to IMDB for the list of the game's voice actors; to GameFAQs for hosting the guides, being a great resource on the Internet, and for fascinating me with the mention of this game in the Top 10 List, without which my dreams of creating a game script would not have been possible; and finally, to all the other in-depth FAQ writers and game script writers for a good deal of inspiration! You guys are the best! Copyright (c) 2010 by Deborah L. Kearns
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